NAME: Hat Me Father Wore, The: see TheHat My Father Wore (File: BrdHMFW)
===
NAME: Hat My Father Wore, The
DESCRIPTION: Paddy Miles comes from Ireland to America. On St Patrick's day he wears the hat "wore for more than ninety years ... From my father's great ancestors." He plans to return to Ballymore with "the hat my father wore"
AUTHOR: Daniel Macarthy (source: broadside LOCSheet sm1876 01751)
EARLIEST_DATE: 1876 (broadside, LOCSheet sm1876 01751)
KEYWORDS: emigration return clothes America Ireland father
FOUND_IN: Ireland US(MW)
REFERENCES: (1 citation)
Dean, p. 64, "The Hat Me Father Wore" (1 text)
Roud #4796
BROADSIDES:
Bodleian, Harding B 11(1119), "The Hat My Father Wore ("I'm Paddy Miles an Irish boy"), Jones (Sheffield), n.d.
LOCSheet, sm1876 01751, "The Hat My Father Wore!," E. H. Harding (New York), 1876 (tune)
CROSS_REFERENCES:
cf. "The Sash My Father Wore (I)" (form)
cf. "The Sash My Father Wore (II)" (many lines)
NOTES: Zimmermann: "It has been noted that 'much of the pugnacity has gone from the music played on the 12th day of July' [S.H. Bell _Erin's Orange Lily_, p. 14]; there is a tendency to replace the most violent ballads by innocuous songs such as 'The Ould Orange Flute' or 'The Sash my Father Wore'. 'The Ould Orange Flute' appeared on nineteenth century broadsides. The other song ['The Sash my Father Wore'] is more recent; it was probably the paraphrase of a non-political song, 'The Hat my Father Wore'. A nationalist version, quite different in character but singable to the same tune, appeared in _The Shan Van Vocht_, August 1896." The "Donagh MacDonagh Song Collection" at tripod.lycos site includes a version of "The Hat My Father Wore" that has the singer exiled "For the joining of the Brotherhood in the year of '64"; the tune for MacDonagh's version is "The Sash my Father Wore." It is clear that "The Sash" is an adaptation of "The Hat," or vice versa. - BS
According to Spaeth, _A History of Popular Music in America_, p. 331, William ("Billy") Jerome and Jean Schwartzin 1909 published a song"The May My Father Wore on St. Patrick's Day." That can hardly be the original of this, but I don't know how the one influenced the other. - RBW
File: BrdHMFW
===
NAME: Hateful Mary Ann
DESCRIPTION: A confused piece, with hints of stage origin. The singer waits for her love, who is much delayed. She fears bad weather has caused him to stop "with that hateful Mary Ann" "And it's all for the chilly, driving rain. At last he arrives (to her reproaches?)
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: love courting betrayal storm
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 144, "Hateful Mary Ann" (1 text)
Roud #6564
File: BrII144
===
NAME: Hattie Belle: see Lonesome Road (File: San322)
===
NAME: Hatton Woods: see The Bonnie Woods o' Hatton (File: Ord185)
===
NAME: Haughs o Newe, The
DESCRIPTION: "As I gaed up the haughs o' Newe And through Strathdon upon my pony," the singer meets a maid so pretty that she makes him lightheaded. She turns him down; he cannot dance and speaks no Gaelic. He wishes he could do more to impress her
AUTHOR: unknown
EARLIEST_DATE: 1909 (Ord)
KEYWORDS: love courting rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 135, "The Maid of Don" (1 text); p. 193, "The Haughs o Newe" (1 text)
Roud #6781
File: Ord193
===
NAME: Haughs o' Cromdale, The
DESCRIPTION: "As I came in by Auchindoun, a little wee bit frae the toon... To view the Haughs o' Cromdale," the singer hears that the Highland army has been defeated. But Montrose refuses to accept defeat, and in a second battle heavily defeats the English
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg)
KEYWORDS: patriotic Scotland Jacobites battle
HISTORICAL_REFERENCES: Apr 30, 1690 - Battle of Cromdale
FOUND_IN: Britain(Scotland)
REFERENCES: (0 citations)
Roud #5147
RECORDINGS:
John MacDonald, "The Haughs O' Cromdale" (on Voice08)
BROADSIDES:
Murray, Mu23-y1:070, "Haughs o' Crumdal," James Lindsay (Glasgow), 19C
NLScotland, RB.m.143(024), "Haughs o' Crumdale," unknown, c. 1890
SAME_TUNE:
The Herald's Approach (per broadside Murray, Mu23-y1:070)
On the Restoration of the Forfeited Estates 1784 (_Scots Musical Museum_ #298, to the tune "As I came in by Auchindown")
NOTES: Historical accuracy is rarely to be found in folksong, but this piece comes close to taking the cake. There was only one Battle of Cromdale, in which Williamite army of Thomas Livingstone beat the Jacobites under Buchan easily. Montrose (1612-1650) was not involved in any way, having been executed some 40 years before!
That being the case, there have been various attempts to determine what battle the song is actually about. The best guess is the Battle of Auldern, May 9, 1645. Montrose, typically, had won a battle at Inverlochy in February, only to see most of his army dissolve. By May, the Covenanters felt strong enough to attack him. They managed an initial surprise, but Montrose won the day with a counterattack.
In some ways, the story of the song reminds me more of the raid on Dundee a month earlier (April 4-6), though that wasn't much of a battle -- but it did involve an attempt to attack Montrose, which miscarried. This was called a victory in London, but Montrose obviously was around to fight again a month later.
In neither case, though, did the result change the strategic situation much. Auldern came only a few weeks before the Battle of Naseby (June 14), and that much bigger and more important battle settled Charles I's hopes for good and all (though it was a while before people realized that).
Auldern does seem the best fit, but given the strange situation, I would not consider the connection proved. In particular, why conflate it with Cromdale?  The latter was not a significant battle in any way; most short histories don't so much as mention it.
The song, despite its inaccuracy, has survived well, but that seems to be mostly because of its excellent tune, beloved by pipers. - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 8" - 1.3.03 regarding John MacDonald's version of "The Haughs O' Cromdale": "It was a complete shambles, prefiguring the Battle of the Boyne fought two months later, and the present song reflects events very much the way they happened. Curiously enough, the first song called The Haughs o' Cromdale to be printed (_Jacobite Relics_, 1819, vol.1 song 2) makes the battle a Jacobite victory, and brings in the long-dead Montrose to retrieve the day. John's song, recorded 150 years later, is certainly older than the Jacobite Relics rewrite." There are not two songs, but only one (though an argument can be made that the radical difference in outcome would justify splitting them): Hogg's -- and the broadsides' -- version has the reporter "in tartan trews" report the victory for Montrose; MacDonald's reporter simply states
For MacDonalds' men, Clan Ronald's men,
MacKenzie's men, MacGelvey's men,
And the highland men and the lowland men
Lay dead and dying in Cromdale. - BS
File: BrHauCro
===
NAME: Haul 'Em Away: see Haul 'Er Away (Little Sally Racket) (File: FSWB086A)
===
NAME: Haul 'Er Away (Little Sally Racket)
DESCRIPTION: Shanty, with internal chorus "Haul 'er/'em away... Haul 'er away... Haul 'er away With a haul-ey-hi-o, Haul 'er away." Verses are about the "little" girls ashore ("Little Sally Racket," "Little Daisy Dawson" etc.) and their (sexual) exploits
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy sex whore
FOUND_IN: Britain
REFERENCES: (3 citations)
Hugill, pp. 315-317,  "Haul 'Er Away" (2 texts, 2 tunes) [AbEd, pp. 237-239]
Silber-FSWB, p. 86, "Little Sally Racket" (1 text)
DT, HAULRAWY
CROSS_REFERENCES:
cf. "Cheer'ly Man" (form, lyrics)
cf. "Tiddy High O!" (character of Sally Rackett)
ALTERNATE_TITLES:
Haul 'Em Away
Haul Him Away
Sally Rackett
NOTES: A. L. Lloyd, in the notes to the recording "A Sailor's Garland," reports that this shanty (to a tune known in Jamaica as "Mr. Ramgoat" or "Hill and Gully") was discouraged in American vessels, though the British allowed it to be sung. 
The song shares its verse form, and some lyrics, with "Cheer'ly, Man," but the choruses are distinct enough that we split themn rather tentatively. Lloyd, among others, lumps them. - RBW
File: FSWB086A
===
NAME: Haul Away, Boys, Haul Away
DESCRIPTION: Shanty. "Oh, Haul away an' let's get goin', boys. Haul away, boys, haul away! Oh, Haul away for merchant's money, boys. Haul away, boys, haul away!" No particular story line, but several verses have references to Cuba and sugar.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong animal
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, pp. 357-358, "Haul Away, Boys, Haul Away" (1 text, 1 tune) [AbEd, pp. 269-270]
CROSS_REFERENCES:
cf. "Old Bee Makes the Honey Comb" (lyrics)
File: Hugi357
===
NAME: Haul Away, Joe
DESCRIPTION: Shanty, characterized by, "Away, haul away, haul away, Joe" (or "...haul away, pull"). Some versions tell a story: the sailor has trouble with his Irish girl and goes to sea, or suffers grief from a Yankee girl, or otherwise suffers at women's hands
AUTHOR: unknown
EARLIEST_DATE: 1917 (what appears to have been a fragment of the chorus appears in the diary of Mary Bray, probably in 1859; see A. A. Hoehling _Ships that Changed History_, p. 18)
KEYWORDS: shanty sailor courting
FOUND_IN: US(MA,NE)
REFERENCES: (10 citations)
Doerflinger, pp. 4-5, "Haul Away, Joe" (2 texts, 1 tune)
Colcord, pp. 41-42, "Haul Away, Joe" (1 text, 1 tune)
Harlow, pp. 75-78, "Haul Away, Joe" (1 text, 1 tune)
Hugill, pp. 358-361, "Haul Away, Joe" (1 text plus several fragments, 3 tunes) [AbEd, pp. 270-272]
Sharp-EFC, XXVII, p. 32, "Haul Away, Joe" (1 text, 1 tune)
Linscott, pp. 138-139, "Haul Away, Joe" (1 text, 1 tune)
Shay-SeaSongs, p. 30, "Haul Away, Joe" (1 text plus some loose verses, 1 tune)
Silber-FSWB, p. 87, "Haul Away Joe" (1 text)
DT, HAULJOE*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Dance the Boatman Dance" is in Part 1, 7/14/1917. "Haul Away, Joe" is in Part 2, 7/21/1917.
Roud #809
RECORDINGS:
Almanac Singers, "Haul Away, Joe" (General 5015B, 1941; on Almanac02, Almanac03, AlmanacCD1)
Bob Roberts, "Haul Away Joe" (on LastDays)
CROSS_REFERENCES:
cf. "Haul Away, Old Fellow, Away" (similar chorus)
NOTES: The Silber text has a verse (also in Shay) "King Louis was the King of France Before the revolution... But then he got his head cut off Which spoiled his constitution." 
I have to suspect this is some wag's addition, but it is worth noting that Louis XVI's France did not have a constitution. (If it had, Louis might have survived the revolution). Louis (1754-1793) became king in 1774, was reduced to figurehead status by the Revolution in 1789 and failed in an escape attempt in 1791 (even though still theoretical head of state!). In 1792, with a Prussian invasion in progress, the Republic was proclaimed (though never properly constituted), and Louis was put on trial. He was guillotined on January 20, 1793. - RBW
Bob Roberts also sang the "King Louis" verse. - PJS
File: Doe004
===
NAME: Haul Away, Old Fellow, Away
DESCRIPTION: Halyard shanty. French verses with English choruses "Haul away, old fellow, away." Sailor tells of meeting and falling in love with a girl, but she's too fine for him; sailors only get the trollops. He's sick of it all and is going to ship out far away.
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet, _Chansons de bord_)
KEYWORDS: foreignlanguage shanty love farewell
FOUND_IN: France Britain
REFERENCES: (1 citation)
Hugill, pp. 361-363, "Haul Away, Old Fellow, Away" (2 texts-French & English, 1 tune)
CROSS_REFERENCES:
cf. "Haul Away, Joe" (similar chorus)
ALTERNATE_TITLES:
C'est en passant sur l'pont de Morlaix
File: Hugi363
===
NAME: Haul in Your Bowline: see A Trip on the Erie (Haul in Your Bowline) (File: Wa035)
===
NAME: Haul on th' Bowlin': see Haul on the Bowline (File: Doe009b)
===
NAME: Haul on the Bo'line: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul on the Bowline
DESCRIPTION: Shanty. Characteristic line: "Haul on the bowline, the bowline haul!" The lyrics may relate to the singer's friendship with Kitty on Liverpool (or elsewhere), or perhaps complain about a sailor's life.
AUTHOR: unknown
EARLIEST_DATE: 1869
KEYWORDS: shanty nonballad sailor
FOUND_IN: US(MA,NE) Canada(Mar,Newf)
REFERENCES: (16 citations)
Doerflinger, pp. 9-10, "Haul on the Bowline" (1 text, 1 tune)
Colcord, pp. 42-43, "Haul on the Bowline" (1 text, 1 tune)
Harlow, pp. 95-96, "Haul the Bowline" (1 text, 1 tune)
Hugill, pp. 354-357, "Haul the Bowline" (2 texts, 2 tunes) [AbEd, pp. 266-269]
Sharp-EFC, XXXVII, p. 42, "Haul on the Bow-line" (1 text, 1 tune)
Linscott, pp. 139-140, "Haul the Bowline" (1 fragment, 1 tune)
Greenleaf/Mansfield 167, "Haul on the Bo'line" (1 text, 1 tune)
Scott-BoA, p. 131, "Haul on the Bowline" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 12-13, "Haul on the Bowline" (1 text, 1 tune)
Smith/Hatt, p. 33, "Haul the Alabama Bowline" (1 text)
Bone, pp. 38-39, "Haul on th' Bowlin'" (1 short text, 1 tune)
Shay-SeaSongs, p. 27, "Haul on the Bowline" (1 text, 1 tune)
Darling-NAS, p. 310, "Haul on the Bowlin'" (1 text)
Silber-FSWB, p. 87, "Haul on the Bowline" (1 text)
DT, HAULBWLN* HAULBWL2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Haul the Bowline" is in Part 3, 7/28/1917, one verse only.
Roud #652
RECORDINGS:
Joseph Hyson, "Haul the Alabama Bowline" (on NovaScotia1)
Richard Maitland, "Haul the Bowline" (AFS, 1939; on LC26)
Stanley Slade & chorus: "Haul On the Bowlin'" (on Lomax41, LomaxCD1741)
ALTERNATE_TITLES:
Haul Away the Bowline
NOTES: Doerflinger says of this song, "Its unusual antiquity is shown by the fact that not since the sixteenth or early seventeenth century has the term 'bowline' been used for any rope on which a shanty would be sung."
Bone makes this statement even stronger; "'Haul on th' bowlin'... is probablly the oldest song we know at sea. The bowline has not been an important rope since, in about 1500, staysails were put in use to hold a ship on a wind. Before that date, the bowline was doutbless of stout cordage to haul the weather leech of a square-sail forward when the old carrack was sailing with the wind abeam. But, although a bowline of sorts was used in modern square rig, it could be set taut by a hand or two."
Linscott claims, without citing a source, that it "is said to have been a favorite in the time of Henry VIII" (1509-1547). Shay reports the same, again without a source. - RBW
File: Doe009b
===
NAME: Haul the Alabama Bowline: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul the Bowline: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul, Haul, Haul, Boys
DESCRIPTION: "Haul, haul, haul, boys, haul and be lively, Haul, oh haul, boys, haul. She will come, she must come; haul, boys, haul. (x2) Well, it seems to me like the time ain't long; Haul and be lively, haul, boys, haul." 
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: fishing work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 226, "Haul, Haul, Haul, Boys" (1 text)
NOTES: The editors of Brown suggest that this is a fishing adaption of "Haul Away, Joe." Certainly possible -- but there is nothing compelling about the suggestion. - RBW
File: Br3226
===
NAME: Hauling Logs on the Maniwaki
DESCRIPTION: To the "Derry Down" tune, the singer tells of setting out for the Maniwaki -- a difficult trip. Once the loggers arrive in camp, the song settles in to a routine of describing the members of the crew
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger work lumbering moniker
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke-Lumbering #20, "Hauling Logs on the Maniwaki" (1 text, 1 tune)
Roud #4384
File: FowL20
===
NAME: Hauling Wood to Bangor
DESCRIPTION: Singer gets up at five to haul wood to Bangor; he arrives and gets drunk. His father comes to find him. A fiddler plays "The Bells of Old Ireland" and the men dance. To the old women: "Perhaps you done as bad yourself And perhaps a damn sight worse"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: lumbering dancing drink music humorous
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 31-32, "Hauling Wood to Bangor" (1 text, 1 tune)
Roud #12475
File: Dib031
===
NAME: Haunted Falls: see Haunted Wood (File: FCW041)
===
NAME: Haunted Hunter, The
DESCRIPTION: Singer, walking toward camp, is joined by a snowshoed figure who leaves no tracks. The singer falls in a snowdrift, to be found with hair bleached white. The other trappers recognize the signs of an encounter with the haunted hunter; all leave the area. 
AUTHOR: possibly Billie Maxwell
EARLIEST_DATE: 1929 (recording, Billie Maxwell)
LONG_DESCRIPTION: Singer, walking toward camp, is joined by a mysterious snowshoed figure who leaves no tracks in the snow. The singer falls in a snowdrift, to be found the next morning with hair bleached white. The other trappers recognize the signs of an encounter with the haunted hunter, and all leave the area. 
KEYWORDS: hunting supernatural ghost
FOUND_IN: US
REFERENCES: (0 citations)
Roud #11521
RECORDINGS:
Billie Maxwell, "Haunted Hunter" (Victor V-40241, 1929; on AuthCowboys, WhenIWas1)
CROSS_REFERENCES:
cf. "Bill Was a Texas Lad" (tune)
File: RcHauHun
===
NAME: Haunted Wood
DESCRIPTION: A white man builds a home near "Haunted Falls." One day when he is away, Indians cast his wife to die on the rocks and burn his home with his children inside. "Now the old man wanders lonely... And the people... Call this place Haunted Wood."
AUTHOR: unknown
EARLIEST_DATE: 1946 (collected from Buck Lee; printed in JAF 1954); a related song was in existence by 1863; see NOTES
KEYWORDS: death homicide Indians(Am.) revenge family
FOUND_IN: US(Ro)
REFERENCES: (3 citations)
Fife-Cowboy/West 41, "Haunted Wood" (1 text, 1 tune)
Burt, pp. 144-146, "(Haunted Wood)" (1 text, 1 tune)
Logsdon 34, pp. 190-194, "Haunted Falls" (1 text, 1 tune)
Roud #5503
RECORDINGS:
Eva Ashley Moore, "The Haunted Woods" (on Ashley02)
CROSS_REFERENCES:
cf. "Petit Rocher" (plot)
NOTES: Speculation about this song has involved hanging some very big coats on some very small pegs.
The first speculation seems to have been Burt's (later cited by Logsdon), who quotes her informant's guess that the song derives from the 1862 Sioux Uprising -- now officially designated the Dakota Conflict by Minnesota government agencies). The conflict began with a massacre -- but it doesn't sound like *this* massacre.
According to Theodore C. Blegen's massive _Minnesota: A History of the State_ (1963; I use the 1975 University of Minnesota edition with a new final chapter by Russell W. Fridley, but this is merely an appendix to the Blegen book; it is actually placed *after* the index!), "On Sunday, August 17, [1862,] four young devil-may-care Wahpetons attached to a Mdewakaton camp from a deer hunt in the Big Woods. They happened to pass the farmstead of a settler in Meeker County. Their almost incredible names were Killing Ghost, Breaking Up, Runs against Something When Crawling, and Brown Wing; and the farmer... [was named] Robinson Jones. The Indians... decided to kill Jones, went to his house, first requested liquor, were refused, then followed him to the neighboring house of one Howard Baker, where Mrs. Jones was visiting. There... the Sioux hunters first engaged in a seemingly innocent target practice with the white men. The game was a ruse. The white men did not reload after firing at the target; the Sioux did so immediately, then took aim and shot down Baker, Jones and his wife, and a man named Webster, who chanced to be there on a search for land.... The Indians rushed back to the first farm and shot a girl, while the wives of Baker and Webster and some children saved their lives by hiding."
At this point, things get really hazy. Stephen Osman of the Minnesota Historical Society tells me that the Dakota Conflict involved quite a few acts of torture by the Dakotas, but this is apparently the only unprovoked Indian atrocity of Uprising; as soon as the Dakota chief Little Crow heard about it, he tried to calm things down. Accused of cowardice by the young bravoes, he took charge of the uprising, but warned his people that "Yes, [the whites] fight among themselves, but if you strike at one of them, they will all turn upon you and devour you and your women and little children, just as the locusts in their time fall on the trees and devour all the leaves in one day. You will die like rabbits when the hungry wolves hunt them down in the hard moon" (Blegen, p. 261).
(Little Crow would eventually be killed in a raid in 1863 -- Blegen, p. 281 -- but that was after the rising was crushed.)
Could the Jones Massacre somehow have been transmuted into this song? Sadly, there does appear to be a "missing link": A Minnesota story that sounds like the ancestor of the "Haunted Wood" tale.
According to James Taylor Dunn, "A Century of Song: Popular Music in Minnesota," _Minnesota History_ magazine, Winter 1974, "At any rate, there is at present no reasong to doubt that Frank Wood's 'Minnehaha' was the first _song_ by a Minnesota to find local publication.... It followed Wood's imnitial composition by eight months, appearing in October, 1863. The words -- 'Minnehaha, laughing waters, cease thy laughing now for aya' -- were written by Richard H. Chittenden, a captain in the First Wisconsin Cavalry, who took part in the Sioux Uprising. The song is dedicated 'To the memory of the victims of the Indian Massacre of 1862.' It deail in lurid words the trrors of the Indian revolt and was as close to the Civil War as any of the local music came." [Thanks to Stephen Osman for digging up this article.]
And it appears that the song had some popular vogue. There is an item in the John A. Nelson papers at the Minnesota Historical Society, an anonymous poem called "Minnie-ha-ha!" The singer begs Minnehaha Falls ("Minnehaha" is usually said to be from Dakota words meaning "Laughing Waters") to stop laughing. The poet asks them to "Give me back my Lela's tresses," says, "See that smoke that was my dwelling," and asks, "Have they killed my Hans and Otto?"
The poem is printed on page 100 of Peg Meier, _Bring Warm Clothes: Letters and Photos from Minnesota's Past_, Minneapolis Star/Tribune, 1981. Looking at this version, I find few verbal resemblances to "Haunted Falls," but the two songs are clearly about the same incident.
In addition, Bessie Stanchfield collected a song "Minnehaha, Laughing Water" from Elma Snyder McDowell of Saint Cloud in the 1940s (I think). Her papers do not seem to have a full text, but it seems clear that it was this song.
The problem is, there seems to be no actual truth in the "Minnehaha" poem. Minnehaha Falls is right in the middle of the city of Minneapolis and only a couple of miles from Fort Snelling, the first permanent site of American government in Minnesota (it was established in 1820). There are important Indian sites in the area, but by the time of the Dakota Conflict, there can't have been many Indians in the area. Indeed, Blegen, p. 268, has a map of the "hot spots" of the Dakota Conflict, and none are closer to the Twin Cities than Mankato, which would be at least a two day march on foot.
In any case, it *really* doesn't sound like a Minnesota story to me, and I live in Minnesota. That's not proof, of course -- not after a century and a half. But I just don't believe the massacre, if real, happened here. And if it did, why is "Haunted Wood" (as opposed to "Minnehaha, Laughing Waters") found mostly in the west? Plus I haven't found any references to Minnehaha Falls being called haunted. Unless the idea is somehow linked to "The Death of Minnehaha" in Longfellow's "Song of Hiawatha." But that is stretching coincidence to the breaking point.
There is a county in South Dakota named Minnehaha. That might be a better candidate. And yet, there aren't many woods or falls in South Dakota. But it would be a more reasonable point of origin for the poem.
I emphasize that all of this is extremely speculative. Still, I think the likelihood high that this song is a rewrite of "Minnehaha," with the local Minnesota references deleted, perhaps to justify some local action against Indians. - RBW
File: FCW041
===
NAME: Have a Little Banjo Beating: see Go Slow, Boys (Banjo Pickin') (File: R278)
===
NAME: Have Courage My Boy to Say No
DESCRIPTION: Singer exhorts his son, leaving home, to take a righteous path, despite temptation: he should shun "bright ruby wine," for "poison it stings like a viper," as well as "vile gambling dens," rather trusting in God. Refrain: "Have courage, my boy, to say no"
AUTHOR: unknown
EARLIEST_DATE: 1938 (recorded by Dixon Bros.)
KEYWORDS: virtue warning gambling drink wine nonballad religious 
FOUND_IN: US(Ro,SE)
REFERENCES: (1 citation)
DT, SAYNO
Roud #5263
RECORDINGS:
Dixon Bros. "Have Courage To Only Say No" (Bluebird B-7767, 1938; on Dixon04)
L. M. Hilton, "Have Courage My Boy to Say No" (on Hilton01)
File: RcHCMBSN
===
NAME: Have You Any Bread and Wine (English Soldiers, Roman Soldiers)
DESCRIPTION: "Have you any bread and wine, My fairy and my forey, Have you any.... Within the golden story?" More and more wine is requested, until the questioner is told to go away. The two sides declare allegiance to their lords, then prepare for a fight
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: food drink playparty nonballad fight
FOUND_IN: US(NE) Ireland
REFERENCES: (2 citations)
Linscott, pp. 40-42, "My Fairey and My Forey" (1 text, 1 tune)
Hammond-Belfast, pp. 24-25, "The Rovers Meet the Winders" (1 text, 1 tune)
ST Lins040 (Partial)
Roud #8255
NOTES: Hammond-Belfast: "This song is represented in hundreds of versions all over these islands, a conventionalized confrontation between two factions. According to Lady Gomme in her magnificent collection of 1894 [Alice B Gomme, _Children's Singing Games_], the game owes its origins to the ritual forays of the Border country. When two classes of mill worker arranged a ritual encounter in a Belfast street, they obeyed the rules of the games, confontation without contact. In this example, the rovers were aggressors, the winders in retreat."
The Hammond-Belfast version has the rovers issue a challenge, the rovers advance, the winders reply, the rovers advance again and the winders reply again. Rovers advance with "Ha! Ha! You had to go.... riding on a donkey" [as in some versions of "Hieland Laddie"]; winders reply with "Raddy daddy and we're not beat yet.... A button for your marley." This seems to have degenerated from something like text Ab of GreigDuncan 8 1600, "We Are All King George's Men" in which King George's men and King William's men alternate declaring allegiance, having wine, challenging to battle, pointing to a battlefield, and calling for support; GreigDuncan's text B, "With Eerie and With Orie," with no wine, has a pattern similar to Hammond-Belfast: only the sides alternating pointing to a battlefield and challenging to fight remains. - BS
File: Lins040
===
NAME: Have You Heard Geography Sung?
DESCRIPTION: "Oh, have you heard Geography sung? For if you've not 'tis on my tongue. Oceans and seas and gulfs and these All covered over with little green islands."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 75,  (no title) (1 fragment)
File: ScaSC075
===
NAME: Hawco, the Hero
DESCRIPTION: Jim Hawco drops his load of wood on the railroad track believing that the train has already passed by. Suddenly, the train comes and he risks his own life to take the wood off. He is arrested for his mistake but found in court to be a hero instead.
AUTHOR: M. A. Devine
EARLIEST_DATE: 1940
KEYWORDS: recitation train rescue trial
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Doyle2, p. 75, "Hawco, the Hero" (1 text)
Roud #7298
NOTES: According to Doyle, the song is about a true incident that happened in Harbour Main in Conception Bay around 1905. The song also uses the names of judges that were active during the time of the incident. - SH
File: Doy75
===
NAME: Hawk and the Crow, The: see The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat) (File: K295)
===
NAME: Hawkie Is a Schemin' Bird
DESCRIPTION: "Hawkie is a schemin' bird, He schemes all round the sky, He schemes into my chicken house And makes my chickens fly." Remaining verses and chorus seem to float.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird chickens hunting floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 192, "Hawkie Is a Schemin' Bird" (1 text, with the "Hawkie" first stanza, a chorus from "Lynchburg Town," and verses such as "Went up on a mountain To give my horn a blow" and "Climbed up on a mountain... To sweeten Liza Jane")
File: ScaNF192
===
NAME: Hawks and Chickens Play: see Chickee Chickee Ma Craney Crow (Hawks and Chickens) (File: R570)
===
NAME: Hawthorne Tree, The: see Katie's Secret (File: R778)
===
NAME: Hay Marshall: see Rosie Anderson (File: Log392)
===
NAME: Haymaker's Jig: see Turkey in the Straw (File: R274)
===
NAME: Hayseed
DESCRIPTION: The hayseed finishes his work and decides to go on a spree. He goes to town and takes an expensive ("five dollars a minit"!) room in a hotel. Before going to bed, he blows out the gas -- and dies of the fumes
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: death corpse technology money
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, p. 50, "Hayseed" (1 text, 1 tune)
DT, HAYSEED*
Roud #12498
File: San050
===
NAME: Hayseed (II), The: see A Hayseed Like Me (File: Grnw060)
===
NAME: Hayseed Like Me, A
DESCRIPTION: "I once was a tool of oppression And as green as a sucker could be, And monopolies bundled together To beat a poor bum like me." The newly energized singer promises to strike back: "The ticket we vote next November Will be made up of hayseeds like me."
AUTHOR: Words: Arthur L. Kellogg?
EARLIEST_DATE: 1943 (Rochester, "The Populist Movement in the United States")
KEYWORDS: political poverty hardtimes derivative
FOUND_IN: US
REFERENCES: (3 citations)
Greenway-AFP, p. 60, "A Hayseed Like Me" (1 text)
Darling-NAS, pp. 359-360, "Hayseed Like Me" (1 text)
Silber-FSWB, p. 117, "The Hayseed" (1 text)
Roud #12497
RECORDINGS:
Pete Seeger, "Hayseed Like Me" (on PeteSeeger13)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
cf. "Acres of Clams (The Old Settler's Song)" (tune, floating lyrics)
NOTES: I've seen versions of "Acres of Clams" which seem to have swallowed this song almost entire. But as it seems to have originated separately, I list it in its own right.
The Folksinger's Wordbook lists this as by Arthur L. Kellogg, but Greenway treats it as a traditional song from the populist movement of the nineteenth century. Certainly portions of it have "swapped" in and out of tradition; the amount of Kellogg influence on a particular version may be open to question. - RBW
File: Grnw060
===
NAME: He Arose from the Dead
DESCRIPTION: Story of the crucifixion, burial, and resurrection of Jesus. He tells his disciples to meet him in Galilee; he is crucified; Mary comes running to see him, the angels roll away the stone, and he arises from the dead
AUTHOR: Unknown
EARLIEST_DATE: 1883 ("The Story of the Jubliee Singers; with their songs")
KEYWORDS: execution resurrection death burial Bible religious Jesus
FOUND_IN: US(So, SE)
REFERENCES: (0 citations)
RECORDINGS:
Willie & Minder Coleman, "He Rose" (AFS 5089 A1, 1941)
Fisk Jubilee Singers, "He Arose" (on Fisk01)
Blind Lemon Jefferson, "He Arose from the Dead" (Paramount 12585 [as Deacon L. J. Bates], 1927/Herwin 93004, 1929; on Jefferson01, JeffersonCD01)
Rev. D. C. Rice & congregation "He Arose Them from the Dead" (Vocalion 1520, 1930)
Congregation of the Wesley Methodist Church, "He Rose From The Dead" [fragment] (JohnsIsland1)
Rev. S. J. "Steamboat Bill" Worell, "He 'Rose From the Dead" (Vocalion 1089, 1927)
Unidentified church parishioners, "Moaning" (AFS 4767 A1, 1941)
NOTES: The common version of this may have been adapted by Blind Lemon Jefferson, but it appears to be older. - (PJS, RBW)
File: RcHAFTD
===
NAME: He Comes Down Our Alley: see Do You Love an Apple? (File: K203)
===
NAME: He Is Coming to Us Dead: see The Express Office (He Is Coming to Us Dead) (File: R696)
===
NAME: He Lies in the American Land
DESCRIPTION: A man emigrates to America, leaving wife and children back in Europe. When he sends for them, they arrive to find only his grave; he has been killed in the steel mill. She cries out to him; his voice tells her not to wait, for he lies in the American land
AUTHOR: Andrew Kovaly
EARLIEST_DATE: 1956 (recording, Pete Seeger)
KEYWORDS: emigration separation reunion death work wife children worker technology
FOUND_IN: US(MA)
REFERENCES: (0 citations)
RECORDINGS:
Pete Seeger, "He Lies in the American Land" (on PeteSeeger13, AmHist2, PeteSeeger48)
CROSS_REFERENCES:
cf. "I Have a Father in My Native Land" (theme)
NOTES: Many, perhaps most of the workers who made steel in the two great centers of South Chicago and western Pennsylvania were eastern European immigrants. - PJS
I don't know if this is an authentic folk song; Paul thinks so, or he would not have submitted it. Certainly it has the genuine folk sensibility. - RBW
File: RcHLITAL
===
NAME: He Never Came Back
DESCRIPTION: Stories of people who "never came back." The first is a soldier lost at Bull Run. The rest are humorous: A waiter who never returned with a patron's steak, a swain who never returned with a ring for an old maid, a mother-in-law set loose in a balloon 
AUTHOR: William Jerome ?
EARLIEST_DATE: 1892 (Delaney)
KEYWORDS: humorous separation family technology soldier oldmaid
HISTORICAL_REFERENCES: July 21, 1861 - First battle of Bull Run fought between the Union army of McDowell and the Confederates under Johnston and Beauregard
Aug. 29-30, 1862 - Second battle of Bull Run, fought between the Union army of Pope and the Confederate army of Lee
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 399, "He Never Came Back" (1 text, 1 tune)
Randolph/Cohen, pp. 368-371, "He Never Came Back" (1 text, 1 tune -- Randolph's 399)
BrownIII 394, "He Never Came Back" (1 text)
Roud #4948
RECORDINGS:
Carter Family, "He Never Came Back" (Decca 5447, 1937)
Peg Moreland, "He Never Came Back" (Victor V-40101, 1929)
Pickard Family, "He Never Came Back" (Perfect 12607, 1930)

File: R399
===
NAME: He Never Said a Mumbalin' Word: see Never Said a Mumbling Word (File: LxU102)
===
NAME: He Never Went Back on the Poor: see Jim Fisk [Laws F18] (File: LF18)
===
NAME: He Plowed the Lowlands Low: see Edwin (Edmund, Edward) in the Lowlands Low [Laws M34] (File: LM34)
===
NAME: He Rambled: see Didn't He Ramble (File: CSW174)
===
NAME: He Rode the Strawberry Roan: see (references under) "The Strawberry Roan" [Laws B18] (File: LB18)
===
NAME: He Took Her by the Lily-White Hand
DESCRIPTION: Perhaps the remains of a play-party song: "He took her by the lily white hand and lifted her over the gutter, With a kiss for you and a kiss for me and a kiss for the governor's daughter."
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton and Senior)
KEYWORDS: playparty courting
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton/Senior, pp. 260, "He Took Her by the Lily-White Hand" (1 text, 1 tune)
File: CrSe260
===
NAME: He Was a Friend of Mine
DESCRIPTION: "He was a friend of mine (x2), Never had no money to pay his fine..." "He died on the road, Never had no money to pay for his board." "He never done no wrong, He was just a poor boy a long way from home." "I stole away and cried...."
AUTHOR: reportedly Bob Dylan, Dave Van Ronk, Eric Von Schmidt
EARLIEST_DATE: 1962 (recording, Bob Dylan)
KEYWORDS: rambling friend death
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 60, "He Was A Friend of Mine" (1 text)
DT, FRNDMINE
CROSS_REFERENCES:
cf. "Shorty George"
NOTES: In 1964 Roger McGuinn rewrote the song as a tribute to the recently assassinated President Kennedy. - PJS
File: FSWB060
===
NAME: He Was a Travelling Man: see Traveling Man (Traveling Coon) (File: RcTMTC)
===
NAME: He Was Boasting of His Shearing
DESCRIPTION: "He was boasting of his shearing Up in Jimmy Homlan's Bar...." This strange little fellow "tried to murder Hogan" for doubting his exploits. At last the quarrelling is silenced by the free availability of beer
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: drink fight bragging Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 201, "He Was Boasting of His Shearing" (1 text)
File: MA201
===
NAME: He Was Standing by the Window: see The Broken Engagement (I -- She Was Standing By Her Window) (File: R771)
===
NAME: He-Back, She-Back: see Old Moke Pickin' on the Banjo (Song of the Pinewoods) (File: Be022)
===
NAME: He's Comin' This Away
DESCRIPTION: "Yonder comes my Lord (x2), He's comin' this away (x2), Yonder comes my Lord (x2), He's comin' this away (x2)." "A Bible in his hand...." "He's come to judge the world, Livin' an' the dead...." "Yonder comes that train...." "My mother's on that train...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious train death mother
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 259-260, "He's Comin' This Away" (1 text)
File: ScaNF259
===
NAME: He's Coming to Us Dead: see The Express Office (He Is Coming to Us Dead) (File: R696)
===
NAME: He's Gone Away: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: He's Got the Money Too
DESCRIPTION: The singer describes being engaged to someone who is a fine person -- and rich, too: "Oh don't I love my honey, And won't I spend his money? I'm as happy as a flower that sips the morning dew, For I've got a little (feller) and he's got the money too!"
AUTHOR: C. T. Lockwood?
EARLIEST_DATE: 1875 (sheet music, LOCSheet, sm1875 03568)
KEYWORDS: courting marriage money
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 299, "I Know a Little Feller" (1 text)
Roud #7827
RECORDINGS:
Uncle Dave Macon, "She's Got the Money Too" (OKeh 45552 [w. Sam McGee], 1931; rec. 1930) (Bluebird 7549, 1938)
BROADSIDES:
LOCSheet, sm1875 03568, "And He's Got the Money Too," Brainard's Sons (Cleveland), 1875
ALTERNATE_TITLES:
She's Got the Money Too
I Went Down to New Orleans
NOTES: LOCSheet, sm1875 03568 lists this as by C. T. Lockwood, but it's not clear if he wrote the whole thing, or the tune, or just the arrangement.
Randolph reports his (single-stanza) text as a fragment of a piece called "I Went Down to New Orleans."  The recordings I've heard (Macon's and other folk revival versions) don't seem connected -- but that may be a case of Uncle Dave free-associating about the song. - RBW
File: R299
===
NAME: He's Got the Whole World in His Hand(s)
DESCRIPTION: "He's got the whole world (right) in his hand (x3); He's got the whole world in his hand." The number of additional verses probably approximates the number of English speakers on earth; most are spiritual, but you can probably imagine some that aren't
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Warner 168, "He's Got the Whole World in His Hand" (1 text, 1 tune)
Silber-FSWB, p. 361, "He's Got The Whole World In His Hands" (1 text)
Fuld-WFM, p. 273, "He's Got the Whole World in His Hand"
DT, WHOLWRLD
Roud #7501
RECORDINGS:
Bessie Johnson's Sanctified Singers, "The Whole World in His Hand" (OKeh 8765, 1930; rec. 1929; on Babylon)
File: Wa168
===
NAME: He's the Man for Me
DESCRIPTION: Singer plans to go to the mining areas, marry a rich senorita, wear fine clothes, and live without working. If necessary, he will divorce her and, although morally opposed to it, live by stealing
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: marriage theft clothes nonballad
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "He's the Man for Me" (on LEnglish02)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune)
NOTES: Pity we don't have keywords "laziness" and "loafing." - PJS
File: RcHtMfM
===
NAME: Healin' Waters
DESCRIPTION: "Healin' waters done move (x2), What's de matter now?" "Healing waters done move (x2), Come to Jesus!" "... Soul gittin' happy now!" "...Hallelujah!"
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, p. 581, "Healin' Waters" (1 text, 1 tune)
Roud #15564
File: LxA581
===
NAME: Health to All True-Lovers, A: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Health to the Company, A (Come All My Old Comrades)
DESCRIPTION: Singer, preparing to emigrate, gives a toast: "Come all my old comrades, Come now let us join, Come blend your sweet voices in chorus with mine.... So here's a health to the company, and one to my lass... For we may and might never all meet here again."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord); Ord claims a report from 1836
KEYWORDS: emigration drink farewell
FOUND_IN: Canada(Mar) Britain(Scotland) Ireland
REFERENCES: (6 citations)
Creighton/Senior, pp. 222-223, "Come All My Old Comrades" (2 texts, 1 tune)
Creighton-NovaScotia 59, "Come All Ye Old Comrades" (1 text, 1 tune)
Ord, pp. 350-351, "The Emigrant's Farewell to Donside" (1 text plus sundry stanzas, 1 tune)
Tunney-StoneFiddle, p. 172, "Kind Friends and Companions" (1 text, 1 tune)
Morton-Ulster 50, "We May and Might Never All Meet Here Again" (1 text, 1 tune)
DT, HLTHCOMP*
Roud #1801
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "The Parting Song" (on SCStewartsBlair01)
NOTES: There is a broadside, NLScotland, L.C.Fol.70(41b), "Drink and be Merry, or The Bold 42!," (There was a puir lassie, I pity her lot"), Poet's Box (Dundee), c. 1890, which has this chorus, but the rest is about a girl saying goodbye to a soldier off to the wars. It's not clear which is earlier, but the broadside is quite commonplace. - RBW
File: CrSe222
===
NAME: Hear Dem Bells!
DESCRIPTION: "All day I works in de cotton an' de corn... Waiting for Gabriel to blow his horn, So I won't have to work any more." "Hear dem bells -- oh, don't you hear dem bells? Dey's ringing out de glory of de dawn." "I sings and shouts wid all my might."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 229, "Hear Dem Bells!" (1 text)
File: ScNF229A
===
NAME: Hear that Rumbling
DESCRIPTION: "(Hear/I heard) that (rumbling/lumbering) (up/down) in the (ground/sky)." With many variants and floating material, the listener is told to reform, asked to pray for the singer, admonished to wait for Jesus, etc.
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 577, "Hear that Rumbling (I Heard a Mighty Rumbling)" (2 texts plus a fragment)
Roud #11895
File: Br3577
===
NAME: Hearken, Ladies, and I Will Tell You: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Hearse Song, The: see The Worms Crawl In (File: San444)
===
NAME: Heart of Oak
DESCRIPTION: In praise of the British Navy that can drive off any foe: "Heart of oak are our ships, Jolly tars are our men: We are always ready. Steady, boys, steady, We'll fight and we'll conquer again and again."
AUTHOR: Words: David Garrick/Music: "Dr. Boyce"
EARLIEST_DATE: 1759 ("Harlequin's Invasion")
KEYWORDS: navy sailor patriotic ship nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Chappell/Wooldridge II, pp. 189-191, "Heart of Oak" (1 text, 1 tune)
DT, HEARTOAK*
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 220,"Hearts of Oak" (1 text)
CROSS_REFERENCES:
cf. "Bold Hawke" (context of the Battle of Quiberon Bay)
SAME_TUNE:
Liberty (Darling-NAS, p. 340)
NOTES: This may not, at first glance, seem a folk song -- but it is one of Great Britain's leading patriotic songs; Samuel Elliot Morison (_The Oxford History of the American People_, p. 165) notes that "British throats went hoarse bawling out 'Heart of Oak"" in 1759, the year of England's greatest success in the Seven Years' War (Morison quotes the song on p. 170).
It appears that the song and the furor were inspired by the English success at Quiberon Bay, in which Admiral Hawke's British squadron demolished a French fleet and ended any possibility of France invading Britain. (See Arthur Herman, _To Rule the Waves_, p. 290. For Hawke and his various victories, see the notes to "Bold Hawke.")
The song is quite correct in describing British ships as built of oak. Oak was the preferred wood for ships because it resisted rot -- presumably because of the tannic acid found in it. It didn't last forever, but other woods usually wore out sooner; see David Cordingly, _The Billy Ruffian: The _Bellerophon_ and the Downfall of Napoleon_ (Bloomsbury, 2003), p. 18. - RBW
File: ChWII189
===
NAME: Heart that Forms for Love, A
DESCRIPTION: The young man reports that he is tired of the single life. He has seen his love in dreams, but does not know where she is. He describes her looks. He declares he will seek her everywhere: "I'll mount old Barney... And find my Delsenia as soon as I can."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: courting separation dream
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 675, "A Heart that Forms for Love" (1 text)
Roud #7367
NOTES: Randolph conjectures that the proper title of this piece is "A Heart that Yearns for Love." I'd suggest "A Heart that Mourns for Love."
"Delsenia" makes me think of "Dulcinea," as in Don Quixote's girlfriend. Sounds awfully literary for an Ozark Folksong, though. - RBW
File: R675
===
NAME: Hearts of Gold
DESCRIPTION: The sailor compares sea life with that on land. The landlubbers work at the plow, go home at night, and sleep with their wives; the sailors work all hours and face storms. The sailor declares his life is better, and tells the girls to appreciate it
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal from the _Bengal_)
KEYWORDS: sailor work home farming nonballad
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Huntington-Whalemen, pp. 68-70, "Hearts of Gold" (1 text, 1 tune)
Colcord, p. 137, "Sailor's 'Come-All-Ye'" (1 text-quoted from Eckstorm & Smyth's "Minstrelsy of Maine")
Harlow, pp. 219-222, "Edgartown Whaling Song" (1 text)
Roud #2022
File: SWMS068
===
NAME: Heathen Chinese, The
DESCRIPTION: "I've a very sad pitiful story to tell you, Although it's a common one too... But alas! there is no work for a white man to do; They're hiring the Heathen Chinese." The singer tells of his poor family; he will join the Knights of Labor to stop the Chinese
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: labor-movement poverty foreigner
HISTORICAL_REFERENCES: 1869 - Establishment of the Knights of Labor by Uriah S. Stephens
1879 - Terence V. Powderly becomes Grand Master Workman of the Knights, opening membership to the unskilled -- and to minorities
1886 - Haymarket Riot causes the decline of the Knights of Labor
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 233, "The Heathen Chinese" (1 text)
Roud #15777
File: Br3233
===
NAME: Heather Down the Moor (Among the Heather; Down the Moor)
DESCRIPTION: The singer wanders "down the moor" and meets a beautiful girl. He courts her "the live-long day," and she stays with him even as her flocks wander. At the end, she leaves him. He wishes he could find her again and make her his "queen among the heather"
AUTHOR: unknown
EARLIEST_DATE: 1914 (Journal of the Irish Folk Song Society, according Morton-Ulster)
KEYWORDS: love courting beauty separation sheep
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H177, pp. 271-272, "O'er the Moor amang the Heather" (1 text, 1 tune)
Morton-Ulster 3, "Heather on the Moor" (1 text, 1 tune)
OLochlainn-More 6, "Doon the Moor" (1 text, 1 tune)
DT, HTHRMOOR*
Roud #375
CROSS_REFERENCES:
cf. "Queen Among the Heather" (plot, lyrics)
cf. "The Magpie's Nest" (lyrics)
cf. "Banks of Sullane" (theme)
NOTES: This song is very close to "Queen among the Heather" (Kennedy #141, etc.); they have similar plots and occasional common lyrics. There will be versions where it is almost impossible to tell which is which. I thought about listing them as one song.
But on consideration, this song has two characteristics rarely seen in "Queen among the Heather." First, this song tends to follow a complex stanza pattern:
One morn in may, when fields were gay,
Serene and pleasant was the weather.
I chanced to roam some miles from home
Among the bonnie bloomin' heather
   Down the heather
   O'er the moor and through the heather.
   I chanced to roam some miles from home
   Among the bonnie bloomin' heather
   Down the moor.
"Queen among the Heather" usually has simple four-line stanzas.
"Heather down the Moor" also tends to end with the lines
But if I were a king, I would make her a queen,
The bonnie lass I met among the heather
Down the moor. - RBW
File: HHH177
===
NAME: Heather Jock
DESCRIPTION: "Heather Jock's noo awa' (x2), The muircock noo may crousely craw, Since Heather Jock's noo away'." Jock can hide anywhere, and steal anything; bad from his youth, he also plays music on the sabbath. Now he is caught and on his way to Botany Bay
AUTHOR: credited by Ford to Dr. James Stirling
EARLIEST_DATE: 1899 (Ford)
KEYWORDS: thief transportation
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
SHenry H39, pp. 123-124, "Heather Jock" (1 text, 1 tune)
Ford-Vagabond, pp. 131-135, "Heather Jock" (1 text, 1 tune)
Roud #2339
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(093), "Heather Jock," unknown, c. 1875; also L.C.Fol.70(132b), c. 1890
NOTES: The tune here is not quite "Bobby Shaftoe" (or relatives such as "Katie Beardie"), but it sounds to me as if it might be derived from that type.
Even though Jock was apparently a scourge of the community, you can't help but feel that the singer admired him.
Ford gives extensive notes regarding John Ferguson, who reportedly inspired the song. He is said to have been placed on trial in 1812 and transported for life, primarily for stealing cattle.  - RBW
File: HHH039
===
NAME: Heathery Hills, The
DESCRIPTION: "I mind it well, and I see it yet" The singer recalls past days meeting Rory on the Heathery Hill. She misses her mother and her father's fields. "The city holds no pleasure" and she would give it up for a summer eve with Rory on the Heathery Hill.
AUTHOR: Ethna Carbery (Mrs. Seamus MacManus, Anna Johnston) (1866-1902) (source: _A Celebration of Women Writers_ on the University of Pennsylvania Library site)
EARLIEST_DATE: 1906 (Ethna Carbery, _The Four Winds of Erinn_, according to _A Celebration of Women Writers_ on the University of Pennsylvania Library site)
KEYWORDS: homesickness love separation lyric nonballad lover mother
FOUND_IN: Ireland Britain(Scotland(Bord))
REFERENCES: (0 citations)
Roud #5295
RECORDINGS:
Brigid Tunney, "The Heathery Hills" (on IRTunneyFamily01)
NOTES: IRTunneyFamily01: Brigid Tunney explains that she learned the song from her sister; it was among the songs she learned in Glasgow and brought back to Ireland on her annual return. - BS
According to Patrick C. Power, _A Literary History of Ireland_ (Mercier, 1969), p. 160, Ethna Carbery, a native of Belfast, took Donegal as her theme; her "fame rests on one volume alone -- _The Four Winds of Erinn_. This was published posthumously in 1902. She essentially belongs to the nationalistic ballad tradition which goes back to the _Nation_ writers."
According to Kathleen Hoagland, _1000 Years of Irish Poetry_, p. 775, Carbery's true name was Anna Johnston McManus. (I have no idea why she needed a pen name after her death.) Her one song work well-known in folk circles is "Roddy McCorley." - RBW
File: RcHeaHil
===
NAME: Heave and Go, My Nancy O
DESCRIPTION: Capstan shanty. "Come all ye jolly sailors bold. Heave and go, my Nancy O! Listen till my tale is told. Heave and go, my Nancy O!" English version of a Danish shanty. No particular story line to the verses, but some make reference to Danish place names.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L. A. Smith, _Music of the Waters_)
KEYWORDS: shanty sailor foreignlanguage
FOUND_IN: Denmark Britain
REFERENCES: (1 citation)
Hugill, p. 319, "Heave and Go, My Nancy O" (1 text)
ALTERNATE_TITLES:
Om Dannebrog Man Ved
NOTES: This was quoted from L.A. Smith's _Music of the Waters_ where it was included as a translation of a Danish shanty. It may have some connection with a song that Doerflinger found "Pull Away Now, my Nancy O!" but Smith didn't give a tune. The Danish version was called "Om Dannebrog Man Ved." - SL
File: Hugi319
===
NAME: Heave Away (I): see Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go) (File: Doe062)
===
NAME: Heave Away (II): see Heave Away, Me Johnnies (File: Doe063)
===
NAME: Heave Away Cheerily
DESCRIPTION: Chorus: Sing me lads cheerily, Heave me lads cheerily, Heave away cheerily o-ho! For the gold that we prize an' for sunnier skies, away to the south'ard we go!"
AUTHOR: unknown
EARLIEST_DATE: 1912 (JFSS)
KEYWORDS: shanty money
FOUND_IN: Britain US
REFERENCES: (2 citations)
Harlow, pp. 43-46, "Heave Away Cheerily" (1 text, 1 tune)
Hugill, pp. 310-311, "Heave Away Cheerily O!" "As Off to the South'ard We Go" (2 texts, 2 tunes) [AbEd, pp. 232-233]
Roud #932
ALTERNATE_TITLES:
Off to the South'ard We Go
NOTES: Hugill gives the second text, "As Off to the South'ard We Go," as a variant of "Heave Away Cheerily" and quotes it from vol. 5 of the _Journal of the Folk Song Society_ where was taken down by a Mr. Piggot from the singing of shantyman J. Perring of Dartmouth in 1912. - SL
File: Hugi310
===
NAME: Heave Away, Boys, Heave Away (I)
DESCRIPTION: Shanty. "Heave away, heave away, for the merchant's money, Ch: Heave away boys, heave away!" Verses mostly about money, "Heave away for the buckra's silver," etc...
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong money
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 308, "Heave Away, Boys, Heave Away" (2 texts, 2 tunes; the "a" text is this piece; "b" is "Heave Away, Boys, Heave Away (II)") [AbEd, pp. 230-231]
NOTES: Hugill says this (and the other "Heave Away, Boys, Heave Away") are halyard shanties, despite the use of the word "heave" in the chorus. - SL
The easiest way to distinguish the two may be the fact that this one is in 2/4; "Heave Away, Boys, Heave Away (II)" is in 3/4. - RBW
File: Hugi308
===
NAME: Heave Away, Boys, Heave Away (II)
DESCRIPTION: Shanty. "Oh I love the sailor an' the sailor loves me. Heave away, boys, heave away! He comes to my window ev'ry mornin' at three. Heave away, boys, heave away."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Shanty. "Oh I love the sailor an' the sailor loves me. Heave away, boys, heave away! He comes to my window ev'ry mornin' at three. Heave away, boys, heave away." Verses all nonsense rhymes with some typical floating verses, i.e. "when I was a young man well in me prime, I'd love them yaller gals two at a time."
KEYWORDS: shanty worksong nonsense
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 309, "Heave Away, Boys, Heave Away" (2 texts, 2 tunes; the "b" text is this piece; "a" is "Heave Away, Boys, Heave Away (II)") [AbEd, p. 231]
NOTES: Hugill says this (and the other "Heave Away, Boys, Heave Away") are halyard shanties, despite the use of the word "heave" in the chorus. - SL
The easiest way to distinguish the two may be the fact that this one is in 3/4; "Heave Away, Boys, Heave Away (I)" is in 2/4. - RBW
File: Hugi309
===
NAME: Heave Away, Me Johnnies
DESCRIPTION: Shanty. Characteristic line: "Heave away, me johnnies/jollies, heave away, ay!" The sailor lists some of the ports the ship has been sent to, but now rejoices to be returning to (Liverpool) and its girls.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Doerflinger)
KEYWORDS: shanty
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (8 citations)
Doerflinger, pp. 61-64, "Heave Away" (3 texts, 1 tune, but only the last text goes with this piece; the others are "Yellow Meal")
Colcord, pp. 93-94, "Heave Away" (1 text, 1 tune)
Harlow, pp. 14-17, "Heave Away My Johnnies" (2 texts, 2 tunes)
Hugill, pp. 303-308, "Heave Away, Me Johnnies" (3 texts, 3 tunes) [AbEd, pp. 226-230]
Sharp-EFC, XXVI, p. 30, "Heave Away, My Johnny" (1 text, 1 tune)
Lehr/Best 49, "Heave Away!" (1 text, 1 tune)
DT, HEAVJHN* HEAVEJH2*
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 All Bound Away" is in Part 1, 7/14/1917.
Roud #616
CROSS_REFERENCES:
cf. "Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go)" (tune, meter, chorus)
cf. "Yellow Gals (Doodle Let Me Go)" (style)
ALTERNATE_TITLES:
We're All Bound to Go
NOTES: This song is probably identical in origin to "Yellow Gals (Doodle Let Me Go)," and perhaps also akin to "Yellow Meal." As, however, those songs have taken on a completely separate plot, I treat them separately. - RBW
File: Doe063
===
NAME: Heave Away, My Johnny (I): see Heave Away, Me Johnnies (File: Doe063)
===
NAME: Heave Away, My Johnny (II): see Hieland Laddie (File: Doe050)
===
NAME: Heave, My Boys, Away
DESCRIPTION: Shanty. "Walk 'er round for we're rollin homeward. Heave me boys together! The bully ol' ship is a-lyin windward, Heave me boys away!" Verses have simple rhymes on sailing themes. Full ch: "Heave 'er an' we'll break Îer, For the old ship's a-rollin home"
AUTHOR: unknown
EARLIEST_DATE: 1904 (Bradford & Fagge, _Old Sea Chanties_)
KEYWORDS: shanty ship sailor
FOUND_IN: Scandinavia Britain
REFERENCES: (1 citation)
Hugill, pp. 528-529, "Heave, My Boys, Away" (1 text, 1 tune) [AbEd, pp. 384-385]
CROSS_REFERENCES:
cf. "Hob-y-derri-dando" (very similar tune)
ALTERNATE_TITLES:
Capstan Bar
NOTES: Hugill learned this from Swedish sailors, and says he has no idea how popular it was in British ships. - SL
File: Hugi528
===
NAME: Heaven Bell a-Ring
DESCRIPTION: "My Lord, my Lord, what shall I do? And a heaven bell ring and praise God." "What shall I do for a hiding place?" "I run to the sea, but the sea run dry." God's promises to the faithful are briefly summarized; listeners are advised to listen
AUTHOR: unknown
EARLIEST_DATE: 1991
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Darling-NAS, pp. 322-323, "Heaven Bell a-Ring" (1 text)
Roud #12065
CROSS_REFERENCES:
cf. "Sinner Man" (lyrics)
File: DarNS32
===
NAME: Heaven is a Beautiful Place (I)
DESCRIPTION: "Heaven is a beautiful place, I know (x2), If you want to go to heaven on time, Sure got to plumb the line." "Ain't no sorrow in heaven I know...." "Ain't no (murders/gamblers/etc.) in heaven...." ""Loving union in heaven I know...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 579, "Heaven Is a Beautiful Place" (2 texts, but only "A" is this piece; "B" is "Heaven is a Beautiful Place (II)")
Roud #11830
CROSS_REFERENCES:
cf. "Heaven is a Beautiful Place (II)" (lyrics)
NOTES: The editors of Brown saw fit to lump the two "Heaven is a Beautiful Place" songs, but while they share the "Heaven is a beautiful place... If you want to go to heaven on time" stanza, the rest seems quite distinct; version (I) is a description of heaven; version (II) is mostly about Elisha. - RBW
File: Br3579A
===
NAME: Heaven is a Beautiful Place (II)
DESCRIPTION: "Elisha has done and seen the beautiful place. Heaven is a lovely place I know, I know." "Elisha done seen the sight, And said he didn't need any light. He has gone on to Heaven to rest. Heaven is a beautiful place, I know."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Bible nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 579, "Heaven Is a Beautiful Place" (2 texts, but only "B" is this piece; "A" is "Heaven is a Beautiful Place (I)")
Roud #11830
CROSS_REFERENCES:
cf. "Heaven is a Beautiful Place (I)" (lyrics)
NOTES: The editors of Brown saw fit to lump the two "Heaven is a Beautiful Place" songs, but while they share the "Heaven is a beautiful place... If you want to go to heaven on time" stanza, the rest seems quite distinct; version (I) is a description of heaven; version (II) is mostly about Elisha.
It's not at all clear to me why Elisha is singled out in this song; he reported no visions of heaven, and it was Elijah, not Elisha, who was carried up into heaven (2 Kings 2). Elisha simply died and was buried in an ordinary manner (2 Kings 13).
It's true that Elisha was responsible for an astonishing number of miracles (including one after his death) -- but they were not really *inspiring* miracles; the result reads almost like a Davy Crockett story, but with miracles rather than animals: Where Davy might kill a bear and defeat a wildcat, Elisha would cure a leper and feed a multitude.... - RBW
File: Br3579B
===
NAME: Heavenly Aeroplane, The
DESCRIPTION: "One of these days about twelve o'clock... The sinner's going to tremble and cry with pain And the Lord will come in his aeroplane." Jesus will take the saved on a very smooth, easy passage to heaven in the aeroplane.
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: religious pilot technology Jesus travel
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Thomas-Makin', pp. 214-215, "The Aeroplane Song" (1 text)
Randolph 660, "The Heavenly Aeroplane" (1 text)
Roud #7384
File: R660
===
NAME: Heavenly Sunlight (Heavenly Sunshine)
DESCRIPTION: A hymn praising Jesus who allows us to "Walk... in sunlight all of my journey" and who will never forsake us. Chorus: "Heavenly sunlight (x2) / Flooding my soul with glory divine / Hallelujah, I am rejoicing / Singing his praises, Jesus is mine"
AUTHOR: words: George H. Cook / music: Henry J. Zelley
EARLIEST_DATE: 1899
KEYWORDS: religious nonballad
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 80, "Heavenly Sunshine" (1 text, 1 tune, combined with #81, "My Lord Knows the Way")
ST FSC080 (Partial)
NOTES: Not to be confused with the Carter Family song "Sunshine in the Shadows" or "Sunshine in the Mountains," which is also properly titled "Heavenly Sunshine." - RBW
File: FSC080
===
NAME: Heavy-Hipped Woman (Black Gal)
DESCRIPTION: "Quit yo' long-time talkin' bout yo' heavy-hipped woman, she done gone, she done gone." "My woman, she keeps on grumblin', Bout a new pair of shoes." Verses about poverty, work, prison, courting, a runaway woman, almost anything else.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: courting work prison railroading hardtimes poverty courting separation loneliness floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Lomax-FSNA 294, "Black Gal" (1 text, 1 tune)
Lomax-ABFS, pp. 13-14, "Heavy-Hipted Woman" (1 text, 1 tune)
DT, HEAVYHIP*
Roud #6714
NOTES: Since this is one of those wonderful Lomax accumulations of unrelated verses (from, e.g. "Take This Hammer"/"Swannanoah Tunnel"), it's hard to tell what the real story of this song is. I hope you can identify its relatives.... - RBW
File: LoF294
===
NAME: Hebrew Children, The: see Where Is Old Elijah? (The Hebrew Children, The Promised Land) (File: San092)
===
NAME: Hedger and Ditcher: see My Father's a Hedger and Ditcher (Nobody Coming to Marry Me) (File: BrII185)
===
NAME: Hedger, The: see Jolly Thresher, The (Poor Man, Poor Man) (File: R127)
===
NAME: Heel and Toe Polka
DESCRIPTION: Descriptions of how to dance the polka and other dances: "First the heel And then the toe And that's the way the polka goes." Or, "Heel and toe, we always go," etc. Similarly, "First the toe and then the heel, That's the way to dance a reel."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: dancing nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 110, "(First the heel)" (1 text, with the curious tag line "And we'll meet Johnnie Cope in the morning"!)
Roud #7932
File: MSNR110
===
NAME: Heelin' Bill
DESCRIPTION: "Contestants galore and fans by the score Set roostin' the gates of Saint Pete...." The various rodeo riders who have died are recalled. Finally we see "amongst them all, on old Fireball, There set ol' Heelin' Bill."
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: cowboy death recitation moniker
HISTORICAL_REFERENCES: 1937 - Death of Pete Knight
1950 - Death of "Heelin'" Bill Nix
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 36, "Heelin' Bill" (1 text)
NOTES: The number of famous bronc riders listed in this song probably tells us something about the profession.... - RBW
File: Ohr036
===
NAME: Heenan and Sayers [Laws H20]
DESCRIPTION: Heenan travels from America to fight the British boxers. Sayers draws first blood, but Heenan is ahead after thirty-seven rounds, and the British stop the fight
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: fight injury
HISTORICAL_REFERENCES: April 17, 1860 - Boxing match between John C. Heenan and Tom Sayers
Events mentioned in some versions of the song:
c. 1541-1596 - Life of Sir Francis Drake
June 17, 1775 - Battle of Bunker Hill (fought on Breed's Hill, and won by the British, though at heavy cost)
Oct 19, 1781 - Cornwallis surrenders at Yorktown
Sapt 10, 1813 - Perry defeats the British at the Battle of Lake Erie
FOUND_IN: US(MA,MW,NE) Ireland Australia
REFERENCES: (9 citations)
Laws H20, "Heenan and Sayers"
Rickaby 49, "Heenan and Sayers" (2 texts)
Dean, pp. 24-25, "Heenan and Sayers" (1 text)
Warner 9, "The British-American Fight" (1 text, 1 tune)
O'Conor, pp. 76-77, "Heenan and Sayers" (1 text)
Fahey-Eureka, pp. 214-215, "Heenan and Sayers" (1 text, 1 tune, "reconstructed" by the collector)
Kennedy 321, "Heenan and Sayers" (1 text, 1 tune)
OLochlainn-More, pp. 253-255, "Heenan and Sayers" (1 text, tune referenced; OLochlainn 26)
DT 679, HEENSAYR
Roud #2148
CROSS_REFERENCES:
cf. "The Whole Hog or None" (subject)
cf. "Donnelly and Cooper" (subject, tune)
cf. "Morrissey and the Black" (subject)
cf. "Morrissey and the Russian Sailor" (tune, subject)
cf. "Morrissey and the Benicia Boy" (subject)
ALTERNATE_TITLES:
The Bold Benicia Boy
NOTES: John C. Heenan (Johnny Morrissey's last opponent) was born in New York but was called "the Benicia Boy" after Benicia, California, where he lived during his late teens. His match with Tom Sayers, which was stopped after 42 rounds, is said to have been the last of the (official) bare-knuckle boxing matches.
Tom Sayers was so successful as a boxer that his ability to land a blow had already entered the realm of proverb at the time of the Crimean War.
If you are wondering about all those historical references which appear to have nothing to do with the Heenan/Sayers fight, they are all appropriate to the Warner text, sung by "Yankee" John Galusha. This text is so distinct from all other "Heenan and Sayers" versions I've seen that I am tempted to list it as its own song. But it does have some common lyrics; it probably doesn't deserve a separate listing. - RBW
[Abraham Lincoln Papers] at the Library of Congress American Memory site: "Outside of the politicians there is in this city very little care or talk about party or candidates.  Heenan & Sayers eclipsed the Charleston Convention ..." Letter from Orville H. Browning to Abraham Lincoln, June 29, 1860, re prospects in Pennsylvania.
America Singing at the Library of Congress American Memory site does not have this ballad but has eight other distinct ballads about Heenan and Sayers:
LOCSinging, as201320, "Heenan the Champion of the World," H. De Marsan (New York), 1864-1878; also sb20189b, "Heenan, Champion of the World"
LOCSinging, as201310, "Heenan the Champion of the World," H. De Marsan (New York), 1864-1878; also sb20189a, "Heenan the Champion of the World"
LOCSinging, as100200, "The American Eagle and British Lion" or "Yankee Heenan and English Sayers," unknown, n.d.
LOCSinging, sb20171a, "Happy Land of Canaan," H. De Marsan (New York), 1864-1878; also cw102250, "Happy Land of Canaan"
LOCSinging, sb20170a, "Happy Land of Canaan," H. De Marsan (New York), 1861-1864; also cw102250, "Happy Land of Canaan"
LOCSinging, sb10143b, "Great Champion Prize Fight," H. De Marsan (New York), 1864-1878
LOCSinging, sb20190b, "Heenan the Pride of America," H. De Marsan (New York), 1864-1878
LOCSinging, sb10021a, "Ballad in Answer to Sayers, England's Pride," H. De Marsan (New York), [imprint: 1860] [before the fight]
Bodleian Library site Ballads Catalogue does not have this ballad but has six others about Heenan:
Bodleian, Firth b.25(587/588)[could not be downloaded], "A New Song on Heenan and King," J.F. Nugent & Co. (Dublin), 1850-1899
Bodleian, Harding B 18(234),"Heenan the Champion of the World" (New York), H. De Marsan (New York), 1864-1878
Bodleian, Harding B 18(235),"Heenan the Pride of America," H. De Marsan (New York), 1864-1878 attributed to A. Scott
Bodleian, Firth c.19(19),"The English Prize-Fighter and the American Champion," J.F. Nugent & Co. (Dublin), 1850-1899 about the fight with Sayers
Bodleian, Harding B 26(247),"Heenan's Arrival in England," unknown, n.d. before the fight with Jem Mace
Bodleian, Harding B 19(62),"Heenan's Challenge to Mace," unknown, n.d.; 2806 c.15(229),"Heenan's Challenge to Mace" before the fight with Jem Mace
Broadside H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
Broadsides LOCSinging as201320 and Bodleian Harding B 18(234) are duplicates, [as are] broadsides LOCSinging sb20190b and Bodleian Harding B 18(235). - BS
File: LH20
===
NAME: Heezh Ba: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Heifer, The
DESCRIPTION: The heifer, a fabulous creature "with horns upon her heels," does incredible damage till the owner determines to sell her. She begs that she not be killed; she is the spirit of Lord Leitrim. The company determines to blow up the heifer
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: animal Devil commerce humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H675, pp. 24-25, "The Heifer" (1 text, 1 tune)
Roud #13347
NOTES: I'm sure this is political in some sense or other, but I can't tell the nature of the beast. - RBW
File: HHH675
===
NAME: Heights at Alma, The: see The Heights of Alma (I) [Laws J10] (File: LJ10)
===
NAME: Heights of Alma (I), The [Laws J10]
DESCRIPTION: The British and French land outside Alma. They attack and rout the Russians (most versions give the primary credit to the British,and especially the Scots), forcing them back to Sevastopol. Both sides suffer heavy casualties
AUTHOR: James Maxwell?
EARLIEST_DATE: 1904 (Ford); c.1854 (broadside, NLScotland RB.m.143(159))
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 14, 1854 - Anglo-French landing near the mouth of the Alma
Sept 20, 1854 - Battle of Alma. The allies win an expensive victory over the Russians
FOUND_IN: Britain(Scotland) US(MW) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (12 citations)
Laws J10, "The Heights of Alma"
Ford-Vagabond, pp. 249-251, "The Heights of Alma" (1 text, 1 tune)
SHenry H123, p. 90, "The Heights of Alma" (1 text with variants, 1 tune)
Gardner/Chickering 90, "The Heights at Alma" (1 text, 1 tune)
Peacock, pp. 1000-1001, "The Heights of Alma" (1 text, 1 tune)
Creighton-NovaScotia 67, "Battle of Alma" (1 text, 1 tune)
Creighton-Maritime, pp. 148-149, "Battle of Alma" (2 texts, 1 tune)
Leach-Labrador 55, "The Battle of Alma" (1 text, 1 tune)
Mackenzie 74, "The Heights of Alma" (1 text)
Manny/Wilson 73, "The Heights of Alma" (1 text, 1 tune)
Dean, pp. 40-41, "The Heights of Alma" (1 text)
DT 394, HGHTALMA*
Roud #830
RECORDINGS:
O. J. Abbott, "The Heights of Alma" (on Abbott1)
BROADSIDES:
Bodleian, Johnson Ballads 2336, "The Battle of Alma" ("You loyal Britons pray draw near"), unknown, n.d.; also Harding B 26(41)[faded to almost total illegibility], Firth c.14(47)[faded to almost total illegibility], "The Battle of Alma"; Harding B 19(88), 2806 b.9(245), "Bloody Alma"
Murray, Mu23-y1:116, "The Battle of Alma," James Lindsay (Glasgow), 19C
NLScotland, RB.m.143(159), "The Battle of Alma," unknown, c.1854
CROSS_REFERENCES:
cf. "The Victory Won at Richmond" (meter, lyrics)
cf. "The Waggoner" (meter, lyrics)
cf. "The Kilties in the Crimea" (subject)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject: British boasting about the Crimea)
cf. "Grand Conversation on Sebastopol Arose (II)" (subject: Battle of Alma)
NOTES: The Crimean War probably doesn't set a record for strange beginnings (there was, after all, the War of Jenkins's Ear), but it came close: It started with a conflict over who had keys to which rooms in churches in the Holy Land (see Binkley, pp. 168-171; for references, see the Bibliography at the end of this note). But this involved politics in the Ottoman and Russian Empires plus the various Catholic states, and that meant Napoleon III was involved, and the British were trying to reform the Ottoman Empire, and mash it all up, and you ended up with a war.
A singlularly inefficient war. The Russians were fighting the Turks by 1853. Britain and France allied with the Turks in March 1854, and sent off their armies to the east. "An Anglo-French expeditionary force appeared at Varna in June to drive out the Russians, but the Russians had already gone. Without even seeing the enemy the expeditionary force lost a fourth of its numbers through sickness" (Binkley, p. 174).
Finally, in the fall of 1854, the allies managed to locate some real live Russians in the Crimea, and set out to attack them.
The English commander was Lord Raglan, who had fought against Napoleon forty years earlier (and had lost an arm; see Woodham-Smith, p. 131), but he was now 65 years old and perhaps lacking in initiative (Woodham-Smith, p. 156).
According to Hibbert, p. 2, he was so like the Duke of Wellington that they were sometimes thought to be father and son (they differed by about twenty years in age). After brief service as a very junior officer, Lord Fitzroy Somerset, as he was then known, joined Wellington's staff, and served on it for some forty years, until Wellington died.
His life was amazingly limited. Hibbert, pp. 4-5, reports these traits: "His private life... was happy and successful, He was devoted to his wife and to his four young chldren. He was not rich, but had enough to spend between three and four thousand a year... He loved hunting and shooting and good food and the company of good-looking women and the pleasures of society. And like so many members of that society he cared little for the changing world outside it. Science and mechanics, which were beginning already to change the whole life of Europe [and the weapons their armies used, and hence military tactics] meant nothing to him. Nor did painting, nor music; nor did books. In fact in the great mass of his private correspondence only once does he mention having read one.... Even politics interested him only when they impinged upon the Army. In the six years that he sat as a High Tory Member for Truro he never once spoke in the House. He nonetheless was made the first Lord Raglan in 1852 (Hibbert, p. 6).
The British didn't really have much choice about picking such inferior commander; all their officers were either ancient or inexperienced or both -- or had earned their experience in India, which made them socially inferior; see  Farwell, p. 69. Plus the British still followed the rule of commission by purchase (Hibbert, p. 8), which was to foist upon then such fools as Lord Lucan and Lord Cardigan of Light Brigade infamy. This lack of competent officers was to cost them dearly in the course of the war. Hibbert, p. 16, says that four officers were considered for command of the expeditionary force -- and that only Raglan was under seventy. Compared to the alternatives, he may actually have been a good choice.
Give Raglan this much credit, at least: It was he who pushed the British army to adopt rifle muskets rather than smoothbores (Hibbert, pp. 18-19). These would utterly change the nature of war, and Raglan probably didn't understand them -- but they were a big advantage to the side that had them, since they had a much greater range than smoothbores, and they could actually hit a target.
To add to Raglan's age and conservatism, and the general incompetence of the British staff system, was the fact that Raglan was sick. Heat and dysentery affected him no less than his men (Hibbert, p. 21) -- and he was older and permanently crippled.
At the beginning of the war, Raglan's failings didn't matter. His stubbornness was important to getting the British and French to actually take action (Hibbert, p. 21), which had the secondary benefit of getting them out of the disease pits of their first landing place near Varna (Hibbert, pp. 29-31). Sadly, that didn't really get the armies to do anything useful; British forces had not coordinated their plans with that of the French under Saint Arnaud. (Liaison between the two forces was terrible -- indeed, even within the armies, commanders were hardly willing to work together. Part of it was political, but most of it was sheer personal jealousy.) This was one of the reasons it took so many months to get the forces actually on their way to the Crimea. To add to the absurdity of it all, the time spent in Bulgaria was completely wasted; no one used the time to gather useful intelligence. The Allies would be going into the Crimea blind (Hibbert, p. 33).
No one had even managed to gather decent information on a landing site; in the end, Raglan and his staff cruised the shoreline north of Sebastopol and simply picked a likely-looking spot (Hibbert, pp. 37-38).
Even the landing was a botch, despite being unopposed; although a buoy had been set out to delimit the British and French landing areas, the buoy somehow moved in the night before the landing, so the French had the entire beach and the British had to take their landing craft and hunt for a new spot to go ashore (Hibbert, p. 40). The landing took place September 14, 1854. By the time the rains began that afternoon, men were already collapsing -- some of them dying -- on the beach due to the stress of trying to travel while sick (Hibbert, p. 41).
When the song says the British troops spent the first night on the "cold, cold ground," it is no less than the truth; their tents had been sent back aboard ship after the landing (Hibbert, p. 42, attributes this to the impossibility of the weary troops to carry them, though I wouldn't be surprised if the staff botched things up again).
The British were so disorganized that it took them four days to get moving; the French had been ready two days earlier. Even after all that waiting, most men were not supplied with water for their canteens -- worsening their problems with the day's heat (Hibbert, p. 45). They also did not have time to cook their rations.
After a cavalry mix-up, the Russians settled in to their position of "enormous strength" on the Alma River. "...the Russsians withdrew from the ridges of Bulganak, and the British army came up on them to advance to bivouac for the night in order of battle. When darkness came the men, most of them too exhausted even to eat, fell to the ground, permitted at last to sleep.... Beyond the river, on steep ridges with rise to a formidable height, an untouched Russian army lay encamped" (Hibbert, p. 51). The troops would also have to cross the Alma, but at this time of the year, the water was low and it was a relatively minor obstacle; there were many fords (Hibbert, p. 54).
It is estimated that the 38,000 Russians faced 65,000 Allies (30,000 French, 26,000 British, and 9,000 Turks fought at the Alma, although both sides were starting to suffer severely from disease, and the European allies didn't let the Turks do much). The allies also had an advantage in armaments: The British forces, as noted, had rifle muskets, while almost all of the Russians still had the old smoothbore muskets, which couldn't hit anything beyond a few dozen yards (Wawro, p. 10).
The battle of Alma took place on September 20, 1854. The Russians occupied a position they thought impregnable, but they left parts of it essentially unoccupied (Woodham-Smith, pp. 180-182; Hibbert, p. 54). The allies marched south toward them; with the French on the right (east), with the sea guarding their flank; the British were on the left, with their left flank in the air (not that the Russians were going to leave their strong position to attack it).
According to Hibbert, pp. 56-57, the French commander St. Arnaud, apparently proposed that the French attack on the seaward side while the British tried to outflank the Russians on the landward side. Lord Raglan did not bother arguing with the sick man, but he didn't exactly do as planned, either.
By good luck rather than coordination, the French and British managed a sort of an attack en echelon (Hibbert, pp. 58-59, blames it on the nearsightedness of a British division commander, who couldn't see what he was doing and drifted off-line). The Russians could have made the British pay by attacking their flank -- but they made no move. Instead, the British advance -- though it stalled for some time, forcing the soldiers to face artillery fire they could not answer (Hibbert, p. 61) -- progressively involved the Russian forces and at last brought extra force into play on the Russian flank, causing it to break. (I'm vastly oversimplifying here, but the see-saw battle that actually happened really requires a map to explain.) Raglan's oblique movement had cost heavy casualties, but had -- potentially -- won the war. (Only to have the victory dissolve in more failure of coordination.)
Casualties figures at Alma are uncertain, particularly since many men were dying of cholera all the while. Initial reports had 1755 Russians killed, 362 British, and 60 French (!). Of these, only the Russian figure is possible. Warner, p. 33, gives figures of 6000 Russians, 2000 British, and French negligible -- though he also quotes a contemporary officer's letter claiming 2000 British and 5000 French casualties (Warner, p. 39), while on p. 40 he lists 342 British soldiers killed while noting that conditions for the injured were so bad that most of them would die and on p. 44 quotes a contemporary as saying there were 1400 French losses including those from disease.
After this much time, no reliable figures will ever be known, but it is a reasonable guess that at least 5000 men died. In any case, battle casualties in the Crimea were a joke; men were dying of disease so fast that many formations just melted away. Disease casualties far outnumbered those caused by fighting.
The song is generally fairly accurate about details: There was a downpour on the night after the landing, the British troops were without tents (the French were better off), meaning that the men did sleep on the ground. They were hardly better off on the day before Alma:  The day the men marched to the Alma was indeed very hot and dry (Woodham-Smith, p. 170). The dry ground above the Alma River was indeed very high and a potentially strong defensive position (I seem to recall reading that at some points it rose 300 feet above the river) -- though it was not fully fortified (Warner, p. 29). The song is wrong about one thing: the landing took place on September 14, not September 18 as found in several versions (the confusion probably came about because, while the army landed starting September 14, it just sat there for four days. The advance toward the Alma began September 18; Hibbert, pp. 44-45).
The comment, "Scottish lads in kilts and hose Were not the last, you may suppose" is nothing less than the truth; according to Alan Palmer, _The Crimean War_, Dorset, 1987 (originally published as _The Banner of Battle_), "To the Russians, Sir Colin Campbell's kilted Black Watch an Cameron Highlanders seemed an irresistable force, 'the savages without trousers,' as the mortally wounded General Karganov alled them with grudging admiration." According to Woodham-Smith, pp. 187-188, it was the Highlanders who won the battle, taking the redoubt that anchored the Russian line despite extremely heavy fire. It was the second time the British had taken the position (the Russians had weakened it by pulling out its artillery, according to Hibbert, p. 70; they had a very strong tradition of not allowing guns to fall into enemy hands), but they had been driven out the first time (due in part to mistaken orders and the almost-standard confusion of battle; Hibbert, p. 72). The Highlanders took it and held it.
The song also says "The shot it flew like wind and rain When we the battery strove to gain." Again, this may be based on an eyewitness report; while crossing the river, a sergeant said many men were "shot down with grape and cannister -- which came amongst us like hail -- while attempting to cross [the Alma]" (Hibbert, p. 66).
Versions of this song give chief credit to different regiments for the victory at Alma; Ford's and Henry's texts mentions the "Thirty-third and the Fusiliers," but chief credit is probably due (as even the Ford and Henry texts imply) to Sir Colin Campbell's Highland Brigade: 42nd Highlanders (Black Watch), 78th Highlanders (Seaforth, though this regiment was not given honours for Alma) and 93rd Highlanders (Sutherland).
The additional stanzas in some of the Sam Henry variants mention "Prince Metchnikoff"; this is General Prince Alexander Sergeievich Menshikov/Menschikov/Menschikoff (1789-1869; the variant spellings of course arise because his name is written in the Cyrillic alphabet, but no source I've checked spells it the way Henry does). He was commander of Russian forces in the Crimea until his recall for reasons of health during the Sebastopol siege. Menshikov proved an utter disaster to the Russians (Warner, p. 42, says that "Raglan was inept, Menshikov was more so"); before the war, he had been sent to the Turks as an ambassador. His orders gave him little leeway to avoid war, but he did nothing to use what leeway he had.
The Henry text says that Menshikov left his coach at Alma. This is not true, but there was a Russian review before the battle, and many fine gentlemen and ladies turned out. Many of them fled, leaving coaches and picnic baskets behind.
Jacques Letoy de Saint Arnaud (1796-1854), who helped put Napoleon III on the French throne and was rewarded with a marshal's baton, was the overall commander of Allied forces in the battle, but this wasn't much to his credit; Raglan's movement, which was expensive but which won the battle, was against his orders.
Saint Arnaud did not die in combat at Alma, as the Henry text implies; instead, he was sick (one source suggests heart disease and cholera, another stomach cancer) at the time of the engagement, and died nine days later.
His timing was abominable. Had the allies moved straight on Sebastopol after winning at Alma, they might have taken it by siege -- but Saint Arnaud and others delayed things (Woodham-Smith, p. 191), and then wasn't around to straighten things out; the invaders instead tried a flank march around an army that was too disorganized even to have a flank at this time (Woodham-Smith, p. 192). The delay would cause great misery, at Balaclava, Inkerman, Sebastopol, and all the lands around, where men died of cholera, bad food, and all the other ills that plagued the ill-supplied Crimean armies.
Sam Henry twice credits this song to James Maxwell (fl. 1870), a schoolteacher from near Dungiven, to whom he credits several other songs. I'm not particularly confident of this; the other two Maxwell songs ("Adieu to the Banks of the Roe" and "Dungiven Priory Church") are poor pieces, different in style and quality, with no such historical allusions. I suppose Maxwell could have been a One Hit Wonder, but I'd like better proof of authorship.
Whoever the author was, he appears to have had access to Raglan's remarks on the battle; Raglan spoke of "the hill opposite, over which the Russians fled, quite thick with dead and wounded... the work of the Highland Brigade."
For further information about the Crimean War and the Sebastopol campaign, see "The Famous Light Brigade."
We might also note that "Alma" gives strong evidence of being molded on some earlier piece, though I haven't managed to locate such an exemplar. Neither does Laws mention such a piece. But the fact that the Alma form was used for "The Victory Won at Richmond" (1860s) and "The Waggoner" (internally dated to some time prior to 1840) clearly implies the existence of a "proto-Alma" ballad.
>>BIBLIOGRAPHY<<
Binkley: Robert G. Binkley, _Realism and Nationalism 1852-1871_ (Harper, 1935; I used the 1963 reissue)
Farwell: Byron Farwell, _Queen Victoria's Little Wars_ (1972; I used the 1985 Norton edition)
Hibbert: Christopher Hibbert, _The Destruction of Lord Raglan_, (1961; I used the 1999 Wordsworth edition)
Palmer: Alan Palmer, _The Crimean War_ (originally published as _The Banner of Battle_), Dorset, 1987
Warner: Philip Warner, _The Crimean War: A Reappraisal_ (1972; I used the 2001 Wordsworth edition)
Wawro: Geoffrey Wawro, _The Austro-Prussian War: Austria's War with Prussia and Italy in 1866_ (Cambridge University Press, 1996)
Woodham-Smith: Cecil Woodham-Smith, _The Reason Why_ (McGraw-Hill, 1954) - RBW
Bodleian Library site Ballads Catalogue has other broadsides about the battle:
Bodleian, 2806 c.14(62), "We'll Hae Nane but Hielan' Bonnets Here!" ("Alma field of heroes, hail!"), unknown, n.d.
Bodleian, Harding B 26(43), "Battle of Alma" ("Oh boys have you heard of the battle, the allies have gained on the shore"), J. Harkness (Preston), 1840-1866; Harding B 12(246), "Battle of Alma"
Bodleian, Harding B 26(42), "The Battle of Alma" ("Come all you true-bred Irishmen, and listen unto me"), unknown, n.d.
Manny/Wilson: "[This version] differs in words and tune from any published version we have seen. It may possibly have been altered by Jared MacLean [the singer] himself." This version does share two verses with Mackenzie 74; lacking Mackenzie's chorus it still has the same pattern and seems close enough to me for this to be considered Laws J10. - BS
File: LJ10
===
NAME: Heir of Linne, The [Child 267]
DESCRIPTION: The Heir wastes his money in gambling and wild living, (sells his lands,) and falls into poverty. He remembers a (letter/key) to be used only when he is in need. It tells him where to find a treasure; the Heir is once again rich -- and now wiser
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: money gambling drink poverty begging
FOUND_IN: Britain(Scotland(Aber)) US(SE)
REFERENCES: (8 citations)
Child 267, "The Heir of Linne" (3 texts)
Bronson 267, "The Heir of Linne" (4 versions)
Percy/Wheatley II, pp. 138-150, "The Heir of Linne" (2 texts, one from the Percy folio and one the heavily-expanded version printed in the _Reliques_)
Dixon IV, pp. 30-36, "The Heir of Linne" (1 text)
Davis-Ballads 41, "The Heir of Linne" (1 text)
Leach, pp. 637-641, "The Heir of Linne" (1 text plus one text for comparison)
OBB 80, "The Heir of Linne" (1 text)
DT 267, LAIRDLIN*
Roud #111
NOTES: Child lists many foreign analogues to this ballad. It should not be assumed, however, that they are actually related; the theme is commonplace. Indeed, it could easily be suggested by the Biblical story of the Prodigal Son (Luke 15:11-32); the only real difference is that, in the New Testament story, the father is still alive.
Still, Bronson links the tune loosely with "The Boom o' Cowdenknowes" -- which would make sense if someone were translating a text and fitting it to a British tune. - RBW
File: C267
===
NAME: Helen of Kirconnell
DESCRIPTION: The singer laments, "I wish I were where Helen lies." The two had been together when Helen was shot and died. The singer pursues and kills her slayer, then promises to be true forever. The rest of the song is a wish to join his love in death
AUTHOR: (published by Robert Burns)
EARLIEST_DATE: 1797 (_Scots Musical Museum_ #155); seemingly alsoin Herd
KEYWORDS: courting love death revenge
FOUND_IN: 
REFERENCES: (5 citations)
OBB 152, "Helen of Kirconnell" (1 text)
HarvClass-EP1, pp. 324-325, "Helen of Kirconnell" (1 text)
BBI, ZN1856, "My sweetest sweet and fairest fair"
DT, HELNLIES
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #424, "Helen of Kirconnell" (1 text)
ST OBB152 (Full)
Roud #8191
ALTERNATE_TITLES:
I Wish I Were Where Ellen Lies
NOTES: Under the title "Fair Helen," this is one of the handful of traditional songs in Palgrave's _Golden Treasury_ (item CXXXV).
This song, or the folktale that underlies it, is said to have inspired Wordsworth's "Ellen Irwin." - RBW
File: OBB152
===
NAME: Helg yn Dreean: see Hunt the Wren (File: K078)
===
NAME: Hell and Heaven (I've Been Buked and I've Been Scorned)
DESCRIPTION: "I been 'buked and I been scorned, Childrens... I been talked 'bout sure as you're born." The singer tells how to drive Satan away with the gospel, how he will ride to heaven with Jesus, and declares that he will enjoy himself there
AUTHOR: unknown
EARLIEST_DATE: 1918 (recording, Tuskegee Institute Singers)
KEYWORDS: religious Jesus nonballad Devil
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 588-591, "Hell and Heaven" (1 text, 1 tune, composite)
Roud #15565
RECORDINGS:
Tuskegee Institute Singers, "I've Been Buked and I've Been Scorned" (Victor 18447, 1918)
CROSS_REFERENCES:
cf. "Oh, Mary Don't You Weep" (floating lyrics)
cf. "Hand Me Down My Walking Cane" (floating lyrics)
File: LxA588
===
NAME: Hell and Texas: see Hell in Texas (File: R196)
===
NAME: Hell in Texas
DESCRIPTION: The Devil, bored with Hell, decides it's time to expand the franchise. The sandiest place available is Texas; the Devil acquires a lease from God after negotiating the water rights. The Devil adds tarantulas, cacti, etc. and opens for business
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: Devil humorous Hell
FOUND_IN: US(So,SW)
REFERENCES: (5 citations)
Randolph 196, "Hell and Texas" (1 text, 1 tune)
Lomax-ABFS, pp. 397-399, "Hell in Texas" (1 text, 1 tune)
Fife-Cowboy/West 27, "Hell in Texas" (3 texts -- one each for Texas, Arizona (this one properly filing with "Arizona") and Alaska, 1 tune)
DT, HELLTEXS*
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 55-56, "Hell in Texas" (1 text)
Roud #5104
CROSS_REFERENCES:
cf. "Arizona" (theme)
NOTES: This song and "Arizona" clearly are related; one probably suggested and influenced the other. But there is no way to clearly demonstrate which came earlier, so I list them separately. - RBW
File: R196
===
NAME: Hell-Bound Train, The
DESCRIPTION: The drunk passes out and dreams of the hell-bound train. The Devil is the engineer. When he announces that Hell is the next stop, the riders beg for mercy; the Devil replies with a list of tortures they face. The drunkard awakens and reforms
AUTHOR: unknown
EARLIEST_DATE: 1910 (Railroad Men's Magazine, according to Cohen)
KEYWORDS: train Devil Hell drink
FOUND_IN: US(So) Canada(Mar)
REFERENCES: (9 citations)
Cohen-LSRail, pp. 638-644, "The Hell-Bound Train" (1 text plus extensive excerpts and aportion of "Ride on the Black Valley Railroad" and a broadside print of "Railroad to Hell"; 1 tune)
Randolph 599, "The Hell-Bound Train" (1 text, 1 tune)
Lomax-FSNA 210, "The Hell-Bound Train" (1 text, 1 tune, the latter allegedly by Lomax himself)
Fife-Cowboy/West 125, "The Hell-Bound Train" (1 text, 1 tune)
Ohrlin-HBT 15, "The Hell-Bound Train" (1 text, 1 tune)
Beck 94, "The Hell-Bound Train" (1 text)
Ives-DullCare, pp. 163-164,246, "The Hell-Bound Train" (1 text, 1 tune)
Darling-NAS, p. 263, "The Hell Bound Train" (1 text)
DT, HELLBOND* HELLBND2*
Roud #5103
RECORDINGS:
Frank Hutchison, "Hell Bound Train" (OKeh 45452, 1930) (Velvet Tone 2366-V, 1931)
Sunset Jubilee Singers, "The Hellbound Train" (Hub 3004, n.d.) [Note: I'm not certain this is the same song, but I'm playing the odds]
Joseph Walsh, "The Hell-Bound Train" (on MREIves01)
NOTES: Lomax editions suggest "J. W. Pruitt(e)" as the author of this piece. One of Randolph's sources mentions a "Tom Gray." I wouldn't bet much on either attribution. - RBW
In the Beck version, Tom Gray is the protagonist, rather than the author (the song is in third person). - PJS
Cohen notes a strong similarity in concept to"Ride on the Black Valley Railroad," credited to I. N. Tarbox and printed in 1876. For more on this, one should see Cohen. - RBW
File: R599
===
NAME: Hello Girls: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Hello Stranger
DESCRIPTION: Floating verses describing singer's grief because her sweetheart is in prison.
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Carter Family)
KEYWORDS: loneliness separation prisoner floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 114 "Hello Stranger" (1 text, 1 tune)
Roud #15144
RECORDINGS:
Carter Family, "Hello Stranger" (Decca 5479, 1938)
File: ADR114
===
NAME: Hello, My Boy, Not I: see Oh, No, Not I (File: DTmarryn)
===
NAME: Hello, Somebody
DESCRIPTION: Shanty. Characteristic line: "Hello, somebody, hello!" "There's somebody knocking at the garden gate...." "Somebody wants to know my name...."
AUTHOR: unknown
EARLIEST_DATE: 1933
KEYWORDS: shanty
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Doerflinger, p. 46, "Hello, Somebody" (1 text, 1 tune)
Hugill, pp. 256-257, "Hello, Somebody!" (1 text, 1 tune) [AbEd, pp. 186-187]
ST Doe046 (Partial)
Roud #9441
File: Doe046
===
NAME: Help Me Drive
DESCRIPTION: Hammering song. "Help me drive 'er, Uh! Help me drive 'er, Uh! Help me drive 'er, Uh! ah, home. Uh!" "Little Mary... ah, home!" "To de mountain... ah, home!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: worksong
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 218, "Work-Song" (1 short text, 1 tune)
File: ScaNF218
===
NAME: Hembrick Town: see Katharine Jaffray [Child 221] (File: C221)
===
NAME: Hen and the Duck, The
DESCRIPTION: "The hen to herself said one beautiful day, Cluck, cluck, The day is so fine we'll step over the way And call on my neighbor and friend Madam Duck." The hen warns her chicks not to join the ducklings in the water -- but the chicks don't listen and drown
AUTHOR: unknown
EARLIEST_DATE: 1934 (Gardner/Chickering)
KEYWORDS: bird chickens death drowning river
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 199, The Hen and the Duck"" (1 text)
ST GC199 (Partial)
Roud #3712
File: GC199
===
NAME: Hen Cackle
DESCRIPTION: Characterized by the structure, "The old hen cackled... The next time she cackled...," E.g. "The old hen cackled, she cackled in the lot, The next time she cackled, she cackled in the pot." Material floats freely.
AUTHOR: unknown
EARLIEST_DATE: 1923 (recording, Fiddlin' John Carson)
KEYWORDS: bird nonballad food floatingverses
FOUND_IN: US
REFERENCES: (2 citations)
Darling-NAS, p. 252, "Old Hen Cackled and the Rooster's Going to Crow" (1 text)
Fuson, p. 157, "The Hen Cackled" (first of 12 single-stanza jigs) (1 text, perhaps from this though it's just a floating verse)
Roud #11058
RECORDINGS:
Fiddlin' John Carson, "The Old Hen Cackled and the Rooster's Goin' to Crow" (OKeh 4890, 1923)
Bill Chitwood & Bud Landress, "Hen Cackle" (Brunswick 2811, 1925)
Coleman & Harper "Old Hen Cackle" (Perfect 12751, 1931) (Oriole 8095, 1931)
Homer Davenport & the Young Brothers, "The Old Hen Cackled and the Rooster Crowed" (Silvertone 4009, 1925; Challenge 110 or 304, 1927 [both Challenge records as The Three Howard Boys])
George Edgin's Corn Dodgers, "Corn Dodger No. 1 Special" (Columbia 15754-D, 1932)
Fruit Jar Guzzlers, "Cacklin' Hen" (Broadway 8108, 1928)
Whit Gayden, "Hen Cacklin' Piece" (Victor V-40315, 1930)
[G. B.] Grayson & [Henry] Whitter, "Barnyard Serenade" (Victor V-40038, 1929; rec. 1928)
J. D. Harris "The Cackling Hen" (OKeh 45024, c. 1926; rec. 1925)
The Hillbillies, "Cackling Hen" (Vocalion 5020, c. 1926)
Earl Johnson & his Dixie Entertainers, "Hen Cackle" (OKeh 45123, 1927)
Clayton McMichen & his Georgia Wildcats, "The Old Hen Cackled" (Varsity 5064, c. 1942/Joe Davis 3512, n.d.)
Short Creek Trio, "The Old Hen Cackled and the Rooster Crowed" (Silvertone 8178, 1928)
Gid Tanner & Riley Puckett, "Hen Cackle" (Columbia 110-D, 1924)
Gid Tanner & his Skillet Lickers, "Hen Cackle" (Columbia 15303-D, 1928); "Cacklin' Hen and Rooster Too" (Columbia 15682-D, 1931)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Medley: Cumberland Gap/Gid Tanner's Bucking Mule/Hen Cackle" (on DownYonder)
Tennessee Ramblers, "Cackling Pullet" (Brunswick 225, 1928; Supertone S-2083, 1930)
CROSS_REFERENCES:
cf. "Cluck Old Hen"
NOTES: This merges almost continuously with "Cluck Old Hen," and readers may want to check both. The line "The old hen cackled and the rooster's going to crow" is highly characteristic of this song. - RBW
File: RcOHCRGC
===
NAME: Henhouse Door (Who Broke the Lock?)
DESCRIPTION: Floating verses: "Down in the henhouse, down on my knees/I thought I heard a chicken sneeze" "Hen... told the rooster, I love you best... you're a pop-eyed liar...." Ch.: "Who broke the lock? I don't know/Who broke the lock on the henhouse door..."
AUTHOR: unknown
EARLIEST_DATE: 1894 (recording, Standard Quartette)
LONG_DESCRIPTION: Floating verses: "Down in the henhouse, down on my knees/I thought I heard a chicken sneeze" "Hen and a rooster went out west/Hen told the rooster, I love you best/Rooster told the hen, you're a pop-eyed liar/Saw you in the alley with the big Shanghai" "My old hen's a good old hen/Ain't laid an egg since I don't know when" etc. Chorus: "Who broke the lock? I don't know/Who broke the lock on the henhouse door..."
KEYWORDS: jealousy theft farming floatingverses humorous nonballad animal chickens
FOUND_IN: US(SE,So)
REFERENCES: (0 citations)
RECORDINGS:
Alabama Washboard Stompers, "Who Broke the Lock" (Vocalion 1587, 1931)
H. M. Barnes & his Blue Ridge Ramblers, "Who Broke the Lock on the Hen-House Door" (Brunswick 310, 1929/Supertone S-2052, 1930/Brunswick 1027)
Jack Bland's Rhythmakers, "Who Broke the Lock" (Banner 32605/Melotone M-12513/Oriole 2593/Perfect 15694, all 1932; Columbia 35841, 1940)
Bryant's Jubilee Quartet, "Who Stole De Lock Off De Henhouse Door" (Gennett 6608/Champion 15543 [as Southland Jubilee Singers]/Supertone 9081 [as Dixie Jubilee Choir]/Supertone 9293 [as Dixie Jubilee Singers], all 1928); "Who Stole De Lock" (Banner 32173/Oriole 8060/Perfect 175 [as Famous Garland Jubilee Singers]/Romeo 5060/Conqueror 7749, all 1931)
Vance Dixon & his Pencils, "Who Stole the Lock" (OKeh 8891, 1931)
Dunham Jazz Singers, "Who Stole the Lock" (Columbia 14609-D, 1931)
Otto Gray & his Oklahoma Cowboys, "Who Broke the Lock" (Vocalion 5479, c. 1931/Polk P9017, n.d./Panachord [UK] 25449, 1933)
Dick Hartman & his Tennessee Ramblers, "Who Broke the Lock?" (Montgomery Ward M-4914, 1936)
Texas Jim Lewis, "Who Broke the Lock" (Vocalion 3754/Perfect 7-12-55 [as Texas Jim Lewis' Lone Star Cowboys], 1937)
Frank Luther, "Who Broke the Lock" (Decca 5322, 1935)
Riley Puckett, "Riley's Hen House Door" (Bluebird B-7373, 1938)
Standard Quartette, "Who Broke the Lock on the Henhouse Door?" (CYL: Columbia, no #, rec. 1894)
Washboard Rhythm Kings, "Who Broke the Lock" (Victor 23283, 1931)
CROSS_REFERENCES:
cf. "Talking Blues" (floating verses)
cf. "Cluck Old Hen" (floating verses)
cf.  "The Chicken Song (I Ain't Gonna Take It Settin' Down)" (floating verses)
NOTES: The Bryant's Jubilee Quartet recordings are a perfect illustration of why discographers get migraines. - PJS
File: RcWBTL
===
NAME: Hennessy Murder, The
DESCRIPTION: "Kind friends, if you will list to me, A sad story I'll relate, 'Tis of brave Chief Hennessy And how he met his fate." The song mentions the time of his death, and opines that his killers were working with Satan
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: homicide police
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 165-166, "The Hennessy Murder" (1 text, 1 tune); also "Hennessy Avenged" (1 text)
Roud #4128
NOTES: This is item dF58 in Laws's Appendix II.
File: Burt165
===
NAME: Henpecked Man, The
DESCRIPTION: "I'm the most henpecked man in town, I used to have lots of fun..." until his wife discovers him having an affair when he forgets to have receipts for the errands he allegedly was running. She makes sure he can't do it again. He warns against lies
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Kelly Harrell)
KEYWORDS: husband wife adultery hardtimes trick lie clothes
FOUND_IN: US
REFERENCES: (0 citations)
Roud #13148
RECORDINGS:
Kelly Harrell, "The Henpecked Man" (Victor 23689, 1929; on KHarrell02)
NOTES: I've never seen a version of this other than Harrell's, but it sounds traditional. The problem may be that no man would sing it for a collector.
Alfred Steagall's guitar accompaniment on this song is fascinating -- somewhere between ragtime and Mississippi John Hurt. I've heard nothing else like it on a recording of this era. I wonder if Steagall didn't influence later guitar stylists. - RBW
File: RcTHM
===
NAME: Henry and His Maryanne: see Henry and Mary Ann (Henry the Sailor Boy) (File: HHH037)
===
NAME: Henry and Mary Ann (Henry the Sailor Boy)
DESCRIPTION: Mary Ann bids Henry to stay with her. He refuses, and also refuses her offer to come with him. He goes to sea, where he performs valiantly and saves the Captain's life. When he comes home, the Captain gives him fifty pounds; the couple get married
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Harding B 26(246))
KEYWORDS: love separation sailor money
FOUND_IN: Ireland Canada(Mar,Newf)
REFERENCES: (4 citations)
SHenry H37, pp. 485-486, "Henry, the Sailor Boy" (1 text, 1 tune)
Tunney-SongsThunder, pp. 96-97, "Henry and His Maryanne" (1 text)
Peacock, pp. 899-900, "Young Henry" (1 text, 1 tune)
Creighton-SNewBrunswick 32, "My Mary Ann" (1 fragment, 1 tune)
Roud #2284
BROADSIDES:
Bodleian, Harding B 26(246), "Henry and Mary Ann," J. Moore (Belfast), 1846-1852; also Firth c.12(284), Firth b.27(353), "Henry and Mary Ann"
CROSS_REFERENCES:
cf. "The River Roe" (tune)
cf. "Jeannette and Jeannott" (tune, per broadside Bodleian Firth c.12(284))
ALTERNATE_TITLES:
My Mary Ann
NOTES: SHenry, re the tune for "Henry, the Sailor Boy": "almost all the [Irish] murder songs were composed to it." The tune is close to the one used by A.L. Lloyd for the verse of "Paddy West" (on Ewan MacColl and A.L. Lloyd, "Blow Boys Blow," Tradition TCD 1024 (1996)) - BS
File: HHH037
===
NAME: Henry and Nancy
DESCRIPTION: Henry courts Nancy. Her parents lock her in their castle. Nancy writes Henry a letter. He dreams of her and wakes to find her letter. He goes to the castle, kills her, and kills himself. Her parents blame themselves. Nancy's ghost blames her mother.
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: courting love homicide suicide dream father mother ghost prison
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 675-676, "Henry and Nancy" (1 text, 1 tune)
Roud #9943
File: Pea675
===
NAME: Henry and Servilla
DESCRIPTION: Broadside. Henry and Servilla are in love, but her mind changes; "perhaps it was a better match Within the mother's eye." Henry is bidden not to return. Henry intercepts her on her way to school, and shoots her then himself
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: love courting betrayal homicide suicide
HISTORICAL_REFERENCES: January 13, 1854 - Murder/suicide of Servilla (Jones?) and Henry
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 45-47, "Henry and Servilla, or the Death Bridal -- being a graphic account of the New Boston Tragedy" (1 text, slightly shortened)
NOTES: What I want to know is, why didn't someone shoot the mother who named her daughter "Servilla"?
This is as bad as it sounds, being littered, e.g. with small caps:
One had a DAUGHTER, just sixteen....
He loved SERVILLA long and well,
(Surely it was not strange,)
And happy was he in her love,
But ah! THERE CAME A CHANGE!
He took the maiden by the hand,
"YOU SHALL BE MINE," he said;
Then drew a pistol from his breast
AND SHOT HER THROUGH THE HEAD.
On second thought, I want to know why Henry didn't shoot the so-called "poet" who would inflict *that* on the world. - RBW
File: Burt044
===
NAME: Henry Clay Beattie
DESCRIPTION: Beattie is convicted of murdering a girl, but denies his guilt. His family tries to get him to confess, lest he "go to [his] doom with a lie." At last he confesses. On a Friday morning he is executed in the electric chair
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: death homicide prison punishment execution Hell
HISTORICAL_REFERENCES: 1911 - Execution of Henry Clay Beattie
FOUND_IN: 
REFERENCES: (0 citations)
Roud #13147
RECORDINGS:
Kelly Harrell, "Henry Clay Beattie" (Victor 20797, 1927; on KHarrell02)
NOTES: The use of the electric chair as a means of execution obviously dates this song to the few decades before Harrell's recording. This would seem to imply that it is based on actual events. But I found no references to Beattie until Paul Stamler found an online auction of a publication entitled _The Great Beattie Murder Case: Henry C. Beattie Jr., Life and Crime. Sensational story of the life of Beulah Binford, 'the woman in the case.'"_
How far one can trust anything with a title like that is an open question, but apparently Beattie (1884-1911) lived in Richmond, Virginia, with his wife when he took Beulah Binford as his mistress (supposedly she did not know he was married). Beattie then murdered his wife with a shotgun. He claimed she was killed by a highwayman, but was tried and executed. - RBW
File: RcHCB
===
NAME: Henry Clay Songs
DESCRIPTION: Tunes in favor of "The Statesman, the Patriot, Clay" during his presidential campaigns. Sung to popular tunes such as "Rosin the Beau," they include "The Mill-Boy of the Slashes" and "Old Hal of the West"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: political nonballad derivative
HISTORICAL_REFERENCES: 1777 - Birth of Henry Clay in Hannover County, Virginia -- a region known as "The Slashes," hence the song title "The Mill-Boy [=miller-boy] of the Slashes"
1824 - Clay's first campaign for President (in the first election where popular votes are recorded, Andrew Jackson is the clear winner in the voting, but no one wins in the Electoral College. John Quincy Adams is elected president by the House of Representatives, due mostly to backing from Clay)
1832 - Clay's second campaign for President. He is defeated by Andrew Jackson
1844 - Clay's third campaign for President, producing both ""The Mill-Boy of the Slashes," with its erroneous reference to Van Buren (who failed to earn the Democratic nomination) and "Old Hal o' the West." Clay is defeated by James K. Polk.
1852 - Death of Henry Clay
FOUND_IN: US(So)
REFERENCES: (3 citations)
Spaeth-ReadWeep, pp. 39-40, "The Mill-Boy of the Slashes" and "Old Hal o' the West" (2 texts, filed under "Old Rosin, the Beau," tune referenced)
Hudson 84, p. 211, "Henry Clay" (1 short text, to the tune of "Old Dan Tucker," with many floating elements)
ADDITIONAL: John Siegenthaler, _James K. Polk_, Times Books, 2003, p. 91, (A single stanza of a Clay campaign song beginning "Hurrah for Henry Clay" and ending "And Polk will soon burst his boiler")
Roud #4495
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
NOTES: This is a lumping entry, for all the various political songs associated with Henry Clay and his sundry campaigns for president. They're all of separate origin, but since they had tenuous hold on tradition (at best), it seemed easier to put them all here.
My old high school history text described the period of 1830-1850 as the era of Clay, John C. Calhoun, and Daniel Webster. This is a little unfair; no matter how weak Martin van Buren and John Tyler were, there is no questioning the importance of Andrew Jackson and James K. Polk!
Nonetheless, Clay was one of the greatest voices of the era, and the single most important force behind the Whig party -- one might almost say he *was* the Whig party, since it died almost the moment he did.
These days, he is usually remembered either for his many compromises, ending finally with the Compromise of 1850, or for his many presidential campaigns. But he was more. Michael F. Holt, in his massive _The Rise and Fall of the American Whig Party_, p. 25, gives this description:
"Clay was five years the senior of Webster, his great rival in the anti-Jackson camp. Whereas the granite-like Webster inspired awe and admiration, the irresistably appealing Kentuckian inspired love, affection, and often rapturous adoration from virtually everyone he met... Clay was a brilliant conversationalist, sparkling, witty, playful. Tall and thin, with a sandy complexion, a shock of brunette hair... gray, laughing eyes, and a straight, thin-lipped mouth that broke readily into a smile, the gracious, fun-loving clay charmed both men and women wherever he went. Neither as profound nor as learned as Webster, he exuded emotion and charisma when he addressed public audiences." - RBW
File: SRW039
===
NAME: Henry Connor of Castledawson: see Henry Connors [Laws M5] (File: LM05)
===
NAME: Henry Connors [Laws M5]
DESCRIPTION: Dejected Henry tells his story. A serving man, he fell in love with his master's daughter. The girl's mother aids the match, but the father is opposed. When the two plan to flee to Scotland, the father plants evidence against Henry and has him transported
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: servant courting father emigration transportation betrayal trick love
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (4 citations)
Laws M5, "Henry Connors"
SHenry H128, pp. 440-441, "Henry Connor of Castledawson" (1 text, 1 tune)
Greenleaf/Mansfield 94, "Henry Connors" (1 text)
DT 816, HENRCONR
Roud #1909
CROSS_REFERENCES:
cf. "Erin's Lovely Home" [Laws M6] (plot)
cf. "Jock Scott" (plot)
cf. "Matt Hyland" (plot)
cf. "The Footboy" (plot)
File: LM05
===
NAME: Henry Downs
DESCRIPTION: "Many an Orange villain fell Beneath the hand of Downs" "The trembling tyrants did propose A partial amnesty" which took "unsuspecting clowns" out of the battle. Downs continued to fight. In Dublin he was taken by Sirr, tried, condemned, and hanged.
AUTHOR: unknown
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: rebellion execution trial Ireland patriotic police
HISTORICAL_REFERENCES: April 1799 - Henry Downs is hanged at Malahide after being taken by Major Sirr in a Dublin alehouse.(source: Moylan)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 125, "Henry Downs" (1 text)
CROSS_REFERENCES:
cf. "Edward (III) (Edward Fitzgerald)" (character of Major Sirr)
cf. "The Man from God-Knows-Where" (character of Major Sirr)
cf. "The Major" (character of Major Sirr)
NOTES: For more about Major Sirr see "Edward" (III), "The Man from God-Knows-Where," "The Major" and the notes to "Who Killed Cock Robin?" (II).
Moylan adds some information illuminating the events here. There was an amnesty and it was accepted by many insurgents. Downs, while a member of Joseph Holt's guerilla band, killed Jonathan Eves, mistakenly taking him to be an informer. He broke with the guerillas on this account. He came close to killing Major Sirr while being taken. Moylan reports Madden, in _Literary Remains of the United Irishmen of 1798_, believed that Downs was executed for shooting Eves. - BS
File: Moyl125
===
NAME: Henry Green (The Murdered Wife) [Laws F14]
DESCRIPTION: Henry Green threatens suicide if Mary Wyatt will not marry him (she is unsure about the idea because he is rich and she is poor). Soon after the marriage, he poisons her. She forgives him before she dies, but he is sentenced to death
AUTHOR: unknown
EARLIEST_DATE: 1922 (Belden)
KEYWORDS: homicide marriage poverty execution poison
HISTORICAL_REFERENCES: 1845 - Murder of Mary Ann Wyatt Green (February) and execution of Henry Green (September)
FOUND_IN: US(MA,NE,SE,So) Canada(Newf)
REFERENCES: (11 citations)
Laws F14, "Henry Green (The Murdered Wife)"
Belden, p. 321, "Henry Green" (1 text)
Randolph 157, "Henry Green" (3 texts, 1 tune)
Flanders/Brown, pp. 65-68, "Henry Green" (1 text, 1 tune)
Leach, pp. 792-793, "Henry Green" (1 text)
FSCatskills 66, "The Arsenic Tragedy" (1 text, 1 tune)\
Gardner/Chickering 142, "Young Henry Green" (1 text plus an excerpt, 1 tune)
Peacock, pp. 624-627, "The Murder of Miss Wyatt" (2 texts, 2 tunes)
Leach-Labrador 100, "Henry Green" (1 text, 1 tune)
Burt, pp. 11-13, (no title) (1 partial text, 1 tune, plus an excerpt from this or a related ballad)
DT 666, ARSENICT*
Roud #693
CROSS_REFERENCES:
cf. "Billy Vite and Molly Green" (plot)
cf. "The Murdered Wife or the Case of Henry G. Green" (subject, plot)
NOTES: The Digital Tradition editors speculate that this was adapted from the music hall song "Billy Vite and Molly Green."  This is conceivable, but a significant stretch -- this song is serious, "Billy" comic; "Billy" involves a supernatural element, and in "Billy" it is the boy who is poor and the girl rich. - RBW
Leach-Labrador notes that "the murder took place in Rensselaer County, New York" - BS
File: LF14
===
NAME: Henry Joy
DESCRIPTION: The singer from Ulster tells how he left his wife and children to follow Henry Joy McCracken. They are defeated at Antrim. Henry Joy is taken to Belfast by the redcoats and hanged in the barrack square.
AUTHOR: unknown
EARLIEST_DATE: 1998 (Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
KEYWORDS: battle rebellion Ireland execution patriotic
HISTORICAL_REFERENCES: July 17, 1798 - Henry Joy McCracken, a founder of the United Irishmen, is executed outside the Market House in Belfast (source: notes to Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 110, "Henry Joy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Henry Joy McCracken (I)" (character of Henry Joy McCracken) and references there
NOTES: Moylan: "This song possibly dates from the early 19th century" - BS
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, "Henry Joy" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
Henry Joy McCracken was one of the most admirable of the United Irishmen. Sadly, he was no soldier, and his attempt to fight the British at Antrim a disaster; for details, see the notes to "Henry Joy McCracken (I)." - RBW
File: Moyl110
===
NAME: Henry Joy McCracken (I)
DESCRIPTION: "It was on the Belfast mountains I heard a maid complain... Saying, 'Woe is me... Since Henry Joy McCracken died on the gallows tree." Henry fought against the English, but was taken; now only his ghost comes got her. She dies and is buried
AUTHOR: attributed by different writers to P. J. McCall, William Drennan, and T. P. Cunning (source: Moylan)
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: rebellion Ireland love death burial execution ghost
HISTORICAL_REFERENCES: June 7, 1798 - Henry Joy McCracken, a founder of the United Irishmen, leads several thousand men against Antrim, but is driven off. The Ulster phase of the 1798 rebellion is completely defeated by June 13, and the leaders later executed
July 17, 1798 - Henry Joy McCracken hanged in Belfast. (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (4 citations)
PGalvin, pp. 34-35, "Henry Joy McCracken" (1 text, 1 tune)
OLochlainn 60, "Henry Joy McCracken" (1 text, 1 tune)
Moylan 109, "Henry Joy McCracken" (1 text, 1 tune)
Leyden 39, "Henry Joy McCracken" (1 text, 1 tune)
Roud #3008
CROSS_REFERENCES:
cf. "Henry Joy" (subject)
cf. "Henry Joy McCracken (II)" (subject)
cf. "McCracken's Ghost" (subject)
cf. "The Social Thistle and the Shamrock" (written by McCracken)
NOTES: OLochlainn writes about finding the tune in 1913 in George Petrie [1789-1866], _The Complete Petrie Collection._ "The song here given was written by P. J. McCall [1861-1919], author of 'Boolavogue.'"
Leyden's source is OLochlainn 60. - BS
The ballad is recorded on two of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Tim Lyons, "Henry Joy McCracken" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes)
Franke Harte and Donal Lunny, "Henry Joy McCracken" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
Thomas Pakenham, in _The Year of Liberty_ (p. 172) says of McCracken (1767-1798) that he was "a remarkable man -- in may way the most attractive of all the original United brotherhood of Ireland." A Presbyterian, he tried to promote learning and social justice (not something that interested most Irish leaders); Jim Smyth, in _The Men of No Property_, p. 117, describes him as part of the "often socially radical" faction of the United Irishmen. He was also religiously tolerant (his brothers, according to Terry Golway, _For the Cause of Liberty_, p, 68, had attended the opening of BelfastÕs first Catholic Church in 1784, along with other members of the Belfast volunteers, as a gesture of ecumenicalism. McCracken himself, according to Golway, p. 69, actually supported Catholics when they were attacked by Protestants.)
McCracken, it appears, was not inherently opposed to Britishrule; he simply thought that Ireland could not achieve the social order he felt desirable without independence.
Sadly, British justice cared little for nobility of character. And, as a leader of troops, McCracken was contemptible. And several of his senior officers were in contact with the British General Nugent. McCracken, in attacking Antrim, made no provisions to guard against reinforcements. Nor could he make any real use of his ancient, ill-mounted cannon. The result was a complete defeat for the United Men at Antrim.
Four days later, the remnants of the United forces abandoned their camp at Donegore Hill. As an army, that was the end of them.
McCracken had not expected to command the Ulster army. Robert Simms had originally commanded the troops in County Antrim. But he wasn't going to fight without the French. He resigned, leaving McCracken in command (Golway, p. 84). McCracken had no military experience. A veteran army might have survived an ignorant commander. But the troops were as raw as he. They scared the British, but they posed little real danger.
McCracken himself escaped the rout, and hid in the home of his "lover" Mary Bodle (by whom he apparently had an illegitimate daughter; see Golway, p. 85). Contrary to what is reported in "Henry Joy McCracken (II),Ó Golway says that a patrol of militia simply stumbled onto him -- but he was taken into custody. His trial began on July 16, and he was hung July 17 after refusing an offer to turn informer (Golway, pp. 87-88). - RBW
File: PGa034
===
NAME: Henry Joy McCracken (II)
DESCRIPTION: McCracken is betrayed for 50 pounds by Niblock. Why is there no song from 1798 to mark his hanging on High Street, Belfast? He is buried in Clifton Street cemetery with his sister Mary.
AUTHOR: Mrs Eileen Keaney (source: Moylan)
EARLIEST_DATE: 1965 (written 1964, published _Ceol_ vol. 2, no. 1, according to Moylan)
KEYWORDS: rebellion betrayal execution patriotic burial
HISTORICAL_REFERENCES: July 17, 1798 - Henry Joy McCracken hanged in Belfast. (source: Moylan)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 111, "Henry Joy McCracken" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Henry Joy McCracken (I)" (character of Henry Joy McCracken) and references there
NOTES: For background on Henry Joy McCracken, one of the most admirable but perhaps not the most competent of the 1798 rebels, see the notes to "Henry Joy McCracken (I)." According to Terry Golway, _For the Cause of Liberty_, pp. 85, 87-88, is sister Mary Ann (1770?-1866) had tried to smuggle him out of the country before his death, but he was captured before arrangements were completed.
She kept on having ideas. She tried to come with him to the gallows. (Interestingly, he apparently gaveno last speech.) After his hanging, she tried to have a doctor revive him., naturally without success. She then helped care for his illegitimate(?) daughter Maria. Mary Ann McCracken never married, and died in Maria's house. - RBW
File: Moyl111
===
NAME: Henry K. Sawyer [Laws G5]
DESCRIPTION: Henry K. Sawyer is fatally burned when he is trapped under a derailed train. He is taken from the wreck, but all he can do is bid farewell to his wife before he dies
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: train wreck farewell death
HISTORICAL_REFERENCES: June 8, 1848 - Henry Sawyer, superintendent of repairs for the Bangor and Oldtown Railroad, is fatally injured when his train derails
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Laws G5, "Henry K. Sawyer"
Cohen-LSRail, p. 272, "Henry K. Sawyer" (notes only)
DT 757, HENRSAWY
Roud #3249
File: LG05
===
NAME: Henry Lee: see Young Hunting [Child 68] (File: C068)
===
NAME: Henry Martyn [Child 250]
DESCRIPTION: Henry Martin (Martyn), the youngest of three brothers, is chosen by lot to turn pirate "to maintain his brothers and he." Martin overhauls a merchant ship; he either sinks her or is himself mortally wounded
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(181))
KEYWORDS: brother pirate
FOUND_IN: Britain(England(All),Scotland(Aber),Wales) US(Ap,MW,NE,SE,So,SW) Canada(Mar,Newf)
REFERENCES: (19 citations)
Child 250, "Henry Martyn" (5 texts, 1 tune) {Bronson's #42}
Bronson 250, Henry Martyn" (50 versions+2 in addenda)
Belden, pp. 87-89, "Henry Martin" (1 text, called by the singer "Andy Bardan")
Randolph 31, "Andrew Bardeen" (1 text, 1 tune) {Bronson's #50}
Eddy 24, "Henry Martyn" (2 texts, 2 tunes) {Bronson's #16, #47}
Gardner/Chickering 81, "The Three Scotch Robbers" (1 text plus a fragment, 2 tunes) {Bronson's #6, #10}
Flanders/Olney, pp. 72-74, "Andrew Marteen"; pp. 201-203, "Andrew Batan" (2 texts, 2 tunes)  {Bronson's #31, #46}
Flanders-Ancient4, pp. 15-44, "Sir Andrew Barton" "but including Henry Martyn" (11 texts plus a fragment, 10 tunes; in every text but "L," the robber is Andrew Bardeen or something like that, but many of the texts appear more Henry Martin-like) {K=Bronson's #2 tune for Child #167; B=#46, C=#31 for Child #250}
JHCox 150, "Henry Martin" (1 text)
Davis-More 37, pp. 290-299, "Henry Martyn" (1 text)
Creighton/Senior, pp. 86-87, "Henry Martyn" (1 text, 2 tunes) {Bronson's #3, #4}
Karpeles-Newfoundland 22, "Henry Martin" (3 texts, 3 tunes)
Mackenzie 13, "Bolender Martin" (1 text, 1 tune) {Bronson's #17}
Leach, pp. 615-616, "Henry Martyn" (1 text)
Friedman, p. 358, "Henry Martyn" (2 texts, 1 tune) {Bronson's #36}
Sharp-100E 1, "Henry Martin" (1 text, 1 tune) {Bronson's #36}
Silber-FSWB, p. 215, "Henry Martin" (1 text)
DT 250, HENRMART* HENRMRT3
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, pp. 36-37, "Henry Martin" (1 text, 1 tune)
Roud #104
RECORDINGS:
Warde Ford, "Andrew Batan" (AFS 4194 B1, 1938; on LC58, in AMMEM/COWELL) {Bronson's #8 under "Sir Andrew Barton"}
A. L. Lloyd, "Henry Martin" (on ESFB1, ESFB2)
Sam Larner, "The Lofty Tall Ship" (on SLarner01, Voice12);"Henry Martin" (on SLarner02) [I do not know that the two Larner recordings are in fact different -- these two compilations drew from the same collection of field tapes -- but as the titles are given as different I thought it prudent to separate them. - PJS]
Lawrence Older,  "Elder Bordee" (on LOlder01)
Pete Seeger, "Elder Bordee" (on PeteSeeger29)
Phillip Tanner, "Henry Martin" (on FSB5); "Young Henry Martin" (on Voice02) {one of these recordings, which may be the same, is Bronson's #33}
Tony Wales, "Henry Martin" (on TWales1)
BROADSIDES:
Bodleian, Harding B 28(181), "Henry Martin," W. Armstrong (Liverpool) , 1820-1824; also Firth c.12(87), Harding B 11(1367), Harding B 11(4096), 2806 c.16(273), Harding B 17(295a), Harding B 11(4207), Firth b.26(253), Firth c.26(210), "Henry Martin"
CROSS_REFERENCES:
cf. "Sir Andrew Barton" [Child 167] (plot, lyrics)
ALTERNATE_TITLES:
Elder Bordee
NOTES: This ballad cannot always be distinguished in practice from "Sir Andrew Barton" [Child 167]; see also the discussion under that song. - RBW
Having looked at the lyrics to "Elder Bordee," I'd place it somewhat closer to "Henry Martyn" than to "Sir Andrew Barton" [even though the Lawrence Older recording lists it as Child #167]; it's shorter, and it doesn't include the theme of the complaining merchants. Frankly, I think Child goofed when he split these ballads. - PJS
Child had the "advantage," if such it can be called, of seeing only British versions. Those are distinct enough. I've yet to see such clear distinctions in American versions.
Checking through the sources available to me, here are the "votes" of the various scholars:
Barry: One ballad (but with some rather farfetched conjectures about its evolution)
Belden: Apparently two (but based on the close similarities of the "Henry Martin" texts, which really proves only that this is a distinct family)
Bronson: One ballad (apparently, but based mostly on others' comments)
Child: Two ballads (probably), with "Andrew Barton" the elder and the source
Coffin: One ballad, following the arguments from Barry.
Davis: Two ballads
Sharp: Two ballads
Editors who print texts from their collections but state no clear opinion: Cox, Eddy, Flanders, Randolph
- RBW
File: C250
===
NAME: Henry Munroe
DESCRIPTION: At Ballynahinch General Nugent attacks the rebels under Clokey and Munroe. Having exhausted ammunition Munroe escapes. Betrayed by a woman, he was taken and executed. "His head was put up" but retreived by rebels. Young Teeling is alo killed at Killala.
AUTHOR: unknown
EARLIEST_DATE: c.1893 (Young's _Ulster in '98_, according to Moylan)
KEYWORDS: betrayal battle execution rebellion Ireland
HISTORICAL_REFERENCES: June 13, 1798 - Battle of Ballynahinch (source: Moylan)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 85, "Henry Munroe" (1 text)
CROSS_REFERENCES:
cf. "General Monroe" (subject) and references there
cf. "The Frenchmen" (character of Bartholomew Teeling)
NOTES: While sympathetic to the Defender cause the song blames the rebels "In attacking the Government when their strength it was so; It caused many to die like brave Henry Munroe."
"Teeling" is apparently Bartholomew Teeling hanged with Matthew Tone in Dublin (source: Moylan p.87 re "The Frenchmen") - BS
For Munroe/Monroe, see the notes to "General Monroe."
Jim Smyth, _The Men of No Property_, pp. 118-119, describes a whole Teeling family. Luke Teeling was the patriarch, an Ulster linen merchant; he bankrolled some revolutionary publications. His son Charles H. Teeling is described as "The chief architect of the revamped Defenders." Charles's older brother Bartholomew journeyed on foot across most of Ireland, apparently campaigning against the British. A third Teeling, George, seems to have been slightly less active.
Charles Teeling, though not much past twenty, was imprisoned in 1796;  Bartholomew fled to France in 1797 (Smyth, p. 159), to return (and die) with Wolfe Tone.
Thomas Pakenham, _The Year of Liberty_, esp. p. 344, mentions two Teelings, Batholomew and Matthew. The index cites Bartholomew once, and Matthew three times. But the first two references to Teeling do not mention is first name, and the third could be a conflation of Bartholomew Teeling and Matthew Tone. - RBW
File: Moyl985
===
NAME: Henry Stewart
DESCRIPTION: "Our gallant captain to us did say, 'We had better give ourselves up to pray ...' We had scarce lost sight of the Scottish shore When the sea most furiously began to roar." Only Captain Henery Stewart and one man more live to land ashore.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: death sea ship shore storm wreck Scotland
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 99, "Henry Stewart" (1 fragment, 1 tune)
Roud #2773
NOTES: The current description is based on the Creighton-SNewBrunswick fragment. - BS
File: CrSNB099
===
NAME: Henry the Sailor Boy: see Henry and Mary Ann (Henry the Sailor Boy) (File: HHH037)
===
NAME: Henry Was a High-Learnt Man: see Caroline of Edinborough Town [Laws P27] (File: LP27)
===
NAME: Henry, My Son: see Lord Randal [Child 12] (File: C012)
===
NAME: Henry's Downfall: see Van Dieman's Land (II - Young Henry's Downfall) (File: FaE16)
===
NAME: Henry's Tribute: see King Henry Fifth's Conquest of France [Child 164] (File: C164)
===
NAME: Her Age It Was Red: see Crazy Song to the Air of "Dixie" (File: San342)
===
NAME: Her Bonny Blue E'e
DESCRIPTION: The singer describes the beautiful girl "doon by the burn brae," and admits to thinking of her bonny blue eyes when he should be saying his prayers. But he is going across the sea; he must leave her for another to wed. He wishes her happiness
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love beauty separation emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H71, pp. 246-247, "Her Bonnie Blue E'e" (1 text, 1 tune)
Roud #13336
NOTES: Sam Henry claims this is a Scottish song. The only evidence for this is the dialect. The plot seems more typically Irish. - RBW
File: HHH071
===
NAME: Her Bright Smile Haunts Me Still
DESCRIPTION: "It's been a year since last we met, We may never meet again. I have struggled to forget, But the struggle was in vain. For her voice lives in the breeze...." The sailor lives, dreams, and ornately alludes to the memory the sweetheart he left behind
AUTHOR: Words: J. E. Carpenter / Music: W. T. Wrighton
EARLIEST_DATE: 1909 (Heart Songs); reportedly written 1864
KEYWORDS: love separation nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Warner 157, "Her Bright Smile Haunts Me Still" (1 text plus a songster version, 1 tune)
Colcord, pp. 165-166, "Her Bright Smile" (1 text, 1 tune)
Spaeth-WeepMore, pp. 31-32, "Her Bright Smile Haunts Me Still" (1 text, 1 tune)
DT, BRITESML*
Roud #4353
RECORDINGS:
Eleazar Tillett and Martha Etheridge, "Her Bright Smile Haunts Me Still" (on USWarnerColl01)
File: Wa157
===
NAME: Her Servant Man: see The Iron Door [Laws M15] (File: LM15)
===
NAME: Her White Bosom Bare: see Olban (Alban) or The White Captive [Laws H15] (File: LH15)
===
NAME: Herd Laddie, The (The Herdie)
DESCRIPTION: "Oh for the innocent days I hae see, When a' my young thoughts they were happy and keen." In those days he herded the cattle and swam with "wee Jenny,"  then used their clothes for beds. He recalls other details of his early life
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting animal sex home work
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 269-270, "The Herdie" (1 text)
Roud #5594
NOTES: This seems like it should lead to a conclusion -- the girl getting pregnant, the lad getting fired, something. But it doesn't. - RBW
File: Ord269
===
NAME: Herd Laddie's Lament
DESCRIPTION: "A wee laddie sat wi' the tear in his e'e," and complains of his life: His feet are sore, wrapped in unrepairable shoes; he has no money for a new pair. His clothes are just as bad, he is hungry and worked too hard. He wishes for a better master
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work poverty clothes hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 274, "The Herd Laddie's Lament" (1 text)
Roud #5596
File: Ord274
===
NAME: Herdie, The: see The Herd Laddie (The Herdie) (File: Ord269)
===
NAME: Herding Lambs Amongst the Heather: see Queen Among the Heather (File: K141)
===
NAME: Here Come Three Dukes A-Riding: see Three Dukes (File: R551)
===
NAME: Here Come Three Kings A-Riding: see Three Dukes (File: R551)
===
NAME: Here Comes a Duke A-Riding: see Three Dukes (File: R551)
===
NAME: Here Comes a Lusty Wooer
DESCRIPTION: "Herecomes a lusty  wooer, My a Dildin my A Daldin, Here comes a lusty wooer, Lilly bright and shine, A." "Pray who do you woo for?" "For your fairest daughter." "Then there she is for you."
AUTHOR: unknown
EARLIEST_DATE: 1744 (Tommy Thumb's Pretty Song Book)
KEYWORDS: playparty courting
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #26, p. 39, "(Here comes a lusty Wooer)"
Roud #13184
NOTES: The Opies include this in "The Singing Game" -- and it certainly looks like one. On that basis, I include it in the Index, though it seems quite rare. - RBW
File: BGNMG026
===
NAME: Here Comes Three Lawyers: see Three Dukes (File: R551)
===
NAME: Here I Stand All Ragged and Dirty: see All Ragged and Dirty (Here I Stand All Ragged and Dirty) (File: R573)
===
NAME: Here Is the Church
DESCRIPTION: "Here is the church, and here is the steeple. Open the doors and here are the people. Here is the parson going upstairs And here he is a-saying his prayers."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Wood)
KEYWORDS: clergy
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 102, "Here is the church, and here is the steeple" (1 text)
Baring-Gould-MotherGoose #605, p. 240, "(Here is the Church)"
Roud #16226
NOTES: Opie-Oxford2: "Newell (1883) collected the first two lines of the text in the U.S.A." - BS
File: BGMG605
===
NAME: Here Lies de Body uv Po' Little Ben
DESCRIPTION: "Here lies de body uv po' little Ben. We ain't gwyne to see 'im in I dunno when. 'Twas hard to part, but it could 'a' been wuss, 'Case Ben mou'ter been a no-'count cuss." Other verses may float
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death burial floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 440, "Here Lies de Body uv Po' Little Ben" (1 short text, with a second stanza probably from "Watermelon on the Vine")
Roud #11779
File: Br3440
===
NAME: Here Stands an Old Maid Forsaken
DESCRIPTION: Kissing game: "Here stands an old maid forsaken, She's of a contented mind, She's lost her own true lover And wants another as kind; She wants another a kind, sir, I'll have you all to know, She's very well provided for With 45 strings to her bow (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: love courting oldmaid playparty
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 15-16, "Here Stands an Old Maid Forksaken" (1 text, 1 tune)
ST Lins015 (Full)
Roud #8065?
File: Lins015
===
NAME: Here We Come A-Wassailing
DESCRIPTION: "Here we come a-wassailing Among the leaves so green." Chorus: "Love and joy come to you And to you your wassail too, And God bless you and send you a happy new year." The singers remind the listeners that they are not beggars, and bless them
AUTHOR: unknown
EARLIEST_DATE: 1868 (Husk)
KEYWORDS: request ritual drink food begging nonballad wassail
FOUND_IN: Britain(England) US(Ap)
REFERENCES: (5 citations)
Ritchie-SingFam, p. 166, "Wassail Song" (1 fragmentary text, 1 tune)
OBC 15+16, "Wassail Song" (2 texts, 2 tunes)
Silber-FSWB, p. 379, "Wassail Song" (1 text)
DT, WASSCOME* WASSBUD
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #33, "Here We Come A Wassailing" (1 text)
Roud #209
NOTES: The custom of "wassailing" (going from house to house, usually on January 5, begging food, drink and hospitality) is mentioned as far back as the 12th century in England; similar rituals are found across the continent of Europe and in the United States. - (PJS)
"Wassail," incidentally, is from Old English "Wes hael," "Be hale/whole," i.e. "Be in good health."
To tell this wassail song from all the others (most if not all of which are lumped by Roud), consider either the first verse:
Here we come a-wassailing
Among the leaves so green,
Here we come a-wassailing
So fairly to be seen,
or the chorus, not met with in all versions:
Love and joy come to you
And to you your wassail too,
And God bless you and send you a happy new year,
(And God send you a happy new year)
 - RBW
File: JRDF166
===
NAME: Here We Go Gathering Nuts in May: see Gathering Nuts in May (File: R561)
===
NAME: Here We Go in Mourning
DESCRIPTION: "Here we go in mourning, In mourning is my cry, I have gone and lost my true love, And surely I must die." "It's yonder he comes, And it's How do you do? And it's how have you been since I parted from you?" "Come now and let's go and get married."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: courting playparty mourning
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 72, "Here We Go in Mourning" (1 text)
Roud #7871
File: Br3072
===
NAME: Here We Go Looby Loo: see Looby Lou (File: R554)
===
NAME: Here We Go Looby Lou: see Looby Lou (File: R554)
===
NAME: Here We Go Round the Jing-a-ring: see Jingo Ring (Merry-Ma-Tanzie, Around the Ring) (File: Fus173)
===
NAME: Here We Go Round the Mulberry Bush
DESCRIPTION: "Here we go round the mulberry bush, the mulberry bush, the mulberry bush, Here we go round... So early in the morning." "This is the way we wash our clothes." "This is the way we bake the bread." And so forth, through many household tasks
AUTHOR: unknown
EARLIEST_DATE: 1847 (Chambers)
KEYWORDS: work nonballad playparty
FOUND_IN: US(NE)
REFERENCES: (5 citations)
Linscott, pp. 38-40, "Mulb'ry Bush" (1 text, 1 tune)
MHenry-Appalachians, p. 244, (no title) (1 short text)
Scarborough-NegroFS, p. 138, (no title) (1 text, in which the bush becomes a "strawberry bush"!)
Baring-Gould-MotherGoose #638, p. 253, "(Here we go round the bramble bush)"
DT, MULBERBS
Roud #7882
CROSS_REFERENCES:
cf. "Gathering Nuts in May" (tune)
cf. "This Is the Way We Wash Our Clothes" (lyrics)
cf. "The Old Soap-Gourd" (form)
NOTES: Linscott reports this to the tune "Nancy Dawson," also used for "Nuts in May," and they do use the same tune in my experience, though I've never heard it called "Nancy Dawson."
I find it hard to imagine how Scarborough's version about a "strawberry bush" arose; strawberries don't grow on bushes.
There is another song, indexed as "This Is the Way We Wash Our Clothes," which shares lyrics and feeling with this. But it's a doll-dancing song; I've very tantatively split them. - RBW
File: Lins038
===
NAME: Here We Go Up (Hey My Kitty)
DESCRIPTION: "Here we go up, up, up, up, up, Here we go down, down, downy; Here we go over and over and over, And here we go round, round, roundy." "O, my kitty, my kitty, my kitty, O my kitty my dearie, Never was such a kitty as this, Never so far nor neary."
AUTHOR: unknown
EARLIEST_DATE: 1740 (Tea-Table Miscellany, according to Opie-Oxford2)
KEYWORDS: nonballad animal lullaby
FOUND_IN: US(NE) Britain(Scotland)
REFERENCES: (4 citations)
Linscott, pp. 209-210, "Here We Go Up" (1 text, 1 tune)
Opie-Oxford2 288, "Hey, my kitten, my kitten" (1 text)
Baring-Gould-MotherGoose #560, p. 228, "(Oh my Kitten a Kitten)"
Montgomerie-ScottishNR 51, "(Hey my kitten, my kitten)" (1 text)
Roud #3748
NOTES: Linscott claims this is a lullaby. The second verse, perhaps; the first seems more like a rhyme a parent would use while swinging a child through the air. - RBW
File: Lins209
===
NAME: Here, Jola, Here
DESCRIPTION: Used for cornhusking, but perhaps a hunting song: "Jola was a coon dog, Here, Jola, here." "Jola was a possum dog, Here, Jola, here." "Jola was a rabbit dog, Here, Jola, here." "Jola was a bird dog, Here, Jola, here."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: dog nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 207, "Here, Jola, Here" (1 text)
File: Br3207
===
NAME: Here, Rattler, Here: see Old Rattler (File: CNFM104)
===
NAME: Here's a Chorus
DESCRIPTION: "Here's a chorus; -- Irish slaves -- End your quarrels." Remember Emmet and Tone. "Union makes the nations great, End your quarrels." Remember the graves of 1798. "Steel is true and God is just, Chains or laurels"
AUTHOR: R.D. Williams (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion nonballad political Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 167, "Here's a Chorus" (1 text, 1 tune)
NOTES: This song is a plea for the position of the United Irishmen. For information about the early history of the United Irishmen see "The Boys of Wexford." Wolfe Tone, a founder of the United Irishmen, was executed in 1798. United Irishman Robert Emmet was executed in 1803. The Irish rebellion against British rule was started, and put down, in 1798. - BS
For the history of Wolfe Tone, see in particular "The Shan Van Voght." For Robert Emmet, see "Bold Robert Emmet" and the many cross-references there. - RBW
File: Moyl167
===
NAME: Here's a Health To All True Lovers: see The Ghostly Lover (File: GrMa34)
===
NAME: Here's a Health to My Molly
DESCRIPTION: The singer gives a "health to my Molly where ever she be She is worthy of company better than me." If he were a sailor and she a fleeing fish he'd net her. "Of all the pretty maidens lovely Molly's for me"
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond03)
KEYWORDS: love lyric
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #6996
RECORDINGS:
Robert Cinnamond, "Lovely Molly" (on IRRCinnamond03)
File: RcHaHtmM
===
NAME: Here's a Poor Widow: see Poor Widow (File: HHH048f)
===
NAME: Here's a Poor Widow from Sandiland: see Lady of the Land (Here's a Poor Widow) (File: BGMG641)
===
NAME: Here's Adieu to All Judges and Juries
DESCRIPTION: "Here's adieu to all judges and juries, Justice and Old Bailey too; Seven years you've transported my true love, Seven years he's transported you know." The singer wishes he had wings of an eagle to return to Polly. He vows to be rich if he ever returns
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: love separation transportation
FOUND_IN: 
REFERENCES: (2 citations)
Fahey-Eureka, pp. 34-35, "Here's Adieu to All Judges and Juries" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 346-351, "New Jail/Prisoner's Song/Here's Adieu to all Judges and Juries" (1, not collected by Scarborough, of "Judges and Juries," plus 6 texts from her collections)
Roud #300
CROSS_REFERENCES:
cf. "Botany Bay (I)" (theme, lyrics)
cf. "The Fenian's Escape (The Catalpa)" (tune)
NOTES: This may well be the piece from which the music hall song "Botany Bay" arose. The earliest broadsides are dated c. 1815. - RBW
File: FaE034
===
NAME: Here's Adieu to Old England
DESCRIPTION: The singer is leaving parents and sisters and "London city where I took great delight" to join the convoys; "with our twenty-six pounders we will fight blow for blow" and "never will yield"
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: navy war separation nonballad patriotic
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 1002-1003, "Here's Adieu to Old England" (1 text, 1 tune)
Roud #9941
File: Pea1002
===
NAME: Here's an Oul' Widow: see The Rich Widow (File: Lins019)
===
NAME: Here's the Rosebud in June: see Rosebud in June (File: ShH93)
===
NAME: Here's the Tender Coming
DESCRIPTION: "Here's the tender coming, Pressing all the men, Oh! dear, hinny, What shall we do then? Here's the tender coming, Off at Shields Bar...." Despite attempts to avoid the pressgang, "They tyuek maw bonny laddie, Best iv all the crew."
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: pressgang separation
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
Stokoe/Reay, p. 177, "Here's the Tender Coming" (1 short text, 1 tune)
DT, TNDRCOMN*
Roud #3174
File: StoR177
===
NAME: Here's to the Grog (All Gone for Grog)
DESCRIPTION: The singer describes his "nobby, nobby" coat, breeches, etc. All are decrepit, but will not be replaced, for "It's all gone for grog, Jolly, jolly grog... I've spent all my tin with the lassies drinking gin, And across the western ocean I must wander."
AUTHOR: unknown
EARLIEST_DATE: 1904 (Sharp MS.)
KEYWORDS: clothes drink poverty hardtimes sailor
FOUND_IN: Britain(England(Lond,North,South)) Canada(Mar) Australia
REFERENCES: (4 citations)
Kennedy 274, "Here's to the Grog" (1 text, 1 tune)
Creighton-NovaScotia 64, "Western Ocean" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 238-240, "Across the Western Ocean I Must Wander" (1 text)
DT, HEREGROG*
Roud #475
RECORDINGS:
Liam Clancy, "All For Me Grog" (on IRLClancy01)
Tom Newman, "My Old Hat That I Got On" (on Voice13)
ALTERNATE_TITLES:
The Nobby Hat
My Jolly, Jolly Tin
NOTES: Although some versions of this song make no reference at all to the sea, the singer's references to grog (which is technically rum mixed with water) label him as a sailor; only a seaman would speak of grog as opposed to some other sort of alcoholic beverage.
Creighton thinks the song might have originated as a music hall piece. - RBW
File: K274
===
NAME: Hermit of Killarney, The
DESCRIPTION: On Killarney's bank the singer sees a hermit who says "Adieu, adieu, thou faithless world, thou wert not made for me!" The hermit's pitiful condition is recounted. He criticizes the world's pomp, state, and ambition and laments his own credulity. He dies
AUTHOR: George Ogle (1739-1814) (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: dying nonballad river
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 199-204, "The Hermit of Killarney" (1 text)
NOTES: Croker-PopularSongs quotes Mr Weld who believes the inspiration for this song may be "an Englishman, of the name of Ronayn. The spot which he selected for his retreat was this small island, which yet retains his name; and when first I visited Killarney (1800), the ruins of his little habitation, planted in the midst of rocks very near the water, were still visible." Croker also quotes John Bernard Trotter['s reference] to this "celebrated song." - BS
Sir George Ogle the Younger (c. 1740-1814) was a poet and politician born in county Wexford. He served in the Irish parliament in the 1790s, and was briefly a Tory representative to Westminster. His best-known works are considered to be "Banna's Banks" (in the Index as "The Banks of Banna") and "Molly Astore" (in this index as "Gramachree"). - RBW
File: CrPS199
===
NAME: Herod and the Cock: see The Carnal and the Crane [Child 55] (File: C055)
===
NAME: Heroes, British Heroes
DESCRIPTION: "We sing of these soldiers and sailors, The deeds they have done on the foam, But what of the lads that work in the mine? Little of these do we know. They are heroes, British heroes." They face danger and death with no warning, and often die without hope
AUTHOR: unknown
EARLIEST_DATE: 1954 (MacColl-Shuttle)
KEYWORDS: mining death
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
MacColl-Shuttle, pp. 12-13, "Heroes, British Heroes" (1 text, 1 tune)
DT, BRITHERO*
File: MacCS12
===
NAME: Herring Gibbers, The
DESCRIPTION: "It's all about the herring gibbers and how they get along." The packers and gibbers wake and cannot find their pants or socks. Some others laugh at the joke. The song names the captain, second hand, cook and one leaving Newfoundland.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: fishing sea ship derivative moniker
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 132-135, "The Herring Gibbers" (2 texts, 2 tunes)
Roud #667
CROSS_REFERENCES:
cf. "Lumber Camp Song" (theme and tune)
NOTES: Peacock re [the Lumber Camp Song]: "The Herring Gibbers [could be] the original version.  However, considering the fact that the lumbering version has been traced back at least a hundred years I am inclined to give it priority" - BS
The Lumber Camp Song is also much more widespread, making it a better candidate for parodying. Roud resolves the question by lumping the two. - RBW
File: Pea132
===
NAME: Herring Loves the Moonlight, The (The Dreg Song)
DESCRIPTION: "The herring loves the moonlight, The mackerel loves the wind; But the oyster loves the dredging song, For she comes of a gentle kind." The oysters are called, and hearers are urged to buy them.
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould-MotherGoose), with related materials going back to at least 1776 (Herd)
KEYWORDS: food fishing
FOUND_IN: 
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #870, p. 325, "(The herring loves the merry moonlight)"
DT, DREGSONG?
Roud #8628?
NOTES: This is rather a conundrum, though it may be the fault of one or another of the Fisher Family (probably Archie). There is, in Herd, a song beginning "I rade to London yesterday," and continuing
Hay-cock, quo' the seale to the eel,
Cock nae I my tail weel?
Tail-weel, or if hare,
Hunt the dog frae the deer,
This was recorded by Cilla Fisher. The version in the Digital Tradition ends with
The oysters are a gentle kin,
They winna tak unless you sing.
Come buy my oysters aff the bing,
To serve the sheriff and the king,
And the commons o' the land,
And the commons o' the sea;
Hey benedicte, and that's good Latin.
Murray Shoolbraid's Digital Tradition notes imply that this is from another source.
And Archie Fisher has recorded that as "Dreg Song." But he prefaces it with a verse quoted as a Mother Goose rhyme by the Baring-Goulds: "The herring loves the moonlight...." But this is from Walter Scott. So I don't know what genuinely goes with what. For the moment, I'm lumping the whole mess here. - RBW
File: BGMG870
===
NAME: Herring Song, The: see The Red Herring (File: VWL086)
===
NAME: Herring, The: see The Red Herring (File: VWL086)
===
NAME: Hesitation Blues
DESCRIPTION: "Well, standing on the corner with a dollar in my hand, Lookin' for a woman who's lookin' for a man, Tell me, how long do I have to wait...?" The women want to see the money before they become friendly. The singer grumbles about sex
AUTHOR: unknown
EARLIEST_DATE: 1923 (recording, Esther Bigeou)
KEYWORDS: sex whore money
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 507, "I Got de Hezotation Stockings and de Hezotation Shoes" (1 short text, with a verse and chorus from "Hesitation Blues" and a verse from "Wanderin'")
Scarborough-NegroFS, pp. 276-277, (no title) (1 text, beginning "Ships in de ocean, rocks in de sea, Blond-headed woman Mak a fool out of me" but with chorus "Tell me how long I'll have to wait! Oh, tell me, honey, don't hesitate!")
Silber-FSWB, p. 75, "Hesitation Blues" (1 text)
Roud #11765
RECORDINGS:
Allen Brothers, "Can I Get You Now" (Vocalion 02890, 1935)
Jesse Ashlock w. Bill Boyd & his Cowboy Ramblers, "Must I Hesitate?" (Bluebird B-6351, 1936)
Esther Bigeou, "Hesitating Blues" (OKeh 8065, 1923)
Milton Brown & his Musical Brownies, "The Hesitation Blues" (Decca 5266, 1936)
[Richard] Burnett & [Leonard] Rutherford, "Curly Headed Woman" (Columbia 15240-D, 1928, rec. 1927; on KMM)
Sam Collins, "Hesitation Blues" (Gennett 6379, 1927; Champion 15472, 1928; Bell 1173/Supertone 350/Silvertone 5181?, all n.d.; rec. 1927)
Walter "Buddy Boy" Hawkins, "Voice Throwing Blues" (Paramount 12802, 1929; on TimesAint01)
Jim Jackson, "Hesitation Blues (Oh! Baby, Must I Hesitate?)" (Vocalion 1477, 1930)
Sara Martin (& Eva Taylor), "Hesitation Blues" (OKeh 8082, 1923)
Wingy Manone & his orchestra, "Hesitation Blues (Oh! Baby Must I Hesitate)" (Bluebird B-6394, 1936)
Reaves White County Ramblers, "Hesitation Blues" (Vocalion 5217, 1928)
Arthur Smith Trio, "Hesitating Blues" (Bluebird B-8101, 1939)
cf. Charlie Poole and the North Carolina Ramblers, "If the River Was Whiskey" (with verses from this song and "Rye Whiskey"; Columbia 15545-D, 1930; on CPoole02)
NOTES: W. C. Handy produced a song, "The Hesitating Blues" (copyright 1915; see Handy/Silverman-Blues, pp. 100-103) which uses this key line, but it is much more elaborate and with a different plot; I suspect they are separate songs, with one inspiring the other. Though the Brown text shows how mutable such blues can be. - RBW
The Esther Bigeou recording gives the writing credit to Handy; the Sara Martin (note the different title) attributes the song to Billy Smythe & Scott Middletonn. Is it the same song? Are they variants? We need to hear the actual records to sort all this out. - PJS
File: FSWB075
===
NAME: Hesleys, The
DESCRIPTION: Stories about the outcast Hesley family. Mrs. Hesley throws a man's boots in the street for refusing to board with her. She steals sheep. Her daughter cannot not find a husband even when she goes to Newark. And so forth
AUTHOR: unknown
EARLIEST_DATE: 1958
KEYWORDS: family
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 163, "The Buck Sheep-The Hesleys" (1 text+fragment, 1 tune)
ST FSC163 (Partial)
File: FSC163
===
NAME: Hevey's Mare
DESCRIPTION: "The Major," Jemmy at his side, takes Hevey's mare so that he need not chase traitors on foot. Sirr's need was sufficient to name Hevey criminal. But Hevey complains in court. "Adieu to all our seizures ... Loyalty now has few pleasures"
AUTHOR: "Ierne" (R.R. Madden) (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: humorous horse police theft
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 169, "Hevey's Mare" (1 text)
NOTES: Moylan makes "The Major" in this song Major Sandys. Maybe so. In other songs about Jemmy O'Brien (see the notes to "The Major") "The Major" is Town Major Sirr [for whom see, e.g., "The Major" - RBW]. Here is Moylan quoting P.J. McCall: "In turning their prisoners to pecuniary account Sirr and Sandys played into each one another's hands. The Major made the arrests, turned over the prisoners to Sandys and O'Brien (Jemmy the Informer), and the latter duly worked upon their hopes and fears ... [to obtain either] goods or money..... Heavey's liberation cost him a mare..." This, from "Who Killed Cock Robin?" (II):
Who stole the brewer's mare?
His worship turning round,
This soft impeachment owned,
He stole the brewer's mare! - BS
Madden's pen-name of "Ierne" is one of the sundry ancient names for Ireland. - RBW
File: Moyl169
===
NAME: Hexhamshire Lass, The
DESCRIPTION: "Hey for the buff and the blue, Hey for the cap and the feather, Hey for the bonny lass true That lives in Hexhamshire." The singer wishes he could have the girl; he cannot sleep without her, and says his heart will break
AUTHOR: unknown
EARLIEST_DATE: 1812 (Bell)
KEYWORDS: love rejection
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
Stokoe/Reay, pp.  64-65, "The Hexhamshire Lass" (1 text, 1 tune)
DT, (HEXHMLAS)
Roud #3182
CROSS_REFERENCES:
cf. "Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going)" (lyrics)
NOTES: Fragments of this seem to have made their way into Burns's "Ay Waukin Oh" (1790), but it's not really clear if this piece mixes Burns's source with something like "Katie Cruel" or if Burns reworked this song. - RBW 
File: StoR064
===
NAME: Hey Betty Martin
DESCRIPTION: "Hey Betty Martin, tip-toe, tip-toe, Hey Betty Martin, tip-toe fine." Other verses, if there are any, are usually equally simple and may relate to dancing
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: dancing nonballad playparty
FOUND_IN: US(NE,So)
REFERENCES: (4 citations)
Sandburg, p. 158, "Hey Betty Martin" (1 short text, 1 tune)
Botkin-NEFolklr, pp. 587-588, "Hey, Betty Martin!" (1 text, 1 tune)
Silber-FSWB, p. 280, "Hey Betty Martin" (1 text)
Linscott, p. 85, "High, Betty Martin" (1 fragment, 1 tune)
Roud #15418
File: San158
===
NAME: Hey How Johnny Lad
DESCRIPTION: "Hey how, my Johnny Lad, ye're no sae kind's ye sud hae been." The singer complains that Johnny had the opportunity to meet her as her parents were away, but he never arrives. She concludes she needs a more ardent lover.
AUTHOR: unknown
EARLIEST_DATE: 1792 (Scots Musical Museum); known to Herd
KEYWORDS: courting abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (0 citations)
Roud #7148
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(110), "Och Hey, Johnnie Lad," unknown, c. 1840
NOTES: This is found in the fourth volume of the Scots Musical Museum, but it is not known whether it is by Burns or whether he touched it up. The NLScotland broadside is dramatically different from the SMM version. 
File: BrHHJL
===
NAME: Hey Rube: see Si Hubbard (Hey Rube) (File: San350)
===
NAME: Hey the Mantle!
DESCRIPTION: "Early in the morning whan the cat crew day, Hey the mantle! how the mantle! Our gudeman saddl'd the bake-bread and fast rade away...." As he travels, he sees many marvels
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: humorous talltale clothes travel
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kinloch-BBook XII, pp. 45-47, "Hey the Mantle!" (1 text)
ST KinBB12 (Full)
Roud #8149
CROSS_REFERENCES:
cf. "Four and Twenty Tailors" (style)
File: KinBB12
===
NAME: Hey the Rose and the Lindsay, O: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Hey Wi' the Rose and the Lindsay, O: see The Cruel Mother [Child 20] (File: C020)
===
NAME: Hey, Ho, Nobody Home
DESCRIPTION: "Hey, ho, nobody home, Meat nor drink nor money have I none, Yet will I be merry...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 231, "Ho-Hum, Nobody's Home" (1 text)
Silber-FSWB, p. 412, "Hey, Ho, Nobody Home" (1 text)
File: FSWB412G
===
NAME: Hey, Rufus
DESCRIPTION: "Hey Rufus, hey boy, Where in the world you been so long? Hey buddy, hey boy, Well, I been in the jungle, ain't goin' there no more."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: worksong nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 85-86, "(Hey Rufus)" (1 text, 1 tune)
Roud #10994
File: CNFM085
===
NAME: Hey, Then, Up Go We (Hey Boys Up Go We)
DESCRIPTION: "Know this, my brethren, Heaven is clear, and all the clouds are gone: The righteous man shall flourish now, good days are coming on. Then comes my brethren and be glad, and eke rejoice with me... And hey then up go we"
AUTHOR: unknown
EARLIEST_DATE: 1719 (Pills to Purge Melancholy)
KEYWORDS: religious death nonballad
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Chappell/Wooldridge I, pp. 204-208, "Hey, Then Up Go We" (1 tune, partial text)
SAME_TUNE:
Good Fellows all come lend an ear/The Good Fellows Consideration (BBI ZN1002)
Here is a crew of jovial Blades/The Good Fellow Frolick, Or, Kent Street Club (BBI ZN1126)
I walking near a Prison a Wall [sic]/ The Jesuits Exaltation (BBI ZN1343)
As Tom met Roger upon the Road/Tom and Rogers Contract (BBI ZN315)
A thumping lusty country lad/ Love in a Mist (BBI ZN2613)
Come listen young lovers/The Country Lass for me (BBI ZN662)
Come lovers all both great and small/ The Country Lass for me (BBI ZN669)
Come ye merry men all, of Watermans-hall/The Thames Uncas'd (BBI ZN703)
Where have you been, you drunken Dog/A Dialogue between a Baker and his Wife (BBI ZN2903)
Come, England, make a joyful Day/ England's Joy, For the Taking of the Chimney-Money (BBI ZN574)
Now now the Papists all go down/ Popery's Downfal, and The Protestants Uprising..Crowning of King William and Queen Mary (BBI ZN1951)
A Country Lad and bonny Lass/Have-at a Venture (BBI ZN726)
A frolick strange I'le to you tell/The Westminster Frolick, Or, the Cuckold of his own procuring (BBI ZN924)
A story strange I will declare/News from Crutchet- Fryers (BBI ZN2399)
Young maidens all, to you I call/Crafty Maids Invention (BBI ZN3183)
I am a Maiden in my prime/The Wanton Maidens Choice (BBI ZN1209)
You Batchelors that single are/Advice to Batchelors (BBI ZN2993)
Brave Bristol boys, where e're you be/The Brave Boys of Bristol (BBI ZN433)
Walking one Evening in a Grove/The Jesuits Lamentation (BBI ZN2723)
Since women they are grown so bad, I'le lead a single life/The Politick Countreyman (BBI ZN2364)
Fair maids draw near to me awhile/The West Country Maids Advice] (BBI ZN845)
You Dukes and Lords, and English Knights/.. Great Victory at Sea/ ..by Admiral Russel, May 1692 (BBI ZN3007)
See how the Tories drives their trade/A New Ballad, With the Definition of the Word Tory (BBI ZN2328)
The wanton Girls of Graves-end Town have now quite lost my heart/A Farewel to Graves-end (BBI ZN2724)
Now, now King James of high renown/.. Gratulation of King James the Second (BBI ZN1947)
The Lady Marquess and her gang are most in favour seen/Animadversions on the Lady Marquess (BBI ZN1594)
Come, come, my roaring ranting boys/The Merry Boys of Christmas (BBI ZN571)
What silly senseless country clown has put this wit in print/ The Citizen's Vindication Against the Downright Countryman (BBI ZN2810)
This twenty years and more that I have liv'd a single life/The Unsatisfied Lover's Lamentation (BBI ZN2584)
I am a downright Country-man, both faithful, and true/The Downright Country- Man (BBI ZN1195)
NOTES: Yet another song I can't show to have existed in tradition, but which was so popular as a source of broadsides that I think it belongs here. Hard to tell, in this case, why the tune was so popular; it's not particularly effective. Perhaps it was liturgical use. - RBW
File: ChWI204
===
NAME: Hey! John Barleycorn: see John Barleycorn's a Hero Bold (File: K277)
===
NAME: Hi For the Beggarman: see The Gaberlunzie Man [Child 279A] (File: C279A)
===
NAME: Hi Ho Jerum
DESCRIPTION: "There was a rich man and he lived in Jerusalem, Glory hallelujah hi ro je-rum." The rich man rejects a request for help from a "human wreckium." The poor "wreckium" dies and goes to "Heavium"; the rich man ends up in "Hellium"
AUTHOR: unknown
EARLIEST_DATE: Early 1950s (recording, Sam Hinton)
LONG_DESCRIPTION: Macaronic song with pseudo-Latin phrases, e.g. "The rich man died, but he didn't fare so wellium/He couldn't get to Heaven, so he had to go to Hellium." In some versions, it's a retelling of the Dives and Lazarus tale: the poor man at the rich man's gate asks for bread; the rich man calls a "policium"; when they die, the poor man goes to Heaven, the rich man goes to Hell. Chorus inevitably includes the line, "Glory Hallelujah, Hi-Ho-Jerum" or similar.
KEYWORDS: poverty humorous warning hardheartedness death begging Hell
FOUND_IN: US
REFERENCES: (3 citations)
Pankake-PHCFSB, p. 184, "There Was a Rich Man Who Lived in Jerusalem" (1 text, tune referenced)
Silber-FSWB, p. 25, "The Rich Man and the Poor Man" (1 text)
DT, RICHPOOR*
Roud #4571
CROSS_REFERENCES:
cf. "Lazarus and the Rich Man" (theme)
cf. "Dives and Lazarus" [Child 56] (theme)
ALTERNATE_TITLES:
Hi Ro Jerum
NOTES: This, obviously, is Jesus's parable of the rich man and Lazarus, with the names removed and a trace of feeble humor added. For background, see the other Lazarus songs. - RBW
This song has bawdy variants; I'm surprised they didn't turn up in Cray. - PJS
File: FSWB025
===
NAME: Hi Rinky Dum: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: Hi Yo Boat Row: see De Boatman Dance (File: BMRF566)
===
NAME: Hi, Bara Manishee
DESCRIPTION: Travellers' cant. "Hi, bara manishee, will ye bing wi' me?" Translated: "Hi, bonnie lassie, will you go with me?/Hi, bonnie laddie, I didn't know your face/Will you come, will you hurry... to the camp?/If you don't get food, you'll get some drink"
AUTHOR: unknown
EARLIEST_DATE: 1963 (collected from Charlotte Higgins)
KEYWORDS: courting drink food foreignlanguage nonballad Gypsy migrant
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 131, "Hi, Bara Manishee" (1 text, 1 tune)
Roud #6330
File: McCST131
===
NAME: Hibernia's Lovely Jane: see Hibernia's Lovely Jean (File: HHH467)
===
NAME: Hibernia's Lovely Jean
DESCRIPTION: The singer returns to Ireland from fighting in Spain, where he meets Hibernia's Lovely Jane. He says that her beauty exceeds that of goddesses or legendary beauties. But her parents will not let her marry a soldier. The singer despairs
AUTHOR: unknown
EARLIEST_DATE: 1890 (Kenedy)
KEYWORDS: love soldier separation father mother beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H467, p. 428, "Hibernia's Lovely Jane" (1 text, 1 tune)
Roud #4385
File: HHH467
===
NAME: Hicarmichael
DESCRIPTION: The sheriff goes to arrest Hicarmichael on a Sunday; as the sheriff reads the warrant, Hicarmichael shoots him dead. Hicarmichael is arrested and taken to Knoxville. The singer warns listeners not to live a "wrecked" life
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Dillard Chandler)
LONG_DESCRIPTION: The sheriff goes to arrest Hicarmichael, a black man, on a Sunday; as the sheriff reads the warrant, however, Hicarmichael shoots him dead. Hicarmichael is eventually arrested and taken to Knoxville. The singer warns listeners not to live a "wrecked" life, nor to take life, for they cannot give it, and that money will not save them before God
KEYWORDS: violence warning crime homicide law prison punishment death police Black(s)
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
Roud #6981
RECORDINGS:
Dillard Chandler, "Hicarmichael" (on Chandler01)
File: RcHicarm
===
NAME: Hick's Farewell: see The Dying Preacher (Hick's Farewell) (File: R617)
===
NAME: Hickety, Pickety, My Black Hen: see Higgledy Piggledy, My Black Hen (File: BGMG299)
===
NAME: Hickory Dickory Dock
DESCRIPTION: "Hickory Dickory Dock, A mouse ran up the clock, The clock struck one, The mouse fell down...." Other time-related verses may be added.
AUTHOR: unknown
EARLIEST_DATE: c. 1744 (Tom Thumb's Pretty Song Book)
KEYWORDS: animal nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 217, "Hickory, dickory, dock" (1 text)
Baring-Gould-MotherGoose #8, p. 31, "(Hickory Dickory Dock)"
Roud #6489
File: BGMG008
===
NAME: Hicks's Farewell: see The Dying Preacher (Hick's Farewell) (File: R617)
===
NAME: Hidden Still, The: see Good Old Mountain Dew (File: LxA180)
===
NAME: Hide Away (Jonah and the Whale)
DESCRIPTION: Bible tales with warnings for sinners who don't heed: "Get your baggage on the deck and don't forget to take your check For you can't steal on board, hide away." Verses concern Jonah and the whale, Moses and Pharoah, (Daniel, Noah, etc.)
AUTHOR: unknown
EARLIEST_DATE: 1920
KEYWORDS: Bible religious warning humorous
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 286, "Jonah and the Whale" (1 text, 1 tune)
BrownIII 346, "Jonah and the Whale" (6 text and/or fragments, but only the "C" text is this piece; "A" and "B" are "Jonah and the Whale (Living Humble)" and "D"-"F" are "Who Did Swallow Jonah?")
JHCox 133, "Jonah" (1 text)
Roud #7786
RECORDINGS:
Ford & Grace, "Hide Away" (OKeh 45157, 1927)
McCravy Brothers, "Hide Away" (Victor V-40104, 1929)
CROSS_REFERENCES:
cf. "Jonah and the Whale (Living Humble)" (subject)
cf. "Wake Up, Jonah (Jonah III)" (subject)
cf. "Who Did Swallow Jonah?" (subject)
NOTES: I had some difficulty deciding whether to include the Cox "Jonah" song here. It's completely straight, and lacks the lyrics of most of the other versions (including the "hideaway" lines). But it uses the same (somewhat uncommon) metrical pattern, and it's on the same theme, and I don't know of any other similar texts. One or the other song may be a rewrite, but I'm listing both here.
All the texts, of course, are based on the Biblical book of Jonah. The humorous versions exaggerate; Cox's text stays fairly close to the actual content of chapters 1 and 2 of Jonah (except for, at times, calling the fish a "whale"; the Hebrew Bible emphatically says "fish"). - RBW
File: R286
===
NAME: Hide Thou Me: see Rock of Ages (II -- Hide Me Over the Rock of Ages) (File: Br3547)
===
NAME: Hidi Quili Lodi Quili
DESCRIPTION: "Hidi, quili, lodi, quili, Hidi, quili, quackeo, If you'd a-been as I'd a-been, You would a-been so pretty, o!" (Someone) maakes a song, "heels in the path and toes in the grass, Don't take nothing but a dollar and half."
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: music floatingverses work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 206, "Hidi Quili Lodi Quili" (1 text)
NOTES: Listed in Brown as a corn-husking song, but it appears to be more than that. The first two verses look like a song about a migrant singer, or at least a migrant worker who sang, with the first verse being his song.
The third stanza, "The ole fish hawk said to the crow, I hope to the Lord tonight it'll rain; The creeks am muddy and millpond dry; 'Twasn't for tadpoles minnows all die," floats (e.g. from "The Crow Song (I)"); whether it played a role in the original song is unclear. - RBW
File: Br3206
===
NAME: Hielan' Jane: see Highland Jane (File: HHH477)
===
NAME: Hielan's o' Scotland, The: see The Blaeberry Courtship [Laws N19] (File: LN19)
===
NAME: Hieland Jane: see Highland Jane (File: HHH477)
===
NAME: Hieland Laddie
DESCRIPTION: Used by sailors as they stowed cotton or lumber. "Were you ever in Quebec? Bonnie Laddie, Hieland Laddie, Stowing timber on the deck, Bonnie Hieland Laddie"
AUTHOR: unknown
EARLIEST_DATE: 1857
KEYWORDS: nonballad shanty work
FOUND_IN: US(MA,SE) Britain(Scotland) Canada(Que)
REFERENCES: (10 citations)
Doerflinger, pp. 50-51, "Highland Laddie" (2 texts, 1 tune)
Colcord, p. 95, "Highland Laddie" (1 text, 1 tune)
Harlow, pp. 72-73, "Riding on a Donkey" (1 text, 1 tune)
Hugill, pp. 143-150, "Heiland Laddie," "Donkey Riding," "My Bonnie Highland Lassie-O" (5 texts, 5 tunes plus fragments) [AbEd, pp. 115-121]
Sharp-EFC, XXVI, p. 30, "Heave Away, My Johnny" (1 text, 1 tune)
Fowke/Johnston, pp. 38-39, "Donkey Riding" (1 text, 1 tune)
Pankake-PHCFSB, p. 64, "Donkey Riding" (1 text)
Silber-FSWB, p. 96, "Hieland Laddie" (1 text)
DT, DONKEYRD* HIELND* HIELND3* HIELNDLD*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Highland Laddie" is in Part 2, 7/21/1917.
Roud #4691
RECORDINGS:
Pete Seeger, "Hieland Laddie" (on PeteSeeger26)
CROSS_REFERENCES:
cf. "Belle-a-Lee" (floating lyrics)
cf. "Stow'n' Sugar in de Hull Below" (floating lyrics)
cf. "Tommy's Gone to Hilo" (floating lyrics)
cf. "The Powder Monkey (Soon We'll Be in England Town)" (similar chorus)
SAME_TUNE:
Mussel Mou'd Charlie (Kinloch, pp. xi-xiii)
NOTES: Some versions of this song have verses or chorus about "Donkey riding, donkey riding, Riding on a donkey." This is legitimate shipboard technology, referring to a donkey engine (which might indeed need someone "riding" it to keep it running), but also caused the song to be tempting to children.
Since, however, there is no possible way to separate sea versions from kids' versions, I keep them as one song.
Riding the donkey might also be known as "donkeying around." Modern folkies may recognize this from Larry Kaplan's song "Old Zeb." - RBW
File: Doe050
===
NAME: Hieland Rory
DESCRIPTION: This song is about the wedding of Hieland Rory and Mary Morrison. The songs sung and played are listed. "The piper he got drunk" so a fiddler was brought in for the dancing.
AUTHOR: unknown
EARLIEST_DATE: 1971 (recording, Jimmy McBeath)
KEYWORDS: wedding dancing drink music party
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #5146
RECORDINGS:
Jimmy McBeath, "Hieland Rory" (on Voice14)
File: RcHieRor
===
NAME: Higgledy Piggledy, My Black Hen
DESCRIPTION: "Higgledy piggledy, my black hen, She lays eggs for gentlemen, Gentlemen come every day To see what my black hen doth lay, Sometimes nine and sometimes ten, Higgledy piggledy, my black hen."
AUTHOR: unknown
EARLIEST_DATE: 1853 (according to Opie-Oxford2)
KEYWORDS: Bird chickens food
FOUND_IN: 
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #299, p. 171, "(Hickety, pickety, my black hen)"
Opie-Oxford2 209, "Hickety, pickety, my black hen" (1 text)
Roud #13043
CROSS_REFERENCES:
cf. "Cluck Old Hen" (partial theme)
NOTES: The spelling of the first couple of words of this piece vary greatly ("Hickety, pickety," "Hickerty, pickerty," "Higgledy Piggledy"). I doubt any particular form is authoritative, so I spelled it the way I learned it way back when. I don't recall a tune, but there are enough references that it may be a traditional song. - RBW
File: BGMG299
===
NAME: High Above a Theta's Garter: see Far Above Cayuga's Waters (Parodies) (File: EM348)
===
NAME: High Barbaree [Child 285; Laws K33]
DESCRIPTION: (Two) ships meet a pirate man-o-war. In the ensuing battle, the pirate is sunk, disabled, or taken.
AUTHOR: unknown (the "High Barbaree" recension is by Charles Dibdin)
EARLIEST_DATE: 1670 (the title is mentioned 1611; a fragment is found in 1634)
KEYWORDS: battle navy ship pirate
FOUND_IN: Britain(England(South,West),Scotland(Aber)) Ireland US(MA,NE,NW,SE)
REFERENCES: (22 citations)
Child 285, "The George Aloe and the Sweepstake" (1 text)
Bronson 285, "The George Aloe and the Sweepstake" (15 versions)
Laws K33, "High Barbaree"
Shay-SeaSongs, pp. 91-92, "The High Barbaree" (1 text, 1 tune)
Colcord, p. 153, "High Barbaree" (1 text, 1 tune)
Harlow, pp. 161-162, "High Barbaree" (1 text, 1 tune)
Hugill, pp. 419-4212, "High Barbaree" (3 texts, 3 tunes) [AbEd, pp. 320-321]
BarryEckstormSmyth pp. 413-418, "High Barbary" (1 text plus 2 songster and 1 broadside version)
BrownII 118, "High Barbaree" (1 short text)
Chappell-FSRA 25, "The Queen of Russia and the Prince of Wales" (1 text, 1 tune) {Bronson's #14}
Flanders/Brown, pp. 229, "New Barbary" (1 fragment, 1 tune) {Bronson's #8}
Flanders-Ancient4, pp. 176-187, "The Coast of Barbary" (4 texts plus 3 fragments, 5 tunes) {F=Bronson's #8}
Leach, pp. 665-667, "The George Aloe and the Sweepstake"; pp. 777-778, "High Barbaree" (2 texts)
Friedman, p. 399, "The George Aloe and the Sweepstake"; p. 407, "High Barbaree" (2 texts, 1 tune)
OBB 131, "The 'George-Aloe'" (1 text)
Warner 142, "Barbaree" (1 text, 1 tune)
PBB 79, "The Salcombe Seaman's Flaunt to the Proud Pirate" (1 text)
Sharp-100E 12, "The Coasts of High Barbary" (1 text, 1 tune) {Bronson's #1}
Darling-NAS, pp. 100-101, "High Barbaree" (1 text)
Silber-FSWB, p. 91, "High Barbaree" (1 text)
BBI, ZN953, "The George-Aloe and the Sweep-stake too"
DT, HIGHBARB* HIGHBRB3*
Roud #134
RECORDINGS:
Almanac Singers, "The Coast of High Barbary" (General 5017B, 1941; on Almanac02, Almanac03, AlmanacCD1)
Bob Roberts, "High Barbaree" (on LastDays)
NOTES: Scholars continue to debate the relationship between Child's text "The George Aloe..." and the better-known "High Barbaree." Laws considers them separate, as does Roud (listing "The George Aloe" as #6739 and "Barbaree" as #134, which will give you some idea of their relative popularity); Coffin, in Flanders-Ancient4, reports that "High Barbary" retains "little of [its] model beyond the plot outline and the Barbary refrain."
I, obviously, think them the same. (Or, more correctly, regard them as separate recensions, but see no point in separating two songs so often filed together, particularly given the rarity of "The George Aloe.") Bronson doesn't even note the difference.
Frank Shay and Coffin, among others, reports that "High Barbaree" was written by Charles Dibdin (1745-1814), who wrote a number of songs for the Royal Navy (including "Blow High Blow Low"). If so, it seems likely that he was inspired by "The George Aloe..."; I do not consider this by itself reason to separate the two (again, most especially since certain publications do not distinguish them).
The first known text of "The George Aloe..." is found in the Shakespeare/Fletcher play "The Two Noble Kinsmen" (perhaps written c. 1611; printed 1634), Act III.v.59-66 (a section generally attributed to Fletcher):
The _George Alow_ came from the south,
From the coast of Barbary-a;
And there he met with brave gallants of war,
By one, by two, by three-a.
Well hail'd, well hail'd, you jolly gallants!
And whither now are you  bound-a?
O let me have your company
Till [I] come to the sound-a." [The word "I" is missing in the quarto print; conjectured by Tonson.]
Child can find no historical records of a voyage of these ships, particularly in the vicinity of Barbaree. But it is noteworthy that, in the 1540s, Henry VIII had a ship called the _Sweepstake_. According to N. A. M. Rodger, _The Safeguard of the Sea_, p. 181, this ship and three others were set to patrolling Scotland in 1543 (?). And the enemy ship in "The George Aloe" was French, and the English squadron kept a French fleet from joining with the Scots.
We also find a ship called the _Sweepstake_ in commission in the 1580s, commanded by Captain Diggory Piper; she was a privateer who took at least a couple of Spanish ships. This is interesting because Piper seemed to inspire music; there is a "Captain Diggory Piper's Galliard" mentioned on p. 343 of Rodger.
I won't say that either event inspired this song, but it might have influenced the name of the ship. - RBW
File: C285
===
NAME: High Barbary: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: High Blantyre Explosion, The [Laws Q35]
DESCRIPTION: The singer tells of meeting a young girl mourning her lover, John Murphy. Murphy, only 21, was killed in the mines of High Blantyre in a great explosion. She transplants the daisies they walked among to his grave and waters them with her tears
AUTHOR: John Wilson? (source: broadside, NLScotland L.C.Fol.70(46b))
EARLIEST_DATE: 1951 (collected by A. L. Lloyd); c.1877 (broadside, NLScotland L.C.Fol.70(46b))
KEYWORDS: mining death love flowers
HISTORICAL_REFERENCES: Oct 22, 1877 - Explosion at the Dixon Colliery in High Blantyre near Glasgow. Over two hundred are killed
FOUND_IN: US(MA) Britain(Scotland) Ireland
REFERENCES: (4 citations)
Laws Q35, "The High Blantyre Explosion"
Morton-Ulster 6, "The Blantyre Explosion" (1 text, 1 tune)
Morton-Maguire 27, pp. 69-70,115,167, "The Blantyre Explosion" (1 text, 1 tune)
DT 543, BLANTYRX*
Roud #1014
BROADSIDES:
NLScotland, L.C.Fol.70(46b), "The Sorrowful Lamentation of Jane Sneddon for the Loss of her Lover, John Murray, in the Disaster at High Blantyre," unknown, c.1877 
CROSS_REFERENCES:
cf. "The Collier Lad (Lament for John Sneddon/Siddon)" (theme, characters?)
NOTES: Broadside NLScotland L.C.Fol.70(46b) is "signed" by "John Wilson, B.S.,G." - BS
And that broadside poses rather a conundrum, because of the name "Sneddon." The broadside is clearly this song (though unusually full), but the name might well be derived from "The Collier Lad (Lament for John Sneddon/Siddon)." Since both are on the same theme, I have to suspect some sort of connectin. - RBW
File: LQ35
===
NAME: High Chin Bob: see The Glory Trail (High Chin Bob) (File: FCW124)
===
NAME: High Germany
DESCRIPTION: Young man, conscripted into the war in Germany, bids his sweetheart come with him. She demurs, saying she is not fit for war. He offers to buy her a horse, and also to marry her by and by. She laments the war (and/or her pregnancy)
AUTHOR: unknown
EARLIEST_DATE: 1930 (cf. Ord)
KEYWORDS: love war soldier
HISTORICAL_REFERENCES: 1714 - Hannoverian succession causes Britain to become involved in German wars
FOUND_IN: Britain(England) Canada(Newf)
REFERENCES: (5 citations)
Sharp-100E 56, "High Germany" (1 text, 1 tune)
Peacock, pp. 679-680, "High Germany" (1 text, 1 tune)
Silber-FSWB, p. 279, "High Germany" (1 text)
BBI, ZN3231, "O cursed be the wars that ever they began" (?)
DT, WARGRMNY* WARGRMN2*
Roud #904
RECORDINGS:
Phoebe Smith, "Higher Germany" (on PhSmith01, HiddenE)
CROSS_REFERENCES:
cf. "Jack Monroe" [Laws N7]
cf. "William and Nancy I" [Laws N8]
cf. "The Banks of the Nile (Men's Clothing I'll Put On II)" [Laws N9]
cf. "The Manchester Angel"
cf. "Across the Blue Mountain" (floating lyrics)
cf. "The Wars o' Germanie" (lyrics, theme)
cf. "In Low Germanie" (lyrics, theme)
ALTERNATE_TITLES:
The Wars of Germany
NOTES: Sharp cites a date of c. 1780 for this song. That the current forms of the song date from the eighteenth century is almost a historical necessity. The Hannoverian Succession (1714) brought a German prince to the British throne, meaning that English troops might be sent to intervene in German affairs. British interest in Germany ended when Napoleon rebuilt the Holy Roman Empire on his own terms, leaving the Hannoverian princes out of the picture.
This was reinforced a few years later, when King William IV died (1837). William's heir under English law was his niece Victoria, but Hannoverian law did not permit a female succession, so the throne of Hannover fell to Victoria's uncle Ernest. And, of course, Hannover, like the rest of Germany, was absorbed by Prussian in the 1860s and 1870s.
It's also worth noting that, by the nineteenth century, it was common for the wives of British soldiers to accompany them; the army actually made allowance for a certain number of wives per regiment.
In at least one of these cases, that of Fanny Dubberly, she even took a part in the fighting: At Gwalior, India (1858?), cavalrymen of the Eighth Hussars started a charge at the Indian mutineers. Mrs. Dubberly's horse was nearby and joined the charge (without her husband!). It's not clear what she would have done had she caught anyone, since she wasn't really a soldier -- but she did add weight of numbers to the charge. - RBW
File: ShH56
===
NAME: High O, Come Roll Me Over
DESCRIPTION: Shanty. "One man to strike the bell, High-O, come roll me over." Verses continue with "Two men to man the wheel", Three men to'gallant braces", etc.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong cumulative
FOUND_IN: Britain US
REFERENCES: (1 citation)
Hugill, p. 169, "High O, Come Roll Me Over" (1 text, 1 tune) [AbEd, p. 136]
Roud #8294
File: Hugi169
===
NAME: High Rocks o' Pennan, The
DESCRIPTION: "Cauld blaws the wind o'er the high rocks o' Pennan" as the singer laments the absence of Jamie, gone to America. She discusses their parting, at which he complained that the laws are too strict. He promises to fetch her once he has the money
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love separation emigration crime
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 342-343, "The High Rocks o' Pennan" (1 text)
Roud #3944
NOTES: This is the only emigration song I can recall where the singer's main reason is the laws against poaching. The overall feeling reminds me a lot of "Teddy O'Neill" (to which it can be sung), but I doubt there is dependance. - RBW
File: Ord342
===
NAME: High Times in Our Ship
DESCRIPTION: "It's of Martin Hurley, you bet he's not slack, He gets the two Daltons to work his cod trap." They meet rough water but get a good haul. The song continues with episodes showing "high times in our ship."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing sea ship nonballad
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 136-137, "High Times in Our Ship" (1 text, 1 tune)
Roud #9964
ALTERNATE_TITLES:
Martin Hurley
File: Pea136
===
NAME: High Times in the Store
DESCRIPTION: Low on bread, the singers stop at the store at Lance au Loop hoping for help. The shopkeepers complain that they are expected to give bread away. "These are two sturdy old fellows, gives nothing away"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: bargaining rejection shore hardtimes commerce food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 84, "High Times in the Store" (1 text, 1 tune)
ST LLab084 (Partial)
Roud #9976
NOTES: L'Anse au Loup is on the lower Labrador coast on the Strait of Belle Isle. - BS
File: LLab084
===
NAME: High-Toned Dance, The
DESCRIPTION: "Now you can't expect a cowboy to agitate his shanks In the etiquettish fashion of aristocratic ranks." The singer is out of his depth at a  dance in Denver. Still, the ladies enjoy the chance "To see an old-time puncher at a high-tone dance."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, Wilf Carter)
KEYWORDS: cowboy dancing humorous
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 104, "The High-Toned Dance" (1 text, 1 tune)
Roud #11094
RECORDINGS:
Wilf Carter, "The Cowboy's High-Toned Dance" (Bluebird [Canada] B-4991, 1935)
CROSS_REFERENCES:
cf. "The Mormon Cowboy (I)" (plot)
File: FCW104
===
NAME: High-Topped Shoes: see Don't Let Your Deal Go Down; also Who Will Shoe Your Pretty Little Foot (File: CSW182)
===
NAME: High, Betty Martin: see Hey Betty Martin (File: San158)
===
NAME: Highbridge (Through Every Age, Eternal God)
DESCRIPTION: Shape note hymn: "Through every age, eternal God, thou art our rest, our safe abode; High was thy throne ere heav'n was made Or earth thy humble footstool laid." "Death, like an overflowing stream, Sweeps us away; Our life's a dream, an empty tale..."
AUTHOR: Words: Isaac Watts
EARLIEST_DATE: 1707
KEYWORDS: religious Bible nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 155, "Highbridge" (1 text, 1 tune)
Roud #15052
RECORDINGS:
Singers from Stewart's Chapel, Houston, MS, "Stratfield" (on Fasola1) 
NOTES: This is set to the tune "Highbridge" in the Missouri Harmony but to "Stratfield" in the Sacred Harp. There is a second Sacred Harp version, opening with the "Death, like an overflowing stream" stanza, which has the most evocative tune-name "Exit."
The "Death like an overflowing stream" stanza is in the Missoury Harmony with the tune Amanda. - RBW
File: San155
===
NAME: Highland Jane
DESCRIPTION: The singer overhears another cry, "I have lost my bonny bride, My bonny blooming hielan' Jane." He describes her beauty. She was taken away soon after marriage. He hopes that death will soon take him as well
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: death separation marriage mourning
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H477, p. 140, "Hielan' Jane" (1 text, 1 tune)
Roud #2554
File: HHH477
===
NAME: Highland Laddie: see Hieland Laddie (File: Doe050)
===
NAME: Highland Maid, The
DESCRIPTION: "Again the laverock seeks the sky And warbles dimly seen... Nae mair can cheer this heart forlorn, Or charm the Highland Maid." "My true love fell by Charlie's side." Her home is lonesome, her sleep troubled; the girl hopes to join him in the grave
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: Jacobites death battle soldier separation
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 297, "The Highland Maid" (1 text)
Roud #2183
CROSS_REFERENCES:
cf. "The Harp that Once through Tara's Halls" (tune)
NOTES: Ord attributes this to William Blair, listed as being born in 1880. Given how often the song shows up in Grieg, I have to think either the name or the date wrong. - RBW
File: Ord297
===
NAME: Highland Mary
DESCRIPTION: "Ye banks, and braes, and streams around The castle o' Montgomery, Green be your woods... For there I took the last fareweel O' my sweet Highland Mary." The singer recalls their love and their parting and laments her death
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1792 (original publication)
KEYWORDS: love courting separation farewell death
HISTORICAL_REFERENCES: 1786 - Romance between Robert Burns and Mary Campbell. They met in spring and pledged faith at their parting in May; Campbell died that autumn, probably of typhus
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (2 citations)
Creighton/Senior, p. 161-162, "Highland Mary" (1 texts, 1 tune, including 3 stanzas not part of the Burns poem)
DT, HIGHMARY
Roud #1095
RECORDINGS:
Brigid Tunney, "Burns and His Highland Mary" (on IRTunneyFamily01)
BROADSIDES:
NLScotland, L.C.1270(001), "Highland Mary," unknown, c. 1845; also RB.m.143(029), "Highland Mary," unknown, c. 1890
CROSS_REFERENCES:
cf. "Katharine Ogie" (tune)
cf. "Burns and His Highland Mary" [Laws O34] (subject)
NOTES: The Brigid Tunney song on IRTunneyFamily01 is mis-titled. On the recording itself Brigid Tunney identifies the song as "Highland Mary." - BS
File: CrSe161
===
NAME: Highland Soldier, The: see The Gallant Soldier (Mary/Peggy and the Soldier) (File: HHH473)
===
NAME: Highly Educated Man, The: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: Highway Robber, The: see The Highwayman Outwitted [Laws L2] (File: LL02)
===
NAME: Highwayman Outwitted, The [Laws L2]
DESCRIPTION: A highwayman stops a merchant's daughter. When she dismounts, her horse runs home with her money. He abuses her and strips her, then has her hold his horse as he bundles up his gains. She jumps on the horse and rides home, still naked but with his money
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian 2806 c.18(142))
KEYWORDS: outlaw escape clothes
FOUND_IN: Canada(Newf) Britain(England)
REFERENCES: (6 citations)
Laws L2, "The Highwayman Outwitted"
Logan, pp. 133-136, "The Maid of Rygate" (1 text)
Greenleaf/Mansfield 21, "The Highway Robber" (1 text)
Peacock, pp. 226-228, "The Rich Merchant's Daughter" (1 text, 2 tunes)
MacSeegTrav 89, "The Highwayman Outwitted" (1 text, 1 tune)
DT 682, HIOUTWIT
ST LL02 (Full)
Roud #2638
RECORDINGS:
Wiggy Smith, "There Was a Rich Farmer at Sheffield" (on Voice11)
BROADSIDES:
Bodleian, 2806 c.18(142), "The Highwayman Outwitted by the Farmer's Daughter," J. Pitts (London), 1802-1819; also Harding B 11(92), Firth c.17(17), "The Lincolnshire Farmer's Daughter"
CROSS_REFERENCES:
cf. "The Crafty Farmer" [Child 283; Laws L1]
NOTES: It's just possible that this has a real-life origin, though I doubt it: David Brandon, in _Stand and Deliver! A History of Highway Robbery_, pp. 29-31, reports that one Isaac Atkinson held up a young woman, who -- apparently thinking he wanted something harder to recover than her money -- threw a bag of coins in the ditch. Atkinson, instead of either pursuing his seduction or doing anything to control the girl, simply jumped off his horse to pick up the coins.
The girl then flew away on her horse, and by chance his horse followed. She was able to report where she had left him, and he was taken and hanged.
Brandon, however, cites no sources; I almost wonder if his tale wasn't based on this, or perhaps on something like "The Crafty Farmer" and/or "Lovely Joan."  - RBW
File: LL02
===
NAME: Hills Above Drumquin
DESCRIPTION: "Drumquin, you're not a city, but you're all the world to me." The singer has seen the Scottish Highlands and Lowlands but "always toiled content" because at the end of the day his heart goes back to Drumquin.
AUTHOR: Felix Kearney (source: Tunney-SongsThunder)
EARLIEST_DATE: 1951 (Tunney-SongsThunder)
KEYWORDS: nonballad lyric
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 68-70, "Hills Above Drumquin" (1 text)
Roud #9320
NOTES: Drumquin is in County Tyrone. - BS
File: TST068
===
NAME: Hills and Glens, The
DESCRIPTION: The singer was born "on North River's sloping bank" and lived 40 years among "the hills and glens around St Ann's. He taught, opened a store, and loses two sons and a cousin in the army "killed in France ... while fighting the Germans"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Creighton-Maritime)
KEYWORDS: war death soldier children
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 210, "The Hills and Glens" (1 text, 1 tune)
Roud #2726
NOTES: Creighton-Maritime: "The war referred to is that of 1914-1918" - BS
File: CrMa210
===
NAME: Hills o' Ballyboley, The
DESCRIPTION: The singer recounts the pleasures of life in Ballyboley: The birds, the flowers, the friends. He says that no such flowers grow elsewhere. Even now, grown old, he remembers the beauties of the place
AUTHOR: William Hegan
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H511, pp. 157-158, "The Hills o' Ballyboley" (1 text, 1 tune)
Roud #13454
File: HHH511
===
NAME: Hills of Cumberland
DESCRIPTION: The singer meets "the Rose of Cumberland" who invites him to sit and talk; she babbles. He explains that he is from a nearby village "where there are maidens just as handsome" and advises her to let her beauty speak for her rather than her mouth.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: courting beauty rejection
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 110-111, "Hills of Cumberland" (1 text, 1 tune)
Roud #12458
NOTES: This is a Prince Edward Island song not to be confused with the similar ballad Bodleian, Harding B 11(1205), "The Blooming Rose of Cumberland," W. Stephenson (Gateshead); , 1821-1838 ; also Harding B 25(220), "The Blooming Rose of Cumberland." Cumberland Hill is near Dundas near the east coast of Kings, Prince Edward Island. - BS
File: Dib110
===
NAME: Hills of Dan, The
DESCRIPTION: "The world is not one garden spot Or pleasure ground for man; Few are the spots that intervene Such as the Hills of Dan." The singer recalls the weather and the friends now buried; though he departs, he hopes in the end to "rest Amid the Hills of Dan"
AUTHOR: unknown
EARLIEST_DATE: 1947 (Greensboro Daily News)
KEYWORDS: home nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 403, "The Hills of Dan" (1 text)
Roud #11759
NOTES: Although the only collections of this seem to be from North Carolina, it *really* sounds Irish to me. - RBW
File: Br3403
===
NAME: Hills of Donegal, The
DESCRIPTION: "Oh, Donegal, the pride of all, My heart still turns to thee...." The singer describes how he left Donegal, looking back the while, and sailed away via Lough Foyle. He wishes he could return to his old home
AUTHOR: James Moore ?
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: homesickness emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H196, p. 120, "The Hills of Donegal (1 text, 1 tune)
Roud #10685
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH196
===
NAME: Hills of Glenshee, The: see The Lass of Glenshee [Laws O6] (File: LO06)
===
NAME: Hills of Glensuili, The
DESCRIPTION: An exile curses "those tyrannical laws that bind our native land" and thinks about the birds, fields, and dances of Glensuili. He has left his harp there to remind those left behind of him. He hopes "the time soon come around when I'll return"
AUTHOR: Michael and Brigid McGinley (source: notes to IRPTunney02)
EARLIEST_DATE: 1963 (IRPTunney02)
KEYWORDS: exile separation Ireland nonballad patriotic harp
FOUND_IN: Ireland Britain(Scotland(Aber))
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 97-99, "The Hills of Glensuili" (1 text)
McBride 36, "Glenswilly" (1 text, 1 tune)
Roud #5087
RECORDINGS:
Paddy Tunney, "The Hills of Glenswilly" (on IRPTunney02)
CROSS_REFERENCES:
cf. "The Hills of Tandragee (I)" (form, lyrics, tune)
NOTES: Loch Suili and Gleann Suili (Glenswilli), mentioned in the song, are in Donegal, Ireland.
This is the same song, with only place names and a few words changing the political viewpoint, as "The Hills of Tandragee (II)." The tunes of McBride 36, and Morton-Ulster 41, "The Hills of Tandragee" are very similar. Morton-Ulster: "Here's a fairly modern Orange song ["The Hills of Tandragee"], and a great favorite among 'the brethren' because they can all join in on the last line of each verse. Dick Bamber, who gave it to me, is generally credited as the writer, but he tells me this is not correct. An old lady who lived beside him in Ballylisk near Tandragee, 'wrote it years ago.' It is a parody of a song she had on an old 78 r.p.m. record called 'The Hills of Glenswilly'. Just how long ago she wrote it he doesn't remember, but he says she gave it to him and he was the first to sing it in public. Now it's an Orange standard." These songs are not to be confused with "Craiganee," sometimes called "The Hills of Tandragee"; there is no love interest here.
Also collected and sung by Kevin Mitchell, "The Hills of Glen Swilly" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: TST097
===
NAME: Hills of Mexico, The: see Boggy Creek or The Hills of Mexico [Laws B10b] (File: LB10B)
===
NAME: Hills of Tandragee (I), The
DESCRIPTION: The singer says to those who see him leave Tandragee that he hopes the Orange flag will soon fly over its hills. He thinks about the birds and fields of Tandragee. He hopes for peace in Ulster and that "the time soon come around when I return"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: emigration farewell Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 41, "The Hills of Tandragee" (1 text, 1 tune)
Roud #2884
CROSS_REFERENCES:
cf. "The Hills of Glensuili" (form, lyrics, tune)
NOTES: This is the same song, with only place names and a few words changing the political viewpoint, as "The Hills of Glensuili." The tunes of McBride 36, "Glenswilly," and Morton-Ulster 41 are very similar.
Morton-Ulster: "Here's a fairly modern Orange song, and a great favorite among 'the brethren' because they can all join in on the last line of each verse. Dick Bamber, who gave it to me, is generally credited as the writer, but he tells me this is not correct. An old lady who lived beside him in Ballylisk near Tandragee, 'wrote it years ago.' It is a parody of a song she had on an old 78 r.p.m. record called 'The Hills of Glenswilly'. Just how long ago she wrote it he doesn't remember, but he says she gave it to him and he was the first to sing it in public. Now it's an Orange standard."
These songs are not to be confused with "Craiganee," sometimes called "The Hills of Tandragee"; there is no love interest here. - BS
File: MorU041
===
NAME: Hills of Tandragee (II), The: see Craiganee (File: HHH749)
===
NAME: Hills of Tyrone, The
DESCRIPTION: The singer recalls watching the sun rise this morning in Tyrone. He is already far away, ready to sail away. He reports that his heart is breaking at leaving home, friends, girl. He says he will always regard it as the fairest place on earch
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: emigration farewell
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H609, p. 199, "The Hills of Tyrone" (1 text, 1 tune)
Morton-Maguire 4, pp. 6,101,156, "Behind Yon Blue Mountain" (1 text, 1 tune)
Roud #2925
File: HHH609
===
NAME: Hillsville, Virginia: see Sidney Allen [Laws E5] (File: LE05)
===
NAME: Hilo, Boys, Hilo
DESCRIPTION: Halyard shanty. "The blackbird sang unto the crow, Ch: Hi-lo boys Hi-lo! I'll soon be takin' you in tow, Ch: Oh! Hilo somebody below." Other verses have the birds talking to each other or to the crew.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong bird
FOUND_IN: US
REFERENCES: (1 citation)
Hugill, pp. 254-255, "Hilo, Boys, Hilo," "Hilo, Come Down Below" (2 texts, 2 tunes) [AbEd, pp. 185-186]
Roud #8291
CROSS_REFERENCES:
cf. "The Crow Song (I)" (lyrics)
SAME_TUNE:
Shallow Brown (II) (File: Hugi257)
ALTERNATE_TITLES:
Hilo Somebody Below
Hilo Somebody Hilo
NOTES: Both [of Hugill's] versions are of Negro origin and likely began as cotton-hoosier's songs. - SL
Several verses, indeed, appear to be derived from "The Crow Song (I)." One suspects that this is an adaption of that for use at sea -- or perhaps the reverse. - RBW
File: Hugi254
===
NAME: Hilo, Come Down Below: see Hilo, Boys, Hilo (File: Hugi254)
===
NAME: Hilo, Johnny Brown: see Sally Brown (File: Doe074)
===
NAME: Hilo, My Ranzo Way: see Huckleberry Hunting (File: Doe032)
===
NAME: Hind Etin [Child 41]
DESCRIPTION: Lady Margaret is lured by a sound to Elmond's Wood, where (Akin/Etin) keeps her while she bears 7 sons. The eldest seeks to know why his mother is sad, then accomplishes (a reunion with her family, a pardon for his father, and) a churching for all.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: pregnancy captivity children escape
FOUND_IN: Britain(Scotland)
REFERENCES: (7 citations)
Child 41, "Hind Etin" (3 texts)
Bronson 41, "Hind Etin" (2 versions)
Leach, pp. 141-148, "Hind Etin" (2 text -- 1 from Danish)
OBB 36, "Hynd Etin" (1 text)
PBB 21, "Hind Etin" (1 text)
DBuchan 28, "Hind Etin" (1 text)
DT 41, HINDETIN*
Roud #33
File: C041
===
NAME: Hind Horn [Child 17]
DESCRIPTION: Jean gives Hind Horn a ring that will tell him if her love remains true. When the ring fades, he sets out for court disguised as a beggar. He shows her the ring, and her love returns. "The bridegroom has wedded the bride but... Hind Horn took her to bed"
AUTHOR: unknown
EARLIEST_DATE: 1825 (Motherwell)
KEYWORDS: magic love wedding
FOUND_IN: US(NE) Britain(England(South),Scotland) Canada(Mar,Newf)
REFERENCES: (18 citations)
Child 17, "Hind Horn" (9 texts, 1 tune) {Bronson's #23}
Bronson 17, "Hind Horn" (23 versions plus 2 in addenda)
BarryEckstormSmyth pp. 73-80, "Hind Horn" (1 text (with two variant forms) plus a fragment, 2 tunes); pp. 479-481 (additional notes and fragments) {Bronson's #4, #5}
Flanders/Olney, pp. 47-48, "Hind Horn" (1 short text, properly titled "The Jolly Beggar," which might be "Hind Horn" [Shild #17] or "The Jolly Beggar" [Child #279] or a mix; 1 tune) {Bronson's #18}
Flanders-Ancient1, pp. 223-225, "Hind Horn" (1 short text, properly titled "The Jolly Beggar," which might be "Hind Horn" [Shild #17] or "The Jolly Beggar" [Child #279] or a mix; 1 tune) {Bronson's #18}
Creighton/Senior, pp. 11-17, "Hind Horn" (3 texts plus 2 fragment, 3 tunes) {C=Bronson's #17, E=#22}
Creighton-Maritime, p. 5, "Hind Horn" (1 text, 1 tune) 
Greenleaf/Mansfield 5, "The Beggarman" (1 text, 1 tune) {Bronson's #21}
Karpeles-Newfoundland 4, "Hind Horn" (1 text, 2 tunes) {Bronson's #2}
Ives-DullCare, pp. 72-73,246,252, "The Old Beggar Man" (1 text, 1 tune)
Manny/Wilson 55, "The Old Beggar Man (Hind Horn)" (1 text, 1 tune)
Leach, pp. 96-100, "Hind Horn" (2 texts)
OBB 35, "Hynd Horn" (1 text)
Niles 12, "Hind Horn" (1 text, 1 tune, plus a single stanza which might be this ballad -- but could be something else)
Gummere, pp. 260-262+357, "Hind Horn" (1 text)
DBuchan 44, "Hind Horn" (1 text)
HarvClass-EP1, pp. 59-61, "Hind Horn" (1 text)
DT 17, HINDHORN  HNDHORN2* HNDHORN3*
Roud #28
RECORDINGS:
Edmund Doucette, "The Old Beggar Man" (on MREIves01)
CROSS_REFERENCES:
cf. "The Kitchie-Boy" [Child 252] (lyrics)
cf. "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)" (tune)
SAME_TUNE:
The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat) (File: K295)
ALTERNATE_TITLES:
The Pale Ring
The Jeweled Ring
NOTES: For Bronson's proposed relationship between this song and "The Whummil Bore" [Child 27], see the entry on that piece.
Literary historians have connected this ballad with the thirteenth century romance "King Horn" (who lost his kingdom to Saracens, then won it and his sweetheart back after heroic adventures) -- but if so, there has been a lot of folk processing along the way.
Child mentions the romance, but notes that the ballad contains only the "catastrophe" of the written epic.
The Horn legend found in"King Horn" appears in various forms. "King Horn" itself is listed as "the earliest of the extant romances in [Middle English]" (Bruce Dickins & R. M. Wilson, _Early Middle English Texts_, p. 29), and exists in three manuscripts: Cambridge Univeristy Library Gg.4.27.II (XIII century), Bodleian Laud Misc. 108 (early XIV century), and B.M. Harley 2253 (early XIV century), the latter the famous source of the "Harley Lyrics."
The legend also appears in a French epic, "Horn et Rimel," and there is a second English version, probably of the fourtheenth century, called "Horne Childe."
According to Garnett and Gosse, _English Literature: An Illustrated Record_, volume i, p. 115, "King Horn is another romance with a Scnadinavian groundwork going back to thetime of the expeditions of the Danish Vikings before their conversion to Christianity." 
Garnett and Gosse add that it has "no great poetical merit." In support of this we might note that the meter is so irregular that scholars have not even managed to agree on whether it's supposed to be trochaic or iambic!
Several other ballads also derive loosely or from Middle English romance, or from the legends that underly it, examples being:
* "King Orfeo" [Child 19], from "Sir Orfeo" (3 MSS., including the Auchinlek MS, which also contains "Floris and Blancheflour")
* "The Marriage of Sir Gawain" [Child 31], from "The Weddynge of Sir Gawe and Dame Ragnell" (1 defective MS, Bodleian MS Rawlinson C 86) 
* "Blancheflour and Jellyflorice" [Child 300], from "Floris and Blancheflour" (4 MSS, including Cambridge Gg.4.27.2, which also contains "King Horn," and the Auchinlek MS, which also contains "Sir Orfeo")
Of these ballads from romances, this is the only one that really seems to have gone solidly in tradition ("Sir Orfeo" came from tradition, but in circumstances that make a minstrel origin a strong possibility).
Child has a very extensive discussion of the relationship between this ballad and the literary romances.
Incidentally, it appears that some of the language of "King Horn" influenced J. R. R. Tolkien. - RBW
File: C017
===
NAME: Hinky Dicky, Parlee-Voo: see Mademoiselle from Armentieres (File: RL513)
===
NAME: Hinky Dinky Parley-Voo?: see Mademoiselle from Armentieres (File: RL513)
===
NAME: Hiram Hubbard: see Hiram Hubbert [Laws A20] (File: LA20)
===
NAME: Hiram Hubbert [Laws A20]
DESCRIPTION: Hiram Hubbard is captured and brought to trial. Although he is not guilty of anything, he is tried and convicted on the evidence of his captors. He makes a will and is summarily shot. (He is reported to have been ninety miles from the crime scene.)
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: trial execution lastwill trial Civilwar
FOUND_IN: US(Ap)
REFERENCES: (4 citations)
Laws A20, "Hiram Hubbert"
Combs/Wilgus 48, pp. 171-172, "Hiram Hubbert" (1 text)
Ritchie-Southern, p. 77, "Hiram Hubbard" (1 text, 1 tune)
DT 367, HIRAMHUB*
Roud #2208
RECORDINGS:
Jean Ritchie & Doc Watson, "Hiram Hubbard" (on RitchieWatson1, RitchiteWatsonCD1)
NOTES: Reported to be "an echo of the guerilla warfare in the [Kentucky/Tennessee?] Highlands during the Civil War" (indeed, the RItchie text refers explicitly to rebels) This strikes me as not unlikely. These regions were filled with Unionists who did not like the fact that their states had put them into the Confederacy. It took the Union two years to get troops to Knoxville. Until they did, there was generally trouble between the locals and the Confederate government.
I have not located any actual references to a Hiram Hubbard who was executed in this period. - RBW
File: LA20
===
NAME: Hireing Fairs of Ulster, The: see The Hiring Fairs of Ulster (File: OLcM025)
===
NAME: Hireman Chiel, The
DESCRIPTION: A baron's son disguised as a laborer wins the heart of a young lady. Her parents do not approve, but they escape together and at last the young man reveals his station.
AUTHOR: unknown
EARLIEST_DATE: 1908 (collected by Ord from Robert Mellis)
LONG_DESCRIPTION: A baron's son, told by his father to marry, disguises himself as a laborer to find a lady who will marry for love. He sees a beauty at a castle gate, and gets himself hired by the grieve. The lady falls in love (of course), and writes him a letter to arrange a meeting. They meet, declare their love, and arrange to meet again by night, with the young man's assurances not to wrong her honor. They begin meeting every night, and her parents become suspicious. She tells the young man of her father's threats to hang him, and he scoffs at them. But they are overheard and confronted by her mother. The young man departs, telling the mother her daughter is still marriageable. A nobleman courts and wins the young lady, but as they are going to be married the young man reappears and the two lovers escape. The father pursues them to the young man's home. His identity revealed, the young man asks the father's blessing, saying, "Seven years I served for her sake, But now I've got my fee."
KEYWORDS: courting disguise nobility worker love virginity family
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Ord, pp. 480-486, "The Hireman Chiel" (1 text)
DBuchan 64, "The Hireman Chiel" (1 text, 1 tune in appendix)
ST DBuch64 (Full)
Roud #5624
NOTES: That last section ("Seven years I served for her sake, But now I've got my fee") sounds to me very much like an echo of the story of Jacob, Rachel, and Laban (Gen. 29:15-30) -- but I suppose it could be coincidence. - RBW
File: DBuch64
===
NAME: Hiring Fair at Hamiltonsbawn, The
DESCRIPTION: At the Hamiltonsbawn hiring fair the singer hires for six winter months to Tom McCann. After one good meal, the food "no human eye could stand," the work is hard, the fleas unbearable at night. "My trousers got too wide ... my hair got like a wig"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: humorous hardtimes farming food bug work clothes bug
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 23, "The Hiring Fair at Hamiltonsbawn" (1 text, 1 tune)
Roud #2890
CROSS_REFERENCES:
cf. "Bad Luck Attend the Old Farmer" (subject: hiring fair servant's half-year term hard times)
NOTES: Morton-Ulster: "If you travel the road from Armagh City to Tandragee, you pass through the snug town of Hamiltonsbawn.... Hiring fairs were in full swing up to fifty years ago and the one at 'the Bawn' is remembered as recently as forty years ago [c.1929].... May and November seem to have been the months favoured for 'hiring'; no doubt because May marked the beginning of the harvest season and November heralded preparation of the ground and planting." - BS
File: MorU023
===
NAME: Hiring Fair, The
DESCRIPTION: On the way to Strabane, or Antrim, singer meets a maid on the way to the hiring fair. He offers his umbrella to keep her from the rain. They stop for drinks and miss the fair. They spend the night, marry next day, and have been happy since.
AUTHOR: unknown
EARLIEST_DATE: 1952 (IRTunneyFamily01); c.1845 (broadside, NLScotland L.C.1270(018))
KEYWORDS: courting marriage drink work travel
FOUND_IN: Ireland
REFERENCES: (3 citations)
McBride 39, "The Hiring Fair" (1 text, 1 tune)
Morton-Ulster 24, "The Hiring Fair" (1 text, 1 tune)
Morton-Maguire 14, pp. 34-35,106,162, "The Strabane Hiring Fair" (1 text, 1 tune)
Roud #2905
RECORDINGS:
Michael Gallagher, "The Hiring Time" (on IRTunneyFamily01)
CROSS_REFERENCES:
cf. "The Feeing Time (I)" (plot)
NOTES: This follows the same general story line as "The Maid of Lismore" but ends happily. - BS
The similarity to "The Feeing Time (I)" is even greater; it's esentially the same plot, and there are some common lyrics as well. They maybe the same song. But it clearly falls into Scottish and Irish families, so -- with some hesitation -- I've allowed them to stay separate. - RBW
File: RcHiriFa
===
NAME: Hiring Fairs of Ulster, The
DESCRIPTION: In May there are hiring fairs for servants in Ulster. Plough boys, dairy maids, cowboys and shoe boys, labouring boys and kitchen maids are interviewed by farmers. "The servants' wages now should rise" to offset rising prices
AUTHOR: unknown
EARLIEST_DATE: 1945 (OLochlainn-More)
KEYWORDS: work nonballad money
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 25, "The Hiring Fairs of Ulster" (1 text, 1 tune)
Hayward-Ulster, pp. 89-90, "The Hireing Fairs of Ulster" (1 text)
Roud #6533
CROSS_REFERENCES:
cf. "The Hiring of the Servants" (subject)
cf. "Copshawholm Fair" (subject)
File: OLcM025
===
NAME: Hiring of the Servants, The
DESCRIPTION: "The time of the hiring is coming." Working conditions on Irish farms are hard and "not like the day of the good old time." Farmers are warned that Ireland's youth are going to England for better wages; "You must double their wages or give up your land"
AUTHOR: Patrick O'Sullivan (source: broadside Bodleian 2806 c.8(218))
EARLIEST_DATE: 1976 (recording, Jamesy McCarthy)
KEYWORDS: farming England Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #12936
RECORDINGS:
Jamesy McCarthy, "Come To the Hiring" (on Voice20)
BROADSIDES:
Bodleian, 2806 c.8(218), "The Hiring of the Servants" ("Young men and maidens draw near for awhile"), unknown, n.d.
CROSS_REFERENCES:
cf. "Spailpin Fanac" and references there
cf. "The Hiring Fairs of Ulster" (subject)
File: RcHirOTS
===
NAME: His Jacket Was Blue: see Jacket So Blue, The (The Bonnet o' Blue) (File: FSC43)
===
NAME: His Lordship Had a Coachman
DESCRIPTION: His Lordship discharges coachman John. John claims to be the finest coachman alive. To demonstrate, "I'll drive you all around Belfast town, And I won't go through a street." His Lordship agrees John can keep his job if he succeeds. John keeps his job.
AUTHOR: Fred Ginnet (source: Leyden)
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: humorous wordplay servant unemployment
FOUND_IN: Ireland
REFERENCES: (1 citation)
Leyden 9, "His Lordship Had a Coachman" (1 text, 1 tune)
NOTES: Leyden: "The song dates from 1888 when the Lord Mayor was Sir James Horner Haslett." The trick to the song is that it "takes us all around Belfast without going through a single street!" So, the tour goes up Rugby Road, down Agincourt Avenue, South Parade, Carrickfergus Way, King Street Mews, Glengall Place, and the like. - BS
Jonathan Bardon, _A History of Ulster_, Blackstaff Press, 1992, first mentions Haslett on pp. 382-383 as MP for West Belfast, defeated in the "home rule" election of 1886 by Catholic votes. He became Lord Mayor not too long after, for he greeted Queen Victoria when she visited the city in 1888. He later went back to parliament as the member from North Belfast, and died in office in 1905. - RBW
File: Leyd009
===
NAME: His Wants: see Rye Whiskey; also The Rebel Soldier (File: R405)
===
NAME: Historian, The: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: History ob de World, De: see Walkin' in the Parlor (File: Wa177)
===
NAME: History of Prince Edward Island, The
DESCRIPTION: The singer tells of the "dismal fate" of the Island. He complains that the rich folk of Canada have "made us slaves and sold Prince Edward Isle." He tells of a time of troubles and of many leaving their homes. At last he too must depart
AUTHOR: unknown
EARLIEST_DATE: 1950 (Ives-DullCare)
KEYWORDS: Canada lament exile political patriotic
HISTORICAL_REFERENCES: 1867 - Prince Edward Island declines to join the newly-formed Canadian Confederation
1873 - Prince Edward Island joins Canada
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Doerflinger, pp. 256-257, "The History of Prince Edward Island" (1 text)
Dibblee/Dibblee, pp. 120-121, "Prince Edward Isle, Adieu" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 108-110, "Prince Edward Isle, Adieu" (1 text, 1 tune)
Ives-DullCare, pp. 230-233,253, "Prince Edward Isle, Adieu" (1 text, 1 tune)
Roud #4517
NOTES: According to Doerflinger, Prince Edward Island has a long history of trouble with government. The original settlement left the island owned primarily by a handful of absentee landlords who had little sympathy for the common people. When the Canadian Confederation was formed, PEI at first opted out. When Confederation was at last passed, a number of Islanders fled to New England.
Despite their fears, Confederation was probably good for PEI. The Canadian government bought out the absentee landholders, allowing the local residents the chance to own the land.
Various poets have been suggested as the author of the verses. Larry Gorman, naturally, has been mentioned -- but it hardly sounds like his work. Other candidates include Larry Doyle and "a schoolteacher named Fitzgerald." - RBW
Ives-DullCare: "Briefly ... it is a ... view of the political situation around 1880.... The song has been a significant presence in Island folklore for over a century." - BS
File: Doe256
===
NAME: History of the World: see Walkin' in the Parlor (File: Wa177)
===
NAME: Ho Boys Ho: see Ho for California (Banks of Sacramento) (File: E125)
===
NAME: Ho for California (Banks of Sacramento)
DESCRIPTION: The "plot" of the song varies widely, according to its use by pioneers, sailors, or gold-diggers. The chorus is fixed: "(Then) Ho! (boys), Ho! To California go! There's plenty of gold in the world, we're told, on the banks of the Sacramento"
AUTHOR: unknown
EARLIEST_DATE: 1849 (Journal of William F. Morgan of the La Grange)
KEYWORDS: gold shanty travel
HISTORICAL_REFERENCES: 1849 - California gold rush
FOUND_IN: US(MA,MW,NE) Australia Canada(Mar)
REFERENCES: (16 citations)
Eddy 125, "California" (1 text, 1 tune)
Warner 70, "Ho, Boys, Ho" (1 text, 1 tune)
Doerflinger, pp. 68-70, "Sacramento" (3 texts, 2 tunes, though the last of these derives its verses from "Rolling in the Dew (The Milkmaid)")
Colcord, pp. 105-106, "Sacramento" (1 text, 1 tune)
Harlow, pp. 109-110, "Banks of Sacramento" (1 text, 1 tune)
Hugill, pp. 106-114, "California," "Sacramento" (7 texts-1 in German, 3 tunes) [AbEd, pp. 95-100]
Shay-SeaSongs, pp. 82-83, "The Banks of Sacramento" (1 text, 1 tune)
Sandburg, pp. 110-111, "California"; 111, "The Banks of Sacramento" (2 texts, 2 tunes)
Smith/Hatt, p. 37, "On the Banks of the Sacramento" (1 text)
Lomax-FSUSA 42, "Sacramento" (1 text, 1 tune)
Meredith/Covell/Brown, p. 91, "Banks of the Sacramento" (1 fragmentary text, in which the singer seeks girls rather than gold; 1 tune)
Huntington-Whalemen, pp. 174-176, "The California Song" (1 text, 1 tune)
Silber-FSWB, p. 88, "Sacramento" (1 text)
Fuld-WFM, pp. 158-159, "(De) Camptown Races--(Sacramento)"
DT, SACRMNTO* SACRMNT2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Sacramento" is in Part 2, 7/21/1917.
Roud #309
RECORDINGS:
Logan English, "Sacramento" (on LEnglish02)
CROSS_REFERENCES:
cf. "Ten Thousand Miles Away" (tune)
cf. "A Capital Ship" (tune)
ALTERNATE_TITLES:
Californi-O
Blow, Boys, Blow for Californi-O
Der Hamborger Veermaster
Der Hamborger Vullrigger
NOTES: Possibly created and certainly popularized by the Hutchinson Family (who published a text in their 1855 songbook), versions of this song are found throughout the U.S., and are well-known among sailors.
The texts are diverse (Hugill, for instance, has a version in which a sailor courts a girl and winds up with a venereal disease), but most seem to be related to the California gold rush. The tune is a variation on "Camptown Races," perhaps in turn based on "A Capital Ship." - RBW
File: E125
===
NAME: Ho-Hum, Nobody's Home: see Hey, Ho, Nobody Home (File: FSWB412G)
===
NAME: Hob-Y-Derri-Dando
DESCRIPTION: Welsh shanty often sung mixing English verses and the Welsh chorus. The translation of the Welsh version has a chorus something like "Jane, sweet Jane, full of charm, the birds are singing merrily."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Welsh shanty often sung mixing English verses and the Welsh chorus. The translation of the Welsh version has a chorus something like "Jane, sweet Jane, full of charm, the birds are singing merrily." The most common English verses featured nonsense rhymes about "Davy Davy" from Nevin and various members of his family. However other versions also borrowed from "Sally Brown" among others. The English verses sung to this were also often put to the tune of another Welsh shanty, "Mochyn Du.
KEYWORDS: shanty foreignlanguage
FOUND_IN: Britain Wales
REFERENCES: (1 citation)
Hugill, pp. 525-528, "Hob-Y-Derri-Dando" (4 texts-English & Welsh, 1 tune)
CROSS_REFERENCES:
cf. "Mochyn Du" (English verses often interchanged with this)
ALTERNATE_TITLES:
Hob-Y-Derrin-Dando
File: Hugi525
===
NAME: Hoban Boys, The
DESCRIPTION: On the night of October 27, a hurricane blows in. The next day, the singer sees the wrecks of the Minnie and Lilly & Jim. The singer's own Mayflower has been towed to St Pierre and looted; they pay the fee to the French, clear customs, and head home.
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: sea ship storm wreck
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 51, "The Hoban Boys" (1 text, 1 tune)
NOTES: "The Hoban Boys" text mentions no year. My guess is that it refers to the October 28, 1921 storm but, while there is documentation for damage by that storm in Trinity Bay and Conception Bay (Fred Martin's site has a list of those losses) and  Robert Parsons mentions damage at Hermitage Bay and Fortune Bay, I find no information about losses in between, at Placentia Bay.
Northern Shipwrecks Database, and that database's owner -- David Barron -- also has no specific information about ships lost on that date; he recommends I review microfilm of local papers for that week. I contacted a Placentia Bay newspaper, _The Southern Gazette_, but they have no information about the storm (they started publication in 1975) and thought "only the Telegram or the defunct Daily News would have recorded that info." The Telegram has not responded to my inquiry. 
Neither Ms. Lehr nor Ms. Best could pin down the year for this storm; Ms. Best, noting that "sometimes dates in songs are imperfectly remembered and passed on, as you will no doubt realise" wondered why I would take the dates mentioned in the ballad so literally. Obviously, that's a good point. Even for such a famous sinking as "The Loss of the Atlantic," for which I've seen six distinct versions, Ranson _[Songs of the Wexford Coast]_ p. 88 has the sailing date from Liverpool April 18 -- rather than March 20 -- for a wreck that occurred on April 1; Ranson's other version has the sailing from Queenstown on March 21 -- as should be -- but the departure from Liverpool as March 14.
Any further research will have to be done in Newfoundland. - BS
"The Old Mayflower" also mentions a ship named _Mayflower_ being looted. Whether that describes the same event as this I do not know. - RBW
File: LeBe051
===
NAME: Hobbies, The
DESCRIPTION: In praise of hobbies, "for each has a hobby from cobbler to king." Some have unfortunate hobbies (e.g. "The hobbies of scolds are their husbands to tease,") some have the hobbies of courting; "The Americans'... hobby is Madison, peace, and free trade."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: political sports patriotic nonballad
HISTORICAL_REFERENCES: 1809-1817 - Presidency of James Madison
FOUND_IN: US
REFERENCES: (1 citation)
Arnett, p. 36-37, "The Hobbies" (1 text, 1 tune)
File: Arn036
===
NAME: Hobie Noble [Child 189]
DESCRIPTION: The singer tells how Hobie, an Englishman exiled to Scotland, was convinced by the traitor Sim of the Mains to raid England. Warned of Noble's coming, the land-sergeant (whose brother Noble had killed) takes him. Noble is hanged at Carlisle
AUTHOR: unknown
EARLIEST_DATE: 1775 (Percy)
KEYWORDS: borderballad fight punishment execution revenge
FOUND_IN: 
REFERENCES: (5 citations)
Child 189, "Hobie Noble" (1 text)
Leach, pp. 516-519, "Hobie Noble" (1 text)
Friedman, p. 252, "Hobie Noble" 1 text)
OBB 139, "Hobbie Noble" (1 text)
DT 189, HOBINOBL
Roud #4014
CROSS_REFERENCES:
cf. "Jock o the Side" [Child 187] (characters)
File: C189
===
NAME: Hobo Bill's Last Ride
DESCRIPTION: "Riding on an eastbound freight train, speeding through the night, Hobo Bill, a railroad bum, was fighting for his life." Bill dies alone and is found with a smile on his face, but none mourn; "he was just a railroad bum who died out in the cold."
AUTHOR: Waldo O'Neal (born 1908, according to Cohen)
EARLIEST_DATE: 1929 (recording, Jimmie Rodgers)
KEYWORDS: death hobo
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 393-396, "Hobo Bill's Last Ride" (1 text, 1 tune)
Roud #7513
RECORDINGS:
Gene Autry, "Hobo Bill's Last Ride" (Supertone 9702)
Frank Marvin, "Hobo Bill's Last Ride" (Banner 773/Domino 4601/Jewel 6024/Challenge 785/Romeo 1388/Conqueror 7592 [all as Frankie Wallace], 1930) (Brunswick 474, rec. 1930)
Jimmie Rodgers, "Hobo Bill's Last Ride" (Victor 22421, 1930; rec. 1929/Montgomery Ward 4210)
File: LRai393
===
NAME: Hobo Diddle De Ho: see Old Bob Ridley (Hobo Diddle De Ho) (File: R499)
===
NAME: Hobo from the T & P Line, The
DESCRIPTION: Singer, a hobo, gets a job in (Wellford). He courts the boss's daughter; the boss calls him "a bummer, all dressed up." Bidding farewell to the daughter, he sets off down the road with tears in his eyes, vowing to return
AUTHOR: Almoth Hodges & Bob Miller?
EARLIEST_DATE: 1929 (recording, Almoth Hodges w. Bob Miller's Hinky Dinkers)
LONG_DESCRIPTION: Singer, a hobo, lands in (Wellford), is hired by a boss who gives him easy work and treats him well. He and the boss's daughter court; the boss calls him in, saying, "They say you're a bummer, all dressed up." Singer tells boss he does his work well; if the boss doesn't like it, he'll leave. Bidding farewell to the daughter, he sets off down the road with tears in his eyes, vowing to return
KEYWORDS: grief courting love rambling work boss worker hobo
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Almoth Hodges with Bob Miller's Hinky Dinkers, "The Hobo from the T & P Line" (Brunswick 399 [in two parts], probably 1930; rec. 1929; Part 1 is on Rose1)
Clayton McMichen, "Bummin' on the I. C. Line" (Varsity 5097, 1930s)
Mary Sullivan, "The T & P Line" (AFS 5099 A, 1941; on LC61)
CROSS_REFERENCES:
cf. "The Farmer's Boy [Laws Q30]" (plot) and references there
NOTES: The "T & P" was the Texas and Pacific Railroad. - PJS
File: RcTHFTPL
===
NAME: Hobo's Grave, The
DESCRIPTION: Singer comes upon a hobo's grave. The wolves howl over it; the box cars roll on, but the hobo, his father's only son, his mother's pride, lies at rest. There's no stone to mark the spot, no one to watch over it, "none to direct the money or the checque"
AUTHOR: unknown
EARLIEST_DATE:  c. 1957 (recording, Tom Brandon)
KEYWORDS: loneliness grief burial death mourning hobo
FOUND_IN: Canada(Ont)
REFERENCES: (0 citations)
Roud #4825
RECORDINGS:
Tom Brandon, "The Hobo's Grave" (on Ontario1)
NOTES: The lyrics sound like a commercial "hobo song" from the 1920s, or perhaps a poem, but so far I haven't been able to locate a source from that period. Tom Brandon says he learned it from his brother, who worked in northern Ontario in the 1930s. 
The reference to "the money or the checque" suggests the hobo may have been a "remittance man," perhaps an English ne'er-do-well shipped off to Canada and supported by an allowance so that he wouldn't embarrass his wealthy family. - PJS
File: RcHobGra
===
NAME: Hobo's Last Ride (I), The
DESCRIPTION: A hobo lifts his dying partner Jack into a boxcar, then reminisces about their past. He is keeping his promise to take Jack back home to be buried. He sighs for the old days and "for his pal so cold/Who was taking his last long ride"
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Buell Kazee)
LONG_DESCRIPTION: A hobo lifts his dying partner Jack into a boxcar, then reminisces to him as they ride about the places they've been and the lines they've ridden. He is keeping his promise to take Jack back home to be buried, and laments the doctor who was "too busy with the wealthy folks/To doctor a worn-out bum." As the train rolls east, he sighs for the old days and "for his pal so cold/Who was taking his last long ride"
KEYWORDS: grief poverty rambling train travel burial death dying friend hobo
FOUND_IN: US(SE) Canada
REFERENCES: (0 citations)
RECORDINGS:
Buell Kazee, "The Hobo's Last Ride" (Brunswick 330, 1929; Supertone S-2056, 1930)
Goebel Reeves, "The Hobo's Last Long Ride" (MacGregor 858, n.d.)
Hank Snow, "The Last Ride" (RCA Victor, c. 1959)
Art Thieme, "The Hobo's Last Ride" (on Thieme03)
CROSS_REFERENCES:
cf. "The Dying Hobo" [Laws H3] (plot)
NOTES: Despite the obvious similarity in plot, this is an entirely separate song from "The Dying Hobo."
The Kazee and Reeves recordings use a tune that Kazee composed as a setting for a poem by A. L. Kirby, which he said he found in a book of Northwest poems. Hank Snow's recording, cited above, uses a different tune, possibly composed by Ted Daffan. To confuse things, Snow recorded another song called "The Hobo's Last Ride," which we have indexed separately as "Hobo's Last Ride (II)."- PJS
File: RcTHLR
===
NAME: Hobo's Lullabye
DESCRIPTION: "Go to sleep you weary hobo, Let the town drift slowly by. Listen to the steel rails humming, That's the hobo's lullabye." The hobo is urged not to think about tomorrow, to ignore the police (who will not be found in heaven), and to remember mother's love
AUTHOR: Goebel Reeves
EARLIEST_DATE: 1934 (recording, Goebel Reeves)
KEYWORDS: hobo rambling lullaby
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 410, "Hobo's Lullabye" (1 text)
DT, HOBOLULL*
Roud #16629
RECORDINGS:
Goebel Reeves, "Hobo's Lullabye" (Champion 45181, 1936); (Vocalion 02828, 1934)
NOTES: Although composed, this has become so popular that I think it qualifies as a genuine folk song. Woody Guthrie, for instance, was very fond of it, and many people must have learned it from his singing. - RBW
File: FSWB410C
===
NAME: Hoboes Grand Convention, The
DESCRIPTION: "If you give me your attention, A few facts I will mention Concerning a convention That was held last fall." The hoboes gather in Montreal, and have a quiet convention, "For every bum was loaded To the neck with alcohol."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: hobo party drink
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Flanders/Brown, pp. 51-52, "The Hoboes Grand Convention" (1 text, 1 tune)
DT, HOBOCONV*
ST FlBr051 (Partial)
Roud #5445
NOTES: Unlike most hobo songs, this one is clearly unsympathetic to the hobos; it equates them directlly with bums and indirectly with thieves. - RBW
File: FlBr051
===
NAME: Hobson, the Cobbler: see The Cobbler (File: R102)
===
NAME: Hoe-Cake, The: see Jinny Get Your Hoecake Done (File: Fus158C)
===
NAME: Hoffnung, De
DESCRIPTION: Hugill lists this as a German version of "Long Time Ago." Translated text tells of a captain making a deal with the devil to get him to port on time. The Devil complies but then the Captain gets the best of him by splicing his tail to the anchor.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty sailor Devil bargaining trick
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 104-105, "De Hoffnung" (2 texts-German & English)
CROSS_REFERENCES:
cf. "A Long Time Ago" (tune, chorus)
cf. "Tying a Knot in the Devil's Tail" [Laws B17] (theme)
File: Hugi104
===
NAME: Hog Drovers
DESCRIPTION: Playparty. "Hog drovers (x3) we air, A-courtin' your daughter so handsome and fair. Kin we get a largin' here?" The father turns them down. Others (gold miners, cowboys, etc.) ask for her hand. Most are rejected; one (a farmer?) may be acceptable
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: courting playparty rejection father children
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 555, "Hog Rovers" (1 text, 1 tune)
Hudson 148, pp. 296-297, "Hog Drovers" (1 text)
Lomax-FSNA 207, "Hog Drovers" (1 text, 1 tune)
Botkin-AmFolklr, pp. 810-812, "Swine-Herders (Hog Drovers)" (1 text, 1 tune)
ST LoF207 (Full)
Roud #3596
CROSS_REFERENCES:
cf. "Three Dukes" (plot, lyrics)
NOTES: Randolph reports that this is based on the Irish game "The Nine Daughters." - RBW
File: LoF207
===
NAME: Hog Rovers: see Hog Drovers (File: LoF207)
===
NAME: Hog-Eye (I): see Roll the Boat Ashore (Hog-eye I) (File: San380)
===
NAME: Hog-eye (II): see Sally in the Garden (File: CSW067)
===
NAME: Hog-Eye Man (I), The
DESCRIPTION: The Hog-Eye Man [read: "The Vagina-hungry Man"] meets Sally or Jenny or Molly who is lying in the grass or the sand and who does good service with him.
AUTHOR: unknown
EARLIEST_DATE: 1922
KEYWORDS: bawdy shanty sex
FOUND_IN: US(So)
REFERENCES: (8 citations)
Randolph-Legman I, pp. 401-404, "The Hog-Eye Man" (8 texts, 1 tune)
Colcord, p. 104, "The Hog-Eye Man" (1 text, 1 tune)
Harlow, pp. 54-55, "The Hog-Eye Man" (1 text, 1 tune)
Hugill, pp. 269-272, "The Hog-Eye Man" (3 texts & several fragments, 3 tunes) [AbEd, pp. 199-200]
Sharp-EFC, V, p. 6, "The Hog-Eyed Man" (1 text, 1 tune)
Sandburg, pp. 410-411, "The Hog-Eye Man" (1 fragment, 1 tune, evidently bowdlerized)
DT, HOGEYEMN*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "The Ox-eyed Man" is in Part 4, 8/4/1917.
Roud #331
CROSS_REFERENCES:
cf. "Sally in the Garden" (the "clean" version of this piece)
ALTERNATE_TITLES:
The Ox-Eye Man
The Hogs-Eye Man
The Hawks Eye Man
Oh, Who's Been Here?
NOTES: Ed Cray explains "hog-eye man" as one deeply interested in sex. Sandburg explains a "hog-eye" as the barges that traveled from the Atlantic ports around Cape Horn to San Francisco. A "hog-eye man" would therefore be a crewmember of such a barge.
Give the length of the voyage around the Horn in the 1850s, the two definitions may not be mutually exclusive. - RBW
"Oh, Who's Been Here?" is quoted by Hugill, from a shanty which Cecil Sharp gave in the Journal of the Folk Song Society. Hugill only quotes one line, which has the same melody and very similar words as "Hog-Eye Man" though not the usual "Hog-eye" chorus. - SL
File: RL401
===
NAME: Hog-Eye Man (II): see Roll the Boat Ashore (Hog-eye I) (File: San380)
===
NAME: Hog-eyed Man (III), The: see Sally in the Garden (File: CSW067)
===
NAME: Hog-tub, The
DESCRIPTION: Singer is invited home by his "pretty young lass." She pushes him in the hog-tub and, had not a friend come by to save him, he would have drowned. He takes his love to a dance. He defends kissing: if bad it would not have approval of parsons and ladies.
AUTHOR: unknown
EARLIEST_DATE: 1846 (Halliwell, according to Opie-Oxford2)
KEYWORDS: courting rejection rescue dancing Bible humorous
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 298, "It's once I courted as pretty a lass" (1 fragment)
Baring-Gould-MotherGoose #282, pp. 165-166, "(It's once I courted as pretty a lass)"
Roud #1273
BROADSIDES:
Bodleian, Firth b.33(36), "The Hog-tub," unknown, n.d.
CROSS_REFERENCES:
cf. "Kissing's No Sin (I)" (theme, lyrics)
NOTES: Opie-Oxford2 298, "It's once I courted as pretty a lass" has only the first verse. The description is from broadside Bodleian Firth b.33(36). - BS
There is a very complicated situation here, with "The Hog-Tub" sharing lyrics with "Kissing's No Sin (I)," which shares them with "The Mautman." I have no idea how these strands are to be disentangled. For more, see the notes to "Kissing's No Sin (I)." - RBW
File: OO2298
===
NAME: Hogan's Lake
DESCRIPTION: "Come all you brisk young fellows that assemble here tonight, Assist my bold endeavors while these few lines I write...." The singer tells of the exploits of the logging gang Bill and Tom Hogan led to Hogan's Lake
AUTHOR: unknown
EARLIEST_DATE: 1957 (Fowke-Lumbering)
KEYWORDS: logger work
FOUND_IN: Canada(Que)
REFERENCES: (3 citations)
Fowke-Lumbering #6, "Hogan's Lake" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 174-176, "Hogan's Lake" (1 text, 1 tune)
Fowke/MacMillan 20, "Hogan's Lake" (1 text, 1 tune)
ST FMB174 (Partial)
Roud #3682
RECORDINGS:
 O. J. Abbott, "Hogan's Lake" (on Lumber01)
File: FMB174
===
NAME: Hogs in the Garden
DESCRIPTION: "Hogs in the garden, catch 'em, Towser; Cows in the corn-field, run, boys, run! Cats in the cream-pot, run, girls, run; Fire on the mountain, run, boys, run!"
AUTHOR: unknown
EARLIEST_DATE: c. 1843 (Only True Mother Goose's Melodies)
KEYWORDS: animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #660, p. 260, "(Hogs in the garden, catch 'em, Towser)"
File: BGMG660
===
NAME: Hold My Hand, Lord Jesus
DESCRIPTION: "Hold my hand, Lord Jesus, hold my hand (x2), There's a race that must be run, And a vict'ry to be won. Every hour, give me power, to go through." The devotion of the singer to Jesus is emphasized
AUTHOR: unknown
EARLIEST_DATE: 1933 (Warner)
KEYWORDS: religious Jesus nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Warner 169, "Hold My Hand, Lord Jesus" (1 text, 1 tune)
DT, LORDJSUS*
Roud #7487
RECORDINGS:
Sue Thomas, "Hold My Hand, Lord Jesus" (on USWarnerColl01)
File: Wa169
===
NAME: Hold My Mule: see Coffee Grows (Four in the Middle); also Little Pink, etc. (File: R524)
===
NAME: Hold On: see Keep Your Hand on the Plow (File: LxU111)
===
NAME: Hold On, Abraham
DESCRIPTION: "We're going down to Dixie, to Dixie, to Dixie... To fight for the dear old flag.... Hold on, Abraham... Uncle Sam's boys are coming right along." The song catalogs soldiers and generals who are fighting to recover the South for the Union
AUTHOR: unknown
EARLIEST_DATE: 1915
KEYWORDS: Civilwar battle nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 529-530, "Hold On, Abraham" (1 text)
Roud #15567
CROSS_REFERENCES:
cf. "We Are Coming, Father Abraham"
NOTES: The chorus of this song implies kinship with "We Are Coming, Father Abraham," but the verses are completely different.
The mention of 600,000 enlistees does not exactly match any of Lincoln's calls for enlistments (the closest was the 1861 authorization of a 500,000 man army), but two levies in the summer of 1862 totalled 600,000 men.
A date of late 1862 also fits the list of generals mentioned in the song, all of whom were in senior posts in 1862 (but often replaced by 1863). Among those listed:
"General Grant": Ulysses S. Grant, eventual Union high commander, who by late 1862 had already captured Fort Henry and Fort Donelson as well as the bloody battle of Shiloh.
"Our Halleck": Henry W. Halleck, who never actually fought a battle as a Union general, but was Grant's theatre commander and received credit for all victories in the west. A good organizer, the one time he led armies in the field (Corinth campaign, late spring 1862), he showed so little initiative that he took a month to cover 20 miles in the face of slight resistance. Despite this, he was promoted to command of all Union armies in July 1862. He held the post until 1864, when Grant took over the job.
"Bold Kenney": There was no Union General Kenney. The reference is probably to General Philip Kearny, probably the most aggressive and competent officer in the Army of the Potomac (though he was only a division commander). He was killed at Chantilly on Sept. 1, 1862.
"General Burnside": Ambrose Burnside, commander of the Army of the Potomac in the final months of 1862. A complete incompetent, he lost the Battle of Fredericksburg and was returned to subordinate roles for the rest of the war.
"Picayune Butler": Benjamin F. Butler, called "Old Picayune" (apparently a reference to a female character, "Picayune Butler," in the minstrel song of that title).
Butler was a complete incompetent, but he managed to remain a general for years because of his political connections. In late 1862 he was commander of occupied New Orleans, and so brutal and corrupt that the southerners called him "Beast Butler" and accused him of stealing spoons with his own hands. - RBW
File: LxA529
===
NAME: Hold the Fort
DESCRIPTION: "Ho, my comrades, see the signal, Waving in the sky; Reinforcements now appearing, Victory is nigh. 'Hold the Fort, for I am coming,' Jesus signals still...." The "great Commander" will defeat Satan's "mighty host."
AUTHOR: Philip Paul Bliss
EARLIEST_DATE: 1880
KEYWORDS: religious battle nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Silber-CivWar, pp. 82-83, "Hold the Fort" (1 text, 1 tune)
Silber-FSWB, p. 363, "Hold the Fort" (1 text)
DT, HOLDFRT2*
RECORDINGS:
Chautauqua Preachers' Quartette, "Hold The Fort" (Columbia A1585, 1914)
CROSS_REFERENCES:
cf. "Hold the Fort (Union Version)"
SAME_TUNE:
Hold the Fort (Union Version) (File: PSAFB020)
Storm the Fort, Ye Knights (Darling-NAS, pp. 371-372)
Columbia's Daughters (by Harriet H. Robinson; Darling-NAS, p. 358)
NOTES: Inspired by, though hardly based on, a Civil War event. After Atlanta had fallen to the Union, Sherman set up a supply dump at Allatoona. A Confederate force under General French attacked this base on October 5, 1864, and called upon Union General Corse to surrender. Soon after, General Sherman send a simple message to Corse: "Hold the fort; I am coming." Corse held out, and Sherman's troops arrived in time to drive off French. - RBW
File: SCW82
===
NAME: Hold the Fort (Union Version)
DESCRIPTION: Rewrite of traditional hymn: "Hold the fort, for we are coming/Union men be strong/Side by side we battle onward/Victory will come"
AUTHOR: Tune by Philip Paul Bliss; words attributed to English transport workers, late 19th century and said to have been circulated by the Knights of Labor
EARLIEST_DATE: 1955 (recording, Pete Seeger)
KEYWORDS: labor-movement nonballad worker derivative
FOUND_IN: US
REFERENCES: (4 citations)
PSeeger-AFB, p. 20 "Hold the Fort" (1 text, 1 tune)
Darling-NAS, pp. 372-373, "Hold the Fort" (1 text)
Silber-FSWB, p. 138, "Hold the Fort" (1 text)
DT, HOLDFORT*
RECORDINGS:
Pete Seeger, "Hold the Fort" (on PeteSeeger01)
CROSS_REFERENCES:
cf. "Hold the Fort" (tune) and references there
File: PSAFB020
===
NAME: Hold the Wind
DESCRIPTION: "Hold the wind (x3), Don't let it blow." "You may talk about me just as much as you please... I'm gonna talk about you on the bendin' of my knees." The singer assures us that (s)he, at least, has been redeemed, and plans to enjoy Heaven
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Sparkling Four)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-FSNA 247, "Hold the Wind" (1 text, 1 tune)
Roud #11946
RECORDINGS:
Famous Garland Jubilee Singers, "Hold the Wind" (Banner 32249, 1931; Conqeror 8354 [as Bryant's Jubilee Singers], 1934)
Sparkling Four, "Hold the Wind" (OKeh 8741, 1929)
Southern University Quartet, "Hold the Wind" (Bluebird B-5846, 1935)
CROSS_REFERENCES:
cf. "On My Journey (II) [Mount Zion]" (floating verse)
File: LoF247
===
NAME: Hold the Woodpile Down
DESCRIPTION: Original and floating verses: "Saw my love the other night/Hold the woodpile down/Everything wrong and nothing was right...." Chorus: "But I was a-travelling, travelling/As long as the world goes round/For the backyard shine on the Georgia line/Hold...."
AUTHOR: unknown (verses possibly Uncle Dave Macon)
EARLIEST_DATE: 1925 (recording, Sam Patterson Trio)
LONG_DESCRIPTION: Original and floating verses: "Saw my love the other night/Hold the woodpile down/Everything wrong and nothing was right/Hold the woodpile down"; "Gave her a little kiss to make her happy/Gave me a little love lick and in came her pappy"; "Come to town the other night/Heard a lot of noise and seen a big fight/Police running and jumping all round/Load of moonshine done come to town"; "Down in the packinghouse, stole a ham/Folks don't know how bad I am/Carried it home and I laid it on the shelf/I'm so bad, I'm scared of myself." Chorus: "But I was a-travelling, travelling/As long as the world goes round/For the backyard shine on the Georgia line/Hold the woodpile down."
KEYWORDS: courting drink humorous nonsense floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 210-212, "Hold That Woodpile Down" (1 text, 1 tune)
RECORDINGS:
Uncle Dave Macon & his Fruit Jar Drinkers, "Hold That Wood-Pile Down"  (Vocalion 5151, 1927)
New Lost City Ramblers, "Hold That Woodpile Down" (on NLCR03)
Sam Patterson Trio, "Haul De Woodpile Down" (Edison 51644, 1925)
CROSS_REFERENCES:
cf. "Roll the Woodpile Down" (chorus)
NOTES: This song is a conundrum. The verses are pure minstrel (Uncle Dave played minstrel shows in his youth), but the chorus is almost identical to that of "Roll the Woodpile Down," a chanty from African-American riverboat workers: "Rolling, rolling/Yes, rolling the whole world around/That brown gal of mine's down the Georgia line/And we'll roll the woodpile down." Other versions of "Hold the Woodpile Down" say, "Black gals shine on the Georgia line", which is closer to the chanty form. -PJS
I'll admit that I would have classified this as a "Dave Macon-ised" version of "Roll the Woodpile Down" -- but Paul has probably examined the matter more than I have. - RBW
File: CSW210
===
NAME: Hold Your Hands, Old Man: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hold-Up at Eugowra Rocks, The: see The Morning of the Fray (File: FaE084)
===
NAME: Hole In The Wall, The
DESCRIPTION: "On a Saturday night the crowd were invited to be there on Sunday to open the ball ... I'll title the harbour 'The Hole In The Wall.'"  The singer, a stranger on this shore, "saw at a glance that the girls they were plenty ... We danced the whole night."
AUTHOR: Peter Leonard
EARLIEST_DATE: 1955 (Doyle)
KEYWORDS: dancing party shore
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Doyle3, pp. 69-70, "The Hole In The Wall" (1 text, 1 tune)
Lehr/Best 52, "The Hole in the Wall" (1 text, 1 tune)
Roud #4416
NOTES: Lehr/Best: The song "refers to the village of Little Bona in Placentia Bay." - BS
File: Doyl3069
===
NAME: Holland Handkerchief, The: see The Suffolk Miracle [Child 272] (File: C272)
===
NAME: Holland is a Fine Place: see The Lowlands of Holland (File: R083)
===
NAME: Holland Song, The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Hollin, Green Hollin
DESCRIPTION: "Alone in the greenwood I must roam, Hollin, green hollin, A shade of green leaves is my home, Birk and green hollin." "Where nought is seen but boundless green." "A weary head a pillow finds." "Enough for me... To live at large with liberty."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: home rambling nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 116, "(Alone in the greenwood I must roam)" (1 text)
NOTES: This doesn't sound much like a folk song, but it apparently made some popular poetry anthologies, so I thought I'd better include it for future reference. - RBW
File: MSNR116
===
NAME: Holly and the Ivy, The
DESCRIPTION: "The holly and the ivy, when they are both full grown, Of all the trees that are in the wood, The holly bears the crown."  The holly's attributes are detailed; each ties to a reason Mary bore Jesus
AUTHOR: unknown
EARLIEST_DATE: 1861 (Sylvester's "Christmas Carols")
KEYWORDS: religious Christmas Jesus nonballad
FOUND_IN: Britain(England)
REFERENCES: (6 citations)
OBC 38, "The Holly and the Ivy" (1 text, 1 tune)
Silber-FSWB, p. 383, "The Holly And The Ivy" (1 text)
Bronson 54, "The Cherry Tree Carol" (version #29 contains a scrap of "The Holly and the Ivy")
DT, HOLLYIVY*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #228, "The Holly and the Ivy" (1 text)
Ian Bradley, _The Penguin Book of Carols_ (1999), #78, "The Holly and the Ivy" (1 text)
Roud #514
CROSS_REFERENCES:
cf. "The Holly Bears a Berry" (theme, lyrics)
NOTES: This clearly derives from the same roots as "The Holly Bears a Berry," and a strong case could be made that they should be considered one song. [Indeed, Kennedy lumps them. - PJS. As does Roud. - RBW] As, however, both are circulated in fairly fixed forms, I decided to separate them.
Elizabeth Jenkins, _The Princes in the Tower_ (Coward, McCann, & Geoghan, 1978), p. 32, for some reason quotes this song in connection with the 1464 marriage of England's King Edward IV and Elizabeth Woodville. She does not, however, justify the inclusion in any way I can see. - RBW
File: FSWB383
===
NAME: Holly Bears a Berry, The
DESCRIPTION: "The holly she bears a berry as white as the milk/And Mary bore Jesus who was wrapped up in silk"; similarly "... berry red as the blood/...to do sinners good", "green as the grass/...who died on the cross."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Dunstan)
LONG_DESCRIPTION: "The holly she bears a berry as white as the milk/And Mary bore Jesus who was wrapped up in silk", similar verses for "The holly bears a berry as red as the blood/...to do sinners good", "green as the grass/...who died on the cross." Cho.: "And Mary bore Jesus Christ our Saviour for to be/And the first tree that's in the greenwood it was the holly"
KEYWORDS: religious Christmas Jesus nonballad
FOUND_IN: Britain(England(South))
REFERENCES: (5 citations)
Kennedy 91, "'Ma Grun War 'n Gelynen [The Holly Bears a Berry]" (1 text, 1 tune)
OBC 35, "Sans Day Carol" (1 text, 1 tune)
Bronson 54, "The Cherry Tree Carol" (version #27 contains "The Holly Bears a Berry")
Ritchie-Southern, p. 42, "The Holly Bears a Berry" (1 text, 1 tune)
DT, HOLLYBR*
Roud #514
CROSS_REFERENCES:
cf. "The Holly and the Ivy" (theme, lyrics)
ALTERNATE_TITLES:
Sans Day Carol
NOTES: This clearly derives from the same roots as "The Holly and the Ivy," and a strong case could be made that they should be considered one song. [Indeed, Kennedy lumps them. - PJS] As, however, both are circulated in fairly fixed forms, I decided to separate them. - RBW
Agreed. Norma Waterson, incidentally, places this as a spring carol, appropriate between Passiontide and Easter. Kennedy's Cornish words are a revivalist translation from the English. - PJS
According to the Oxford Book of Carols, the title the "Sans Day Carol" does not mean "Carol Without a Day," nor is it a reference to [All] Saints' Day; rather, the song was taken down as St. Day in Cormwall.
Jean Ritchie learned this in the United States, but it was not from her family tradition; I have not listed it as found in the Appalachians, because she does not give full details about the source of her version. - RBW
File: K091
===
NAME: Holly Bough, The/The Maid of Altibrine
DESCRIPTION: "In Altibrine there lives a maid, a maid of beauty rare, The violet or primrose with her never could compare." He praises her beauty, and offers to take her away. The girl (?) says that her dowry is too small. He says that the holly will never fade
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting beauty dowry
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H111, pp. 229-230, "The Holly Bough/The Maid of Altibrine" (1 text, 1 tune)
Roud #7981
File: HHH111
===
NAME: Holly Twig, The [Laws Q6]
DESCRIPTION: The singer finds that his new wife is a scold and a nag. He recounts his misery day by day. After a few days he goes to the woods and cuts a (holly twig), (whipping her so hard her soul is sent to hell). (A devil/her father comes to take her back). 
AUTHOR: unknown
EARLIEST_DATE: 1760 (_West Country Garlands_)
LONG_DESCRIPTION: On Monday the singer marries; on Tuesday he cuts a holly stick; on Wednesday he beats her with the stick until it breaks. On Thursday she takes sick (presumably from the beating); he says if she isn't better by tomorrow the devil can take her. On Friday the devil takes her. On Saturday the bells toll her death and the singer is jolly. On Sunday he relaxes alone, saying "Here's good luck to a week's work's end."
KEYWORDS: husband wife abuse violence death
FOUND_IN: Britain(England(West,South)) US(Ap,MW,SE,So)
REFERENCES: (12 citations)
Laws Q6, "The Holly Twig"
Randolph 367, "I Married Me a Wife" (1 text, 1 tune)
BrownII 184, "The Holly Twig" (2 texts)
Chappell-FSRA 43, "The Holly Twig" (2 texts, 1 tune)
Hudson 58, pp. 174-175, "The Holly Twig" (1 text)
SharpAp 53, "The Holly Twig" (3 texts, 3 tunes)
MHenry-Appalachians, p. 246, "The Holy Twig" (sic.) (1 text, which the singer knew to be defective and in which the wood, rather than being holly, is willow)
Shellans, pp. 16-17, "The Brisk Young Bachelor" (1 text, 1 tune)
Niles 59, "The Unwilling Bride" (1 text, 1 tune, listed as Child 277 but appearing to me to be more similar to this ballad)
Vaughan Williams/Lloyd, pp. 78-79, "On Monday Morning" (1 text, 1 tune)
Abrahams/Foss, pp. 72-73, "Scolding Wife" (1 text, 1 tune)
DT 520, HOLLYTWG*
Roud #433
RECORDINGS:
Ollie Gilbert, "Willow Green" (on LomaxCD1707)
CROSS_REFERENCES:
cf. "The Wife Wrapt in Wether's Skin" [Child 277] (plot)
cf. "A Week's Matrimony (A Week's Work)" (theme)
cf. "The Old Gray Goose (I)"
cf. "I Had a Wife"
ALTERNATE_TITLES:
A Week's Work Well Done
A Bachelor Bold and Young
File: LQ06
===
NAME: Holmes Camp
DESCRIPTION: "It was early last April when the logging was done I went to Fort Francis to join in the fun. My intentions were good -- one drink and no more...." But he (and others) get drunk; he hits on a girl, is rejected, has a headache, vows not to get drunk again
AUTHOR: unknown
EARLIEST_DATE: 1963 (Fowke)
KEYWORDS: logger drink rejection
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke-Lumbering #48, "Holmes Camp" (1 text, tune referenced)
Roud #4562
File: FowL48
===
NAME: Holy Babe, The: see Children Go Where I Send Thee (File: LoF254)
===
NAME: Holy Ground Once More, The: see Swansea Town (The Holy Ground) (File: Doe152)
===
NAME: Holy Ground, The: see Swansea Town (The Holy Ground) (File: Doe152)
===
NAME: Holy Is the Lamb of God
DESCRIPTION: "O holy Lord, holy my Lord, holy Lord, Holy is the lamb of God. I was in the dark and I could not see... Till Jesus brought this light to me." "If you talk about shouting here below... Just wait till you get upon the other shore."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Chappell)
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 97, "Holy Is the Lamb of God" (1 text, 1 tune)
Roud #16939
NOTES: The most famous reference to the Lamb of God is of course John 1:29, "Behold the Lamb of God, who takes away the sins of the world." Though the Lamb as an actual being, as opposed to a metaphor, is found in the Apocalypse only, starting at Rev. 5:6. - RBW
File: ChFRA097
===
NAME: Holy Nunnery, The [Child 303]
DESCRIPTION: Willie's parents vow that he shall not marry Annie. Told of this, Annie vows to become a nun and never kiss a man again. After seven years, Willie can bear no more; he dresses as a woman and goes to see Annie in the nunnery. She will not break her vow
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: love separation father mother clergy disguise cross-dressing
FOUND_IN: 
REFERENCES: (2 citations)
Child 303, "The Holy Nunnery" (1 text)
Leach, pp. 686-689, "The Holy Nunnery" (1 text)
Roud #3886
File: C303
===
NAME: Holy Twig, The: see The Holly Twig [Laws Q6] (File: LQ06)
===
NAME: Holy Well, The
DESCRIPTION: Mary sends Jesus out to play. He meets a group of noble children, who scorn him as poor. Jesus bitterly runs home to Mary. She urges him to curse/damn them. Jesus, as the worlds's savior, realizes he cannot do so
AUTHOR: unknown
EARLIEST_DATE: before 1828 (broadside, Bodleian Johnson Ballads 1484)
KEYWORDS: abuse Jesus poverty
FOUND_IN: Britain(England(South,West))
REFERENCES: (5 citations)
Leach, pp. 690-691, "The Holy Well" (1 text)
Leather, pp. 186-187, "The Holy Well" (1 text, 2 tunes)
OBB 110, "The Holy Well" (1 text)
OBC 56, "The Holy Well" (1 text, 2 tunes)
PBB 9, "The Holy Well" (1 text)
ST L690 (Partial)
Roud #1697
RECORDINGS:
Wiggy Smith, "The High-Low Well" (on Voice11)
BROADSIDES:
Bodleian, Johnson Ballads 1484, "The Holy Well" ("As it fell out one May morning"), T. Wood (Birmingham), 1806-1827; also Douce adds. 137(12), Harding B 7(10), "The Holy Well"
CROSS_REFERENCES:
cf. "The Bitter Withy" (plot)
File: L690
===
NAME: Home Brew Rag
DESCRIPTION: "Well, I've never been drunk but about one time, And it think it was on home brew; If you ever drink any brew yourself, You know just what it'll do.... Ick-poo, home brew, We know what we'll do." The singer proposes a little drink to test the brew
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Roanoke Jug Band)
KEYWORDS: drink
FOUND_IN: US(SE)
REFERENCES: (0 citations)
ST RcHoBreR (Full)
RECORDINGS:
Roanoke Jug Band, "Home Brew Rag" (OKeh 45393, 1929)
Lowe Stokes & His North Georgians, "Home Brew Rag" (Columbia 15241-D)
File: RcHoBreR
===
NAME: Home Brew Song, The
DESCRIPTION: The singer "makes the whiskey That some people calls home brew." He is arrested and taken for trial to Newcastle. Condemned by a woman's testimony, he is sentenced to $200 or 6 months. He chooses bug-ridden prison because "they feed on bread and tea"
AUTHOR: Frank O'Hara (Manny/Wilson)
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: crime prison trial food drink humorous bug
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 21, "The Home Brew Song" (1 text, 1 tune)
ST MaWi021 (Partial)
Roud #9192
SAME_TUNE:
Manny/Wilson: "The Home Brew Song was written in Prohibition Days by Frank O'Hara of Grey Rapids while he was serving a term in the County Jail for selling home brew." - BS
File: MaWi021
===
NAME: Home Came the Old Man: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Home I Left Behind, The
DESCRIPTION: "An Irish boy he sat alone by Susquehanna shore" thinking sadly of "the home he left behind." He recalls summer, dances, and a girl in Ireland. He and his widowed mother were driven from home "when landlord, bailiffs and police broke in our cottage door"
AUTHOR: unknown
EARLIEST_DATE: 1987 (Munnelly/Deasy-Lenihan)
KEYWORDS: homesickness emigration separation dancing hardtimes America Ireland nonballad mother landlord
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 46, "The Home I Left Behind" (1 text, 1 tune)
Roud #5235
RECORDINGS:
Tom Lenihan, "The Home I Left Behind" (on IRTLenihan01)
File: RcHILBh
===
NAME: Home in that Rock
DESCRIPTION: "I've got a home in(-a) that rock,  don't you see, don't you see? Up between earth and sky, Though I heard my savior cry, 'You've got a home....'" The fates of Dives and Lazarus are alluded to, or David, or Judas, or  the happy fate of Noah
AUTHOR: unknown
EARLIEST_DATE: 1920 (recording, Biddle University Quartet)
KEYWORDS: Bible religious
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 608, "Little David" (1 short text)
Silber-FSWB, p. 355, "Home In That Rock" (1 text)
Roud #12209
RECORDINGS:
Elder Charles Beck, "I Got a Home In That Rock" (Eagle 103, n.d.)
Biddle University Quartet, "I've Got a Home In That Rock" (Pathe 22400, 1920/Perfect 11225, 1925)
Birmingham Jubilee Singers, "Home in that Rock" (Columbia 14163-D, 1926)
Carter Family, "God Gave Noah the Rainbow Sign" (Victor V-40110, 1929) (Conqueror 8693, 1936)
J. E. Mainer's Mountaineers "Got a Home In That Rock" (Bluebird B-6539, 1936)
Otis Mote, "Home in the Rock" (OKeh 45429, 1930)
Paul Robeson, "I Got a Home In-a Dat Rock" (Victor 21109, 1927)
Smith's Jubilee Singers, "I've Got a Home in That Rock" (Sterling 1503, n.d.)
Marshall Smith, "Home in the Rock" (Columbia 15080-D, 1926)
Kid Williams & Bill Morgan [pseuds. for Walter Smith & Lewis McDaniel], "When He Died He Got a Home in Hell" (Homestead 16094, c. 1929; Conqueror 7739, 1931)
NOTES: The editors of Brown think that their "Little David" version is linked to "Little David, Play On Your Harp." That may perhaps have asserted some influence, but the final line, "He got [or "lost," in the case of Judas] a home in that rock, don't you see?" strikes me as the key characteristic.
The parable (not an actual historical event!) of the rich man ("Dives") and Lazarus is found in Luke 16:19-31. The story of Noah's flood is in Genesis 6-8, with the covenant of the rainbow in Gen. 9:12-17. - RBW
File: FSWB355A
===
NAME: Home on the Mountain Wave, A
DESCRIPTION: Chorus: "Ha ha my boys, these are the joys of the noble and the brave, who love the life in the tempest's strife and a home on the mountain wave." Several verses basically describing the thrills of sailing, especially in stormy weather.
AUTHOR: unknown
EARLIEST_DATE: 1860 (Broadside)
KEYWORDS: sailor storm foc's'le
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 214-216, "A Home on the Mountain Wave" (1 text)
Roud #9152
ALTERNATE_TITLES:
Mountain Wave
A Bold Brave Crew
NOTES: This is found on two broadsides in the Bodleian collection, published in New York and Philadelphia. - SL
File: Harl214
===
NAME: Home on the Range
DESCRIPTION: "Oh give me a home where the buffalo roam...." The singer praises the land of the west, "Where the sky is not cloudy all day." Details vary from version to version, and besides, you all know the song anyway....
AUTHOR: unknown
EARLIEST_DATE: 1873 (lyrics published in Smith County [KS] Pioneer)
KEYWORDS: cowboy home
FOUND_IN: US(So)
REFERENCES: (9 citations)
Randolph 193, "Home on the Range" (2 texts, 1 tune)
Larkin, pp. 166-168, "Home on the Range" (1 text, 1 tune)
Lomax-FSUSA 62, "Home on the Range" (1 text, 1 tune)
Fife-Cowboy/West 108, "Home on the Range" (3 texts, 1 tune)
PSeeger-AFB, p. 26, "Home On The Range" (1 text, 1 tune)
Silber-FSWB, p. 49, "Home on the Range" (1 text)
Saffel-CowboyP, pp. 178-179, "Home on the Range" (1 text)
Fuld-WFM, pp. 273-274, "Home on the Range"
DT, HOMERANG
Roud #3599
RECORDINGS:
Jules Allen, "Home On The Range" (Victor 21627, 1928; Montgomery Ward M-4343, 1933)
Arkansas Woodchopper [pseud. for Luther Ossenbrink], "Home on the Range" (Supertone 9571, c. 1929)
Black Bros., "Home on the Range" (OKeh 45572, 1932)
Vernon Dalhart, "Home on the Range" (Brunswick 137, 1927)
Hank Keene, "Home on the Range" (Bluebird B-5241/Montgomery Ward M-4397, 1933)
Frank Luther Trio, "Home on the Range" (Banner 32966/Perfect 12975 [both as Buddy Spencer's Trio], 1933; Conqueror 8273 [as Buddy Spencer Trio], 1934)
Frank Luther & Carson Robison, "Home on the Range" (Columbia 2642-D, 1932)
Ken Maynard, "Home on the Range" (Columbia test recording, c. 1930; on MakeMe, WhenIWas2)
Patt Patterson & Lois Dexter, "Home on the Range" Perfect 12650, 1930 [as "A Home on the Range"]; Conqueror 7711, 1931)
Red River Dave, "Home on the Range" (Sonora 1063, n.d.)
Roy Rogers, "Home on the Range" (RCA Victor 21-0077, 1949)
Pete Seeger, "Home on the Range" (on PeteSeeger17, CowFolkCD1)
SAME_TUNE:
Toys, Beautiful Toys (Pankake-PHCFSB, pp. 32-33)
Alaska: Home on the Snow (Pankake-PHCFSB, p. 243)
Frank Luther & Trio, "Home on the Range Part 5/Part 6" (Decca 1429, 1937)
ALTERNATE_TITLES:
Western Home
Arizona Home
NOTES: Various candidates have been proposed as the author of this piece, e.g. Daniel Kelley and Dr. Brewster Higley (1873; for this story, see Fuld), "C.O. Swartz... and other prospectors" (1885), and probably others. Given the feel of the piece, it seems likely that there is only a single author -- but I'd have a hard time saying WHICH single author.
Various adaptions have been published over the years, e.g. "Arizona Home" by William and Mary Goodwin (1904), but none depart far from the original form. - RBW
File: R193
===
NAME: Home Rule for Ireland
DESCRIPTION: Hearers are urged to join the Home Rule Movement. Mr Butt and other leaders are named. Gladstone thought that the church bill would suffice, "but Paddy wants to rule himself." America and France support Home Rule. Butt leads "his little band" of MPs
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: Ireland nonballad patriotic political
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann, p. 61, "Home Rule" (1 fragment)
Healy-OISBv2, pp. 145-146, "Home Rule" (1 text)
BROADSIDES:
Bodleian, Harding B 13(340), "Home Rule for Ireland" ("Come all you sons of Erin"), unknown, n.d.; also 2806 b.10(224), Firth c.16(407)[first nine lines illegible], "Home Rule for Ireland"
NLScotland, L.C.1270(009), "Home Rule for Ireland," unknown, n.d.
CROSS_REFERENCES:
cf. "A Loyal Song Against Home Rule" (subject: the quest for Home Rule) and references there
NOTES: Zimmermann p. 61: "Constitutional agitation had been revived in 1869 through meetings demanding an amnesty for the Fenian prisoners. A 'Home Government Association for Ireland', created in 1870 [founded by Isaac Butt], became the 'Irish Home Rule League' in 1872 and soon met with great success as the Irish Parliamentary Party. Broadside ballads praised its leaders, and looked once more for encouragement from overseas." [see also "The Glorious Meeting of Dublin" and references there].
The leaders of the movement named in the broadside are, besides Butt, are John Martin and Shea, Dr Cummins and Galbraith; the "little band" of Home Rule MPs are not named.
The reference to Gladstone and the church refers to his 1869 move disestablishing the Church of Ireland in 1869 so that Catholic farmers did not have to pay tithes to that church. In 1885 Gladstone announced his support for Irish Home Rule. (sources: "Gladstone and Home Rule 1886" in _Northern Ireland Timeline_ at the BBC site; "Gladstone and Ireland" at the History Learning site)
Zimmermann p. 61 is a fragment; broadside NLScotland L.C.1270(009) is the basis for the description. The NLS probable period of publication as 1840-1850 is obviously incorrect when the broadside refers to events after 1870. - BS
The initial organization of the Home Government Alliance was rather ironic, as it included Protestants upset about the disestablishment of the Protestant Church (see Robert Kee, _The Bold Fenian Men_, being Volume II of _The Green Flag_, p. 61; also the notes to "The Downfall of Heresy").
If Kee is to be believed, the Home Rulers were right about Gladstone: "Gladstone seems at first to have imagined that he could solve the problem of Ireland forever by two measures: first, By disestablishing the Irish Protestant Church and, second, legislating to compensate a tenant financially on conviction" (p. 58). The first measure came into force in 1869, and was universally welcomed. The second took the form of the first Land Bill, passed in 1870. But it corrected only a few minor abuses: Evicted tenants had to be paid for improvements they had made, but they could still be evicted. Something stronger was needed.
The mention of the Church Bill dates the song after 1869. The lack of reference to the second Land Bill, and of Gladstone's Home Rule proposal surely dates it before 1886 -- and the lack of reference to Parnell probably dates it very early in that period. Isaac Butt had been a moderately important figure since 1848, when he defended Smith O'Brien and some of his confederates. But it wasn't until 1869 that he became a major political force, urging a program of constitutional reform.
Part of Butt's problem was that he didn't really have a program, except a parliament for Ireland. On that basis he managed to recruit a number of Irish MPs -- but he couldn't hold them together in Westminster (Kee, pp. 64-66. This was epecially so since he had to work part-time, and wasn't really in position to head a party). From 1875, when Charles Stewart Parnell made his maiden speech declaring Ireland to be "not a geographical fragment but a nation," Butt was a spent force.
Home Rule nearly took care of Gladstone, too. He introduced the bill in 1886 -- and it split the Liberal party; a block of about fifty M.P.s, headed by Joseph Chamberlain, bolted. (See Robert K. Massie, _Dreadnought_, pp. 235-238). For about twenty years, Britain had what amounted to four political parties: Orthodox liberals (committed to social reform and home rule), Conservatives (opposed to social reform and home rule), the Irish delegation (which often split many ways; the most important faction, led by John Redmond, believed in home rule, though many were liberal on other issues), and the Chamberlainites (the "Liberal Unionists," who were liberal on social issues but adamantly opposed to Home Rule). It made Britain nearly ungovernable, except when the Chamberlainites managed to extract liberal concessions from the Conservatives. The Conservatives developed a policy of "killing Home Rule with kindness" (Kee, p. 111), but kindness wasn't really their specialty.
A few years later, Parnell died (October 10, 1891), and Kee (p. 115) writes that "The chances of Home Rule for the next twenty years were buried with him"; see also the notes to "We Won't Let Our Leader Run Down." For the future course of the Home Rule movement, see the notes to ÒA Loyal Song Against Home Rule.Ó
Chamberlain, in addition to splitting the liberal party and postponing home rule, had one more dubious gift to give to Britain: His younger son, Neville Chamberlian. - RBW
File: BrdHoRuI
===
NAME: Home, Boys, Home: see Ambletown; also Rosemary Lane [Laws K43] (File: LK43A)
===
NAME: Home, Dearie, Home: see Ambletown; also Rosemary Lane [Laws K43] (File: LK43A)
===
NAME: Home, Home, Home: see When I Was Young; also Rosemary Lane [Laws K43] (File: EM075)
===
NAME: Home, Sweet Home: see Home! Sweet Home! (File: RJ19080)
===
NAME: Home! Sweet Home!
DESCRIPTION: "'Mid pleasures and palaces though we may roam, Be it ever so humble there's no place like home." The singer yearns to return to that "lowly thatched cottage" which brings peace of mind
AUTHOR: Words: John Howard Payne
EARLIEST_DATE: 1823
KEYWORDS: home nonballad
FOUND_IN: US(MW)
REFERENCES: (7 citations)
RJackson-19CPop, pp. 80-82, "Home! Sweet Home!" (1 text, 1 tune)
Dean, p. 120, "Home, Sweet Home" (1 text)
Gilbert, p. 87, (no name; a partial text of a parody)
Krythe 3, pp. 40-61, "Home, Sweet Home" (1 text, 1 tune)
Silber-FSWB, p. 254, "Home, Sweet Home" (1 text)
Fuld-WFM, pp. 274-275, "Home! Sweet Home!"
DT, HOMSWEET
Roud #9597
RECORDINGS:
The Breaux Freres, "Home Sweet Home" [in Cajun French] (Vocalion 2961B, 1934; on AAFM2)
Elizabeth Cotten, "Home Sweet Home" (on Cotten03)
Edward Franklin, "Home Sweet Home" (Columbia 44, 1901)
Frank Jenkins, "Home Sweet Home" (Silvertone 5080, 1927)
Lester McFarland & Robert Gardner, "Home Sweet Home" (Brunswick 475, 1930)
Margarethe Matzenauer, "Home, Sweet Home" (Pathe Actuelle 027519, n.d.)
McMichen's Melody Men, "Home Sweet Home" (Columbia 15288-D, 1928)
Royal Hawaiians, "Home Sweet Home" (Broadway 8100, c. 1930)
DaCosta Woltz's Southern Broadcasters, "Home Sweet Home" (Supertone 9162, 1928)
BROADSIDES:
Bodleian, Firth b.28(7a/b) View 7 of 8, "Home, Sweet Home" ("Mid pleasures and palaces though we may roam"), R. March and Co. (London), 1877-1884; also Harding B 25(854), Harding B 11(1564), Firth c.17(40), Harding B 11(2341), Harding B 11(4032), "Home, Sweet Home"
LOCSheet, sm1851 490710, "Home, Sweet Home" ("'Mid pleasures and palaces though we may roam"), Firth, Pond and Co. (New York), 1851; also sm1851 670130, sm1852 510930, sm1852 692100, sm1883 17251, sm1883 21656, "Home, Sweet Home" (tune)
LOCSinging, as105460, "Home, Sweet Home," J. Andrews (New York), 1853-1859; also sb20169b, "Home, Sweet Home"
CROSS_REFERENCES:
cf. "There Is No Place in the Height of Heaven" (floating lyrics)
cf. "The Song That Reached My Heart" (recalls this song)
NOTES: Krythe gives extensive notes on the career of John Howard Payne (1791-1852), actor, playwright, poet, minor American diplomat, expatriate, and man with absolutely no idea how to manage his affairs. This song was originally part of an operetta, "Clari, the Maid of Milan," which Payne sold for fifty pounds in 1823.
The music to the opera "Clari" was by Henry Rowley Bishop. Some have questioned, however, whether he wrote the music for this particular song. It has been claimed that it is an old French tune.
The sheet music sold hundreds of thousands of copies, but of course none of the proceeds went to the composers. - RBW
Broadside LOCSinging as105460: 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: RJ19080
===
NAME: Homesick Boy, The: see Ten Thousand Miles Away (On the Banks of Lonely River) (File: R697)
===
NAME: Homespun Dress, The
DESCRIPTION: "Yes, I am a southern girl, and glory in the same, And boast it with far greater pride than glit'ring wealth or fame...." The girl proudly boasts that, though her dress is homespun and her clothing poor, it is all southern and better than northern finery
AUTHOR: unknown
EARLIEST_DATE: 1867 (Southern Poems of the War)
KEYWORDS: clothes Civilwar patriotic
FOUND_IN: US(SE,So)
REFERENCES: (8 citations)
Belden, p. 360, "The Homespun Dress" (1 text)
Randolph 215, "The Southern Dress" (1 text, 1 tune)
BrownIII 380, "The Homespun Dress" (2 texts plus a reprinting of a printed version)
Hudson 125, pp. 265-266, "The Homespun Dress" (1 text)
Scott-BoA, pp. 229-230, "The Homespun Dress" (1 text, tune referenced)
Arnett, pp. 78-79, "The Homespun Dress" (1 text, 1 tune)
DT, CNFEDGAL*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 224, "The Homespun Dress" (1 short text)
Roud #4504
CROSS_REFERENCES:
cf. "The Bonnie Blue Flag" (tune & meter) and references there
cf. "Young Ladies in Town" (theme)
NOTES: The authorship of this piece is disputed; several sources list a Lt. Harrington, killed at Perryville (Oct 9, 1862); others credit the song to Carrie Bell Sinclair. The notes in Brown contain an extensive, but inconclusive, discussion, which consists mostly of citations of unauthoritative sources. - RBW
File: R215
===
NAME: Homestead Strike, The
DESCRIPTION: "We are asking one another as we pass the time of day Why men must have recourse to arms to get their proper pay." The union workers go on strike; the company hires Pinkertons to break it. The result is bloodshed
AUTHOR: J. W. Kelly?
EARLIEST_DATE: 1942
KEYWORDS: labor-movement fight hardtimes strike
HISTORICAL_REFERENCES: July 1, 1892 - Declaration of the Homestead Strike (one of many strikes taking place about this time). The Amalgamated Association of Iron and Steel Workers strikes Carnegie's Homestead Steel Works in Pennsylvania, trying to win the right to collective bargaining.
Relations between the Union and management has, until this time, been fairly good, but manager Henry Clay Frick decided the expiration of the current contract was a good opportunity to break the union. He cut wages and refused to negotiate.
July 6, 1892 - Frick brings in 300 Pinkertons (the "paid detectives" of the song) to battle the strikers and relatives (who number about 5000). Twenty people were killed in the ensuing battle, in which the Pinkertons were repelled (and, without exception, injured)
July 9, 1892 - Frick convinces Pennsylvania Governor Pattison to send in 7000 militia to break the strike
July 15, 1892 - Despite appeals from all over the world (including President Cleveland), the Homestead Mill is re-opened by scabs
Nov 14, 1892 - The Homestead workers give up their strike. They have made no real gains (except in public opinion), and many have lost their jobs to scabs
FOUND_IN: US
REFERENCES: (2 citations)
Gilbert, pp. 198-199, "A Fight for Home and Honor " (1 text)
DT, HOMESTD*
Roud #7744
RECORDINGS:
Pete Seeger, "Homestead Strike Song" (on PeteSeeger47)
CROSS_REFERENCES:
cf. "Father Was Killed by the Pinkerton Men" (subject)
File: Gil198
===
NAME: Homeward Bound (I)
DESCRIPTION: Shanty. Characteristic line: "Goodbye, fare you well, goodbye, fare you well... Hurrah, my boys, we're homeward bound." While the rest of the shanty usually tells a story about sailors' return, the stanzas are often compiled from floating verses
AUTHOR: unknown
EARLIEST_DATE: 1845 (from the log of the Minerva)
KEYWORDS: shanty reunion
FOUND_IN: US(MA) Canada(Mar,Newf) Britain(England)
REFERENCES: (17 citations)
Doerflinger, pp. 87-89, "Homeward Bound" (3 texts, 1 tune. The first text is largely "Outward and Homeward Bound"; the third partakes of "Rolling in the Dew" and "Ratcliffe Highway"")
Bone, p. 117, "Homeward Bound" (1 text, 1 tune)
Colcord, pp. 113-114, "Good-bye, Fare You Well!" (1 text, 1 tune)
Harlow, pp. 119-121, "Homeward Bound" (1 text, 1 tune)
Hugill, pp. 120-124, "Goodbye, Fare-Ye-Well" (8 texts-5 English, 2 Norwegian, 1 French, 2 tunes. Version c's verses are from "Blow the Man Down," version d's are from "The Dreadnaught") [AbEd, pp. 103-106]
Shay-SeaSongs, p. 85, "Goodbye, Fare You Well" (1 text, 1 tune)
Linscott, pp. 140-141, "Homeward Bound" (1 fragment, 1 tune)
Doyle2, pp. 63, "Homeward Bound" (1 text, 1 tune)
Doyle3, p. 29, "Homeward Bound" (1 text, 1 tune)
Greenleaf/Mansfield 165, "Homeward Bound" (1 text, 1 tune)
Blondahl, p. 23, "Homeward Bound" (1 text, 1 tune)
Smith/Hatt, p. 34, "Goodbye, Fare Ye Well" (1 text)
Creighton-NovaScotia 37, "Homeward Bound" (1 text, 1 tune)
Mackenzie 103, "We're Homeward Bound" (1 text)
SHenry H53a, p. 97, "I'm Going Home" (1 text, 1 tune - a fragment, probably of this song)
DT, GDBYFWL*
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.
Roud #927
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Homeward Bound" (on ENMacCollSeeger02)
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Goodbye, Fare You Well (Homeward Bound)" (AFS 4229 A, 1939; on LC27 as "Homeward Bound"; in AMMEM/Cowell)
W[illiam] H. Smith, "Goodbye, Fare You Well" (on NovaScotia1)
CROSS_REFERENCES:
cf. "Et Nous Irons a Valapariso" (partial tune and chorus)
ALTERNATE_TITLES:
Goodbye, Fare You Well
Ved Ankerhioning (Anchor Song) [Norwegian versio]
As-tu-connu le Pere Lancelot [French version]
NOTES: Horace Beck in his book _Folklore and the Sea_ (Mystic Conn.: Mystic Seaport Museum, 1985), p. 137, explains that this chanty was sung by British sailors as they "walked the capstan round" bound for home. Other ships hearing this would give them mail and messages to take with them. On American ships "Shenandoah" was sung instead. - SH
File: Doe087
===
NAME: Homeward Bound (II -- Loose Every Sail to the Breeze)
DESCRIPTION: "Loose every sail to the breeze, The course of my vessel improve... Ye sailors I'm bound to my love." The sailor rejoices to be going home to his faithful Emma. He toasts the ship and the wind which carries her home
AUTHOR: unknown
EARLIEST_DATE: 1795 (Journal from the Joseph Francis)
KEYWORDS: sailor sea home
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 52-53, "Loose Every Sail to the Breeze" (1 text, 1 tune)
Roud #2016
NOTES: Huntington thinks this a traditional song, but his tune, at least, can hardly be regarded as traditional. It requires a range of two full octaves. Some singers could handle this, but probably not enough to keep the song current. - RBW
File: SWMS052
===
NAME: Homeward Bound (III): see Get Up, Jack! John, Sit Down! (File: Wa071)
===
NAME: Honest Girl (I Went to Church Like an Honest Girl Should)
DESCRIPTION: "I went to church like an honest girl should, And the boys come too, Like other boys would." I come home like an honest girl should, And the boys came too.... She ends up pregnant and has a baby, "And the boys denied it, just like boys would."
AUTHOR: unknown
EARLIEST_DATE: 1933 (Henry, collected from Mrs. Samuel Harmon)
KEYWORDS: courting pregnancy abandonment lie
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 28-29, "Honest Girl" (1 text)
NOTES: This may be the best five-stanza summary of the relationship between the sexes I've ever seen. - RBW
File: MHAp028
===
NAME: Honest Irish Lad, The
DESCRIPTION: "My name is Tim McNare, I'm from the County Clare In that lovely little isle across the sea." The singer loved Ireland, but his farm could not support his family. Now in America, he can find no work. He still hopes to bring his family to join him
AUTHOR: unknown
EARLIEST_DATE: 1956
KEYWORDS: poverty emigration family separation unemployment
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 89-91, "The Honest Irish Lad" (1 text, 1 tune)
Roud #4522
CROSS_REFERENCES:
cf. "No Irish Need Apply" (subject)
cf. "An Irish Laborer" (subject)
File: FMB089
===
NAME: Honest Working Man, The
DESCRIPTION: "Way down in East Cape Breton, where they knit the sock and mitten, Cezzetcook is represented by the husky black and tan. May they never be rejected, and home rule be protected, and always be connected with the honest working man."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Fowke/MacMillan)
KEYWORDS: work fishing
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Fowke/MacMillan 31, "The Honest Working Man" (1 text, 1 tune)
DT, HONSTWR*
Roud #4535
NOTES: Written as a piece of irony aimed at the importation of surplus labor in the summer months.... Referred to in several sources as "the national anthem of Cape Breton workers." - SL
File: FowM
===
NAME: Honey Babe (I): see New River Train (File: AF073)
===
NAME: Honey Babe (II): see Sound Off (Cadence Count, Jody Chant) (File: LoF317)
===
NAME: Honey, Take a Whiff on Me: see Take a Whiff on Me (File: RL130)
===
NAME: Honkytonk Asshole
DESCRIPTION: "I hang out in bars and bother the dollies, I peak when I'm not spoken to." The singer describes his performance in bars, and tells how he gets thrown out of the place as "bad for business.' 
AUTHOR: Baxter Black
EARLIEST_DATE: 1989 (Logsdon)
KEYWORDS: drink work
FOUND_IN: 
REFERENCES: (1 citation)
Logsdon 61, pp. 275-277, "Honkytonk Asshole" (1 text, 1 tune)
Roud #10111
NOTES: Logsdon thinks this a typical example of modern bawdy songwriting. This strikes me as unlikely; it's dirty, but it's much too much like pop-country whining-because-I'm-on-the-road songs. - RBW
File: Logs061
===
NAME: Hook and Line
DESCRIPTION: "Gimme the hook and gimme the line; Gimme the girl you call Caroline." Possibly part of the same song: "Set my hook and give it a flip; Caught old (name) by the lip."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: fishing courting nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 157, "Hook and Line" (third of 12 single-stanza jigs) (1 fragment); also possibly p. 157, "The Hook" (the fourth jig)
ST Fus157 (Full)
Roud #13943
File: Fus157
===
NAME: Hooker John
DESCRIPTION: "Oh me Mary she's a sailor's lass. Ch: To me Hooker John, me Hoo-john! Oh we courted all day on the grass (Ch) "Full Ch: Way Suzanna Oh way, hay, high, high, ya! Johnny's on the foreyard, Yonder way up yonder!"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: "Oh me Mary she's a sailor's lass. Ch: To me Hooker John, me Hoo-john! Oh we courted all day on the grass (Ch) "Full Ch: Way Suzanna Oh way, hay, high, high, ya! Johnny's on the foreyard, Yonder way up yonder!" Verses continue with other girls, "Flora she's a hoosier's friend, Sally she's a nigger's gal" etc.
KEYWORDS: shanty worksong courting
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, pp. 290-291, "Hooker John" (2 texts, 1 tune) [AbEd, pp. 214-215]
ALTERNATE_TITLES:
Ooker John
File: Hugi290
===
NAME: Hooly and Fairly
DESCRIPTION: Singer wonders why he married; his wife drinks and calls him cheap. She dines out and dresses well while he must wear rags. She overdresses, fails to keep house, and sleeps too much. He wishes he were single, and that she would live "hooly and fairly"
AUTHOR: unknown; text recomposed by Joanna Baillie
EARLIEST_DATE: text 1751 (published in "Yair's Charmer" as "The Drucken Wife o' Gallowa'"); melody 1759 (The Caledonian Pocket Companion, same title); both together under title "Hooly and Fairly," 1757 (Thirty Scots Songs for Voice and Harpsichord)
LONG_DESCRIPTION: Singer wonders why he married; his wife drinks canary wine and calls him cheap. She dines with her gossiping friends, goes to fairs, "bridals," and preachings well-dressed while he must wear rags. She overdresses in church, fails to keep house, and sleeps while the neighbors are waking. She won't take advice, arguing with the minister. He wishes he were single, and that his wife would drink/spend/dress/speak "hooly and fairly"
KEYWORDS: shrewishness marriage clothes drink nonballad wife
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 111, "Hooly and Fairly" (1 text, 1 tune)
Roud #5654
ALTERNATE_TITLES:
The Drucken Wife o' Gallowa'
NOTES: The singer is a kvetch. "Hooly" = "slowly, softly, gently." Joanna Baillie (1762-1851) was a child prodigy who composed verses before she could read; in addition to writing songs, for forty years she was a dramatist for the London Theatre. - PJS
File: McCST111
===
NAME: Hooraw for the Blackball Line: see The Black Ball Line (File: LxA489)
===
NAME: Hoosen Johnny: see The Old Gray Mare (The Old Gray Horse; The Little Black Bull) (File: R271)
===
NAME: Hootchy-Kootchy Dance, The
DESCRIPTION: "There's a place in France/Where the women wear no pants" and similar bawdy verses. Cho: "Do what your mama says and do what your papa says/But don't split your pants, doin' the hootchy-kootchy dance"
AUTHOR: unknown
EARLIEST_DATE: 1893
KEYWORDS: sex clothes bawdy nonballad
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Anonymous singer "The Hootchy-Kootchy Dance" (on Unexp1)
CROSS_REFERENCES:
cf. "Bonaparte's Retreat" (sometimes used as a C part for that tune)
NOTES: Yes, you know it. This is the piece that is *always* used in a cartoon as the music when anything having to do with Arabia, Egypt, belly dancing, snake charming or Muslims in general is depicted. Originally a Tin Pan Alley song, popular at the Columbian Exposition in Chicago, where exotic dancers adopted it instantly; Sol Bloom, entertainment director at the Exposition, claimed he wrote it, but it has also been connected to traditional tunes in Iraq and Algeria. The title usually associated with the tune is "The Streets of Cairo." (See http://www.shira.net/streets-of-cairo.htm for more history.) It's a tune nearly everyone in America knows, and many older Americans (and maybe kids?) know the "women wear no pants" verse. A folk song if ever there was one. - PJS
File: RcTHoKoD
===
NAME: Hop High Ladies (Uncle Joe)
DESCRIPTION: Floating verses ("Did you ever go to meeting, Uncle Joe?" "Every time you turn around you jump Jim Crow"). Characterized by the refrain "Hop high ladies, (the cake's all dough/Three in a row), Don't mind the weather when the wind don't blow"
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Henry Whitter)
KEYWORDS: nonballad dancing dancetune floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (8 citations)
Randolph 252, "Jump Jim Crow" (1 text, 1 tune, a short text with the chorus of "Jump Jim Crow" and other material that might float)
Randolph/Cohen, pp. 219-220, "Jump Jim Crow" (1 text, 1 tune -- Randolph's 252)
BrownIII 85, "Hop Light, Ladies" (2 fragments)
Hudson 147, pp. 293-294, [no title] (1 text, a square dance sample with a lot of material appropriate to that setting but with a chorus that seems to place it here)
Lomax-FSNA 116, "Uncle Joe" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 64-65, "Hop High Ladies, the Cake's All Dough" (1 text, 1 tune)
Silber-FSWB, p. 33, "Uncle Joe" (1 text)
DT, HOPUPLAD*
Roud #6677
RECORDINGS:
Fiddlin' John Carson, "Hop Light Lady" (OKah 45011, 1925)
Uncle Dave Macon, "Hop Light Ladies The Cake's All Dough" (Vocalion 5154, 1927)
New Lost City Ramblers, "Hop High, Ladies" (on NLCR10) ; "Hop High, Ladies, the Cake's All Dough" (on NLCR12)
Fiddlin' Powers and Family, "Did You Ever See the Devil, Uncle Joe?" (OKeh 45268, 1927)
Riley Puckett, "Hop Light Ladies" (Bluebird B-5514, 1934)
Red Fox Chasers, "Did You Ever See The Devil, Uncle Joe" (Gennett 6461/Champion 15522, 1928)
Doc Roberts, "Did You Ever See the Devil Uncle Joe" (Perfect 12724, 1931; Melotone 12390, 1932; Conqueror 8136, 1933)
Oliver Sims, "Hop About Ladies" (Columbia 15103-D, 1926)
Ernest V. Stoneman, "Hop Light Ladies" (Edison 52056 [may also have been listed as by the Dixie Mountaineers, same record number], 1927)
Henry Whitter, "Hop Light Ladies and Shortenin' Bread" (OKeh 40064, 1924)
CROSS_REFERENCES:
cf. "Miss McCleod's Reel " (tune)
cf. "Jump Jim Crow" (floating lyrics)
NOTES: Randolph has a report that this song has been heard as far afield as Delhi, India, but seems to be referring to "Jump Jim Crow" (of which his version has just the chorus). - RBW
File: R252
===
NAME: Hop High Ladies, the Cake's All Dough: see Hop High Ladies (Uncle Joe) (File: R252)
===
NAME: Hop Light, Ladies: see Hop High Ladies (Uncle Joe) (File: R252)
===
NAME: Hop-Joint, The
DESCRIPTION: "I went to the hop-joint And thought I'd have some fun, In walked Bill Bailey With his forty-one! (Oh, baby darlin', why don't you come home?)" Bailey, or somebody, shoots the singer in the side: "Don't catch me playin' bull In the hop-joint any more!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: cards drugs violence injury homicide
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 90-91, "The Hop-Joint" (1 text, apparently incomplete, plus a fragment; 1 tune); also some additional lyrics on p. 91
ST ScaNF090 (Partial)
CROSS_REFERENCES:
cf. "Bill Bailey, Won't You Please Come Home?" (some lyrics; character of Bill Bailey)
NOTES: Scarborough's source apparently had a great deal of trouble acquiring a complete text of this song, and the resulting fragments are difficult to interpret.
It also is a peculiar composite; quite a few lines, and of course the main character, are reminiscent of "Bill Bailey, Won't You Please Come Home?" (though it's not clear whether that song, from 1902, was the inspiration of this or derived from it); the feel seems more like "Duncan and Brady," and of course there are lots of stories of violence in drug-houses. We really need more information than we have. - RBW
File: ScaNF090
===
NAME: Hop-Pickers' Tragedy, The
DESCRIPTION: A group of hop-pickers on their way from work approaches (Larklake) Bridge in a horse-drawn vehicle. The horses shy; the vehicle plunges over the bridge into the River Medway with great loss of life
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, Jasper Smith)
KEYWORDS: death drowning farming harvest work disaster horse worker
HISTORICAL_REFERENCES: Oct. 20, 1853 - The Medway accident
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
MacSeegTrav 120, "The Hop-Pickers' Tragedy" (1 text, 1 tune)
Roud #1729
RECORDINGS:
Jasper Smith, "Hartlake Bridge" (on Voice08)
ALTERNATE_TITLES:
There Was Four-and-Twenty Strangers
NOTES: [On October 20, 1853,] A horse-drawn brake carrying a party of hop-pickers plunged over Hartlake Bridge into the River Medway. Thirty people, including four children, were drowned. The dead included Travellers, Irish, and English.
[MacColl and Seeger write,] "In spite of being very well known among Kent and Surrey Travellers, the song does not appear to have been printed at any time." - PJS
Regarding the date of the event, Hall, notes to Voice08, re "Hartlake Bridge" cites Mike Yates as source for an October 1858 date. Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 8" - 1.3.03 also has the date as October, 1858. - BS
It appears this is a nmisreading. I found a reference to the accident in the October 29, 1853 edition of the _London Illustrated News_. It claims 32 people were killed. As of this writing, a citation may be found at http://www.iln.org.uk/iln_years/year/1853.htm. - RBW
File: McCST120
===
NAME: Hop, Old Squirrel: see Peep Squirrel (File: ChFRA119)
===
NAME: Hopalong Peter
DESCRIPTION: Nonsense song. "Old mother Hubbard and her dog were Dutch/A bow-legged rooster and he hobbled on a crutch/Hen chawed tobacco and the duck drank wine/The goose played the fiddle on the pumpkin vine" and similar verses.
AUTHOR: unknown
EARLIEST_DATE: 1937 (recording, Mainer's Mountaineers)
KEYWORDS: nonsense animal chickens drink wordplay
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 160, "Get Along, John, the Day's Work's Done" (1 text, of only three lines, but two of them correspond to this song)
Cohen/Seeger/Wood, pp. 104-105, "Hopalong Peter" (1 text, 1 tune)
RECORDINGS:
Fisher Hendley & his Aristocratic Pigs, "Hop Along Peter" (Vocalion 04780, 1939, on CrowTold01)
J. E. Mainer's Mountaineers, "Hop Along Peter" (Bluebird B-6752 [as Mainer, Morris & Sherrill?]/Montgomery Ward M-7131, 1937)
New Lost City Ramblers, "Hopalong Peter" (on NLCR10, NLCRCD1)
CROSS_REFERENCES:
cf. "Hallelujah"
cf. "Johnny Fell Down in the Bucket" (technique)
cf. "I'll Rise When the Rooster Crows" (lyrics)
cf. "Hannamaria" (theme)
NOTES: A number of verses to this song rely on the "unexpected final word." For example, a common first verse runs
Old Uncle Peter, he got tight,
Started up to Heaven on a stormy night.
The road being rough and him not well,
He lost his way and he went... to...
(Chorus)
Hopalong Peter, where you going (x2)
Hopalong Peter, won't you bear in mind
I ain't coming back till the gooseberry time. - RBW
File: CSW104
===
NAME: Hopping Down in Kent
DESCRIPTION: "Some say hopping's lousy. I don't believe it's true," but then the singer describes the hoppers' hard life, poor wages, and bad food. And when the money's spent "don't I wish I'd never went A-hopping down in Kent"
AUTHOR: unknown
EARLIEST_DATE: 1975 (recording, Mary Ann Haynes)
KEYWORDS: harvest work hardtimes
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1715
RECORDINGS:
Mary Ann Haynes, "Hopping Down in Kent" (on Voice05)
NOTES: Hops are picked in September. Most hoppers in Kent were the poor and unemployed from London. "At the hop industry's peak more than 80,000 people poured into Kent every autumn. Whole families came and there are many records of families visiting the same gardens for several generations." (source: "History of Hop Picking in Kent" in _A History of Hop Growing in Kent and the South East_ at the National Hop Association of England site; the article describes hopping and some of the terminology used in the song) - BS
File: RcHoDIKe
===
NAME: Horn of the Hiram Q, The
DESCRIPTION: Singer describes a whaling trip -- he was the best man aboard, and the "worst of them was you." Cho: "With a yo ho and there she blows; Steer for her tail and you'll fetch her nose, with a la-de-da, and a how d'ye do, and hark for the horn of the Hiram Q"
AUTHOR: L. E. Richards
EARLIEST_DATE: 1945 (Harlow)
LONG_DESCRIPTION: Mostly nonsense, written in dialect. Singer talks of a whaling voyage -- he was the best man aboard, and the "worst of them was you." Cho: "With a yo ho and there she blows; Steer for her tail and you'll fetch her nose, with a la-de-da, and a how d'ye do, and hark for the horn of the Hiram Q"
KEYWORDS: whaler humorous nonballad nonsense
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 227-228, "The Horn of the Hiram Q" (1 text)
Roud #9155
NOTES: I'm just guessing that this is a piece of composed poetry because it is in the section of Harlow's book where he's including things like excerpts from the Wizard of Oz (see "Hurrah for Baffin's Bay"). The author is given as L.E. Richards and I couldn't make any further determination who that might be. However, it does *not* appear to be Laura E. Howe Richards (daughter of Julia Ward Howe). She wrote a good bit of poetry, but this piece doesn't seem to be one of hers. -SL
File: Harl227
===
NAME: Hornet and the Peacock, The
DESCRIPTION: "King George says [to the Peacock] 'To America go / The Hornet, the Wasp is the British king's foe.'" However, the Hornet defeats the Peacock: "The Peacock now mortally under her wing / Did feel the full force of the Hornet's sharp sting/"
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: sea battle
HISTORICAL_REFERENCES: 1760-1820 - Reign of George III of Britain
1812 - Battle between the U.S.S. Hornet and the H.M.S. Peacock off the coast of South America. The American ship won
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Eddy 107, "The Peacock that Lived in the Land of King George" (1 fragment, 1 tune)
DT, HRNTPEAK
Roud #5339
NOTES: What seems to be the most widely distributed text of this ballad runs, "The peacock that lived in the land of King George / His feathers were fine and his tail very large / He spread out his wings like a ship in full sail / And prided himself on the size of his tail... The hornet doth tickle the British bird's tail." _Hornet_ and _Wasp_ were American ships.
The battle between U.S.S. _Hornet_ and H.M.S. _Peacock_ was strange. The _Hornet_ was commanded by James Lawrence, a brash young officer barely in his thirties. On February 24, 1812, cruising off Brazil, the 18-gun _Hornet_ spotted H.M.S. _Espiegle_, another 18-gun ship, off Brazil (see Walter R. Borneman, _1812, The War That Forged a Nation_, p. 112).
Before the two ships could engage, another 18-gun brig, H.M.S. _Peacock_, showed up. _Peacock_, unlike _Espiegle_, wanted to fight. It was a bad decision; she had to strike her colors after only a quarter of an hour. And she was so badly damaged that Lawrence quickly abandoned the prize and took off _Peacock's_ crew. (According to Fletcher Pratt, _A Compact History of the United States Navy_, p. 82, the _Peacock_ sank even before the crew could get off. John K. Mahon, _The War of 1812_, p. 123, notes that the only three Americans who died in the battle were drowned on the _Peacock_ as she sank.)
Lawrence's reward was a promotion to full captain. That also meant was due command of a frigate. The frigate he received (Borneman, p. 113) was the ill-fated U.S.S. _Chesapeake_ (for its story, see the notes to "The Chesapeake and the Shannon (I)" [Laws J20]). - RBW
File: E107
===
NAME: Horrors of Libby Prison, The
DESCRIPTION: "Did the soldier dream of plenty on the Richmond prison floor? Did he dream that he was marching with his own brave army corps?" The singer describes the starvation and wretched conditions in southern prisons and hopes for release
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Civilwar soldier prisoner food death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 59-63, "The Horrors of Libby Prison" (1 text)
NOTES: I rather doubt that this is an actual song, though Thomas describes it so; it's too long and plodding to survive in oral tradition. Nonetheless conditions in Confederate prisons were always bad; they hadn't enough to feed their own soldiers, so how could they feed prisoners?
Although the song refers to Libby Prison (and Pemberton Prison), I doubt it is based on anyone's actual experiences at that place; the song seems to describe the fate of enlisted men, but Libby Prison (in Richmond, on the James River, the former warehouse of Libby and Sons) was reserved for officers, and was largely shut down after May 1864. - RBW
File: ThBa059
===
NAME: Horse Named Bill, A
DESCRIPTION: "I had a horse, his name was Bill And when he ran, he couldn't stand still. He ran away one day And also I ran with him." Nonsense verses about the singer, his girlfriend, her cat, birds, balloons, and all else that comes to mind
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: animal nonsense
FOUND_IN: US(MW,SW)
REFERENCES: (5 citations)
Sandburg, pp. 340-341, "A Horse Named Bill" (1 text, 1 tune)
Lomax-FSNA 69, "The Horse Named Bill" (1 text, 1 tune)
Pankake-PHCFSB, p. 174, "A Horse Named Bill" (1 text, tune referenced)
Silber-FSWB, p. 241, "A Horse Named Bill" (1 text)
DT, HORSEBIL
Roud #6674
CROSS_REFERENCES:
cf. "Dixie" (tune) and references there
NOTES: Sandburg describes the tempo of this as "with lucid intervals if possible." The tune is the same as the first part of "Dixie." - RBW
I incline to the opinion that Sandburg wrote most of these verses. - PJS
Certainly a fair possibility, though he clearly started with some piece of craziness which he amplified (compare the "Crazy Song to the Air of 'Dixie'") - RBW
Verse 1 of Sandburg is similar to verse 4 of Opie-Oxford2 355, "There was a monkey climbed a tree" (earliest date in Opie-Oxford2 is 1626).
Sandburg: "I had a horse, his name was Bill And when he ran, he couldn't stand still He ran away, one day And also, I ran with him"
Opie-Oxford2 355: "There was a horse going to the mill, When he went on, he stood not still."
Unlike "Horse Named Bill," all of Opie-Oxford2 355 is of this type. For another example, "There was a crow sat on a stone, When he was gone, then there was none." - BS
File: San340
===
NAME: Horse Shit
DESCRIPTION: "A pilot of great reknown" attempts intercourse with a young woman, and fails in successive tries. The name derives from the refrain.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy nonballad pilot sex
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 42-43, "Horse Shit" (1 text)
Roud #10137
CROSS_REFERENCES:
cf. "The Monk of Great Renown"
NOTES: This technically is not a ballad at all. - EC
As Ed notes, this is really a simplified version of "The Monk of Great Renown." He classifies them separately because this one has taken on odoriferous life of its own. Also, the versions of this piece seem to have lost the theme of abusing the girl to death found in some texts of "The Monk." - RBW
File: EM042
===
NAME: Horse Teamster, A
DESCRIPTION: Brady, a horse teamster driving for Cooley, comes to the skidway and asks for a tow. The teamster protests that his horses are stiff and lame, but Brady insists. The horses balk despite all his whipping; eventually he's hauled out by another team
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work horse
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 32, "A Horse Teamster" (1 text)
Roud #4055
NOTES: In the early days, the teamsters in the pinewoods drove oxen, later horses and (less often) mules. - PJS
This song is item dC30 in Laws's Appendix II. - RBW
File: Be032
===
NAME: Horse Trader's Song, The
DESCRIPTION: "It's do you know those horse traders, It's do you know their plan? (x2) Their plan it is for to snide you And git whatever they can; I've been all around the world." About the tricks and travels of horse traders
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: horse commerce travel trick
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 495, "The Horse-Traders' Song" (1 text, 1 tune)
Randolph/Cohen, pp. 355-357, "The Horse-Trader's Song" (1 text, 1 tune -- Randolph's 495)
Lomax-FSNA 168, "The Horse Trader's Song" (1 text, 1 tune)
Roud #5728
CROSS_REFERENCES:
cf. "Hang Me, Oh Hang Me (Been All Around This World)" (tune, floating lyrics)
NOTES: Clearly a specialized adaption of "Hang Me, Oh Hang Me" -- but the difference in plot makes them separate songs. - RBW
File: R495
===
NAME: Horse Traders' Song, The: see The Horse Trader's Song (File: R495)
===
NAME: Horse Tramway, The: see Riding on the Tramway (File: Leyd015)
===
NAME: Horse Wrangler, The (The Tenderfoot) [Laws B27]
DESCRIPTION: A young fellow decides to try cowpunching. The foreman assures his that it is an easy job, but the young man soon finds reason to disagree. Hurt by a fall, he gives up the job or is fired
AUTHOR: words credited to D. J. O'Malley (but see below); tune "The Day I Played Base Ball"
EARLIEST_DATE: 1894 (Miles City, Montana Stock Growers' Journal, credited to "R. J. Stovall")
KEYWORDS: cowboy injury work horse humorous
FOUND_IN: US(MA,NW,So) Canada
REFERENCES: (11 citations)
Laws B27, "The Horse Wrangler (The Tenderfoot")
Fowke/Johnston, pp. 96-97, "The Tenderfoot" (1 text, 1 tune)
Sandburg, pp. 274-275, "The Tenderfoot" (1 text, 1 tune)
Thorp/Fife III, pp. 44-57 (13-14), "The Tenderfoot" (7 texts, 4 tunes)
Fife-Cowboy/West 72, "The Tenderfoot" (1 text, 1 tune)
Ohrlin-HBT 19, "Cowboy's Life" (1 text, 1 tune)
Logsdon 17, pp. 118-122, "The Skewbald Black" (1 text, 1 tune)
LPound-ABS, 82, pp. 176-178, "Breaking in a Tenderfoot" (1 text)
Silber-FSWB, p. 114, "The Tenderfoot" (1 text)
DT 599, TNDRFOOT
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, p. 28-29, "D-2 Horse Wrangler" (1 text)
Roud #3246
RECORDINGS:
Slim Critchlow, "D-Bar-2 Horse Wrangler" (on Critchlow1, BackSaddle)
Glenn Ohrlin, "The Tender Foot" (on Ohrlin10)
CROSS_REFERENCES:
cf. "The Day I Played Base Ball" (tune)
NOTES: The authorship of this piece is uncertain. Lomax credits it to D. J. O'Malley (writing under the name R. J. Stovall); in 1932 O'Malley emphatically claimed authorship, claiming to have written in the piece in 1893. Logsdon apparently has no hesitation about crediting it to O'Malley; neither does Cannon. However, the song was also claimed by an R. D. Mack, and Thorp's 1921 edition credits it to "Yank Hitson, Denver, Colorado, 1889." Perhaps more significantly, Thorp reports collecting it in Arizona in 1899.
In support of O'Malley's authorship, we note that O'Malley is also credited with "Charlie Rutledge," which also appeared in the Miles Ciry journal in the 1890s. - RBW
File: LB27
===
NAME: Horse-Thief, The: see Wild Rover No More (File: MA069)
===
NAME: Horse's Complaint, The: see The Drunkard's Horse (File: R318)
===
NAME: Horsey Song: see All the Pretty Little Horses (File: LxU002)
===
NAME: Horsham Boys
DESCRIPTION: Jarvis and James go to the pub and treat all the local low-lifes to drink, in the hope of buying their votes for Jarvis in the Parliamentary election. The rogues drink and smoke with the voters all night; the singer remonstrates with his fellow citizens
AUTHOR: unknown
EARLIEST_DATE: 1927 ("A Parliamentary History of Horsham, 1295-1885" by William Albury)
KEYWORDS: drink political
HISTORICAL_REFERENCES: 1847 - John Jarvis stands for Parliament
FOUND_IN: Britain(England(South))
REFERENCES: (0 citations)
RECORDINGS:
Tony Wales, "Horsham Boys" (on TWales1)
CROSS_REFERENCES:
cf. "Buffalo Gals" (tune)
File: RcHorBoy
===
NAME: Hostler Joe
DESCRIPTION: Hostler Joe and pretty Annie wed and have a child. After four years, though, a stranger lures Annie away from her home with promises of fame and fortune. Her beauty wins her fame, but both fade in time. Joe arrives as she is dying
AUTHOR: Words: George Robert Sims
EARLIEST_DATE: 1890 (Randolph)
KEYWORDS: death beauty marriage abandonment children
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 830, "Hostler Joe" (1 text)
ST R830 (Partial)
Roud #7440
ALTERNATE_TITLES:
Ostler Joe
NOTES: If I were to use one word to describe this piece of moralizing tripe, the word would be
"sickening." Randolph remarks, "It is often recited by people of the same kind who recite 'The Face on the Barroom Floor.'"
Based on Hazel Felleman's _The Best Loved Poems of the American People_, it appears that the author's title of this is "Ostler Joe." But since Randolph's appears to be the only traditional collection (if it is truly traditional -- note the lack of a tune), I use his title. - RBW
File: R830
===
NAME: Hot Ash-Pelt, The
DESCRIPTION: Singer McGuire leaves the farm for the asphalt crew. A peeler insults the men, and the singer knocks him into the boiler. They pull him out but the tar won't come off; now he hangs in the National Museum, "an example of the dire effects of hot ash-pelt"
AUTHOR: unknown
EARLIEST_DATE: 1952 (collected from John McLaverty)
LONG_DESCRIPTION: Singer McGuire leaves the farm to be boss of the asphalt crew. A peeler (policeman) asks to light his pipe on the boiler fire; he insults the men, and the singer hits him, knocking him into the boiler. They pull him out and scrub him, but the asphalt won't come off; now he hangs by his belt in the National Museum, "an example of the dire effects of hot ash-pelt"
KEYWORDS: fight violence work humorous boss worker police technology
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (3 citations)
Kennedy 225, "The Hot Ash-Pelt" (1 text, 1 tune)
MacColl-Shuttle, pp. 26-27, "Hot asphalt" (1 text, 1 tune)
DT, HOTASPLT
Roud #2134
BROADSIDES:
NLScotland, L.C.Fol.70(70a), "Hot Ashfelt," unknown, c. 1890
CROSS_REFERENCES:
cf. "Napoleon Crossing the Alps" (tune)
ALTERNATE_TITLES:
Hot Asphalt
NOTES: Although we tend to think of paved roads as a modern contrivance (with, perhaps, the exception of the Roman roads), paving has been around for quite a while. The first modern paved roads were built by John Loudon McAdam (1756-1836), who as paving commissioner of Bristol from 1806 began using crushed rock to build solid surfaces ("macadam").
The idea caught on quickly; by the mid-nineteenth century, most "turnpikes" in the United States were paved. (A fact which could have important historical effects, e.g. during the Civil War. It's often stated that the Battle of Gettysburg took place where it did because it was a road center -- which is true, but there are plenty of road centers in Pennsylvania. Gettysburg was especially noteworthy because no fewer than three turnpikes -- the Baltimore, Chambersburg, and York Pikes -- met there.)
The earliest macadamized roads were made simply of rock, but by the end of the century, bitumen was being used as a binder, requiring a device to keep the asphault hot. - RBW
File: K225
===
NAME: Hot Ashfelt
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
The Hot Ash-Pelt
File: K225
===
NAME: Hot Asphalt: see The Hot Ash-Pelt (File: K225)
===
NAME: Hot Corn, Cold Corn (I'll Meet You in the Evening)
DESCRIPTION: Stanzas about drink, courting, drink, slavery, drink (you get the idea). Recognized by the themes of the chorus: Corn, a demijohn, evening meetings: "Hot corn, cold corn, bring along a demijohn (x3), I'll meet you in the (morning/evening), Yes, sir."
AUTHOR: unknown
EARLIEST_DATE: 1906 (recording, Arthur Collins)
KEYWORDS: drink nonballad courting floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 267, "I'll Meet You in the Evening" (2 texts, 2 tune)
Randolph/Cohen, pp. 228-230, "I'll Meet You in the Evening" (1 text, 1 tune -- Randolph's 267A)
Cohen/Seeger/Wood, pp. 164-165, "Hot Corn" (1 text, 1 tune)
Roud #4954
RECORDINGS:
Fiddlin' John Carson, "Old Aunt Peggy, Won't You Set 'em Up Again?" (OKeh 40108, 1924)
Arthur Collins, "Hot Corn" (Columbia A-493, 1909; rec.1907) (CYL: Columbia 33075, 1907) 
[Asa] Martin & [James] Roberts, "Hot Corn" (Champion 16520, 1932; Champion 45065, 1935) (Melotone 6-03-52 [as Fiddlin' Doc Roberts Trio], 1936; rec. 1934) [One of these discs is on KMM, but I don't know which]
Fiddlin' Doc Roberts Trio, "Hot Corn" (Perfect 6-03-52, 1936)
New Lost City Ramblers, "Hot Corn" (on NLCR03)
CROSS_REFERENCES:
cf. "Black-Eyed Susie (Green Corn)" (floating lyrics)
ALTERNATE_TITLES:
Green Corn
NOTES: It is possible that this song and "Black-Eyed Susie (Green Corn)" spring from the same sources, since they share lyrics and themes. However, they have evolved far enough apart that I feel I have to split them. - RBW
I place the Fiddlin' John Carson record here for want of a better place. - PJS
File: R267
===
NAME: Hot Nuts
DESCRIPTION: To a chorus beginning "Hot nuts. Hot nuts. Get 'em from the peanut man," we hear descriptions of various men's nuts, and various girls' reaction to same. All verses end with the exclamation "Nuts!"
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, Lil Johnson)
KEYWORDS: bawdy nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Cray, pp. 344-346, "Hot Nuts" (1 text)
RECORDINGS:
Lil Johnson, "Get 'Em from the Peanut Man" (Champion 50002, 1935) (Vocalion 03199/Vocalion 03241, 1936); "Get 'em from the Peanut Man (Hot Nuts)" (Champion 50002, 1935) (ARC 6-5-58/Vocalion 03199, 1936)
Georgia White, "Get "em from the Peanut Man" (Decca 7152, 1936)
SAME_TUNE:
Georgia White, "New Hot Nuts" (Decca 7631, 1939)
Lil Johnson, "Get 'em from the Peanut Man (The New Hot Nuts)" (Vocalion 03241, 1936) 
File: EM344
===
NAME: Hot Time in the Old Town, A: see There'll Be a Hot Time (In the Old Town Tonight) (File: RL532)
===
NAME: Hound Dawg Song, The: see The Hound Dog Song (File: R512)
===
NAME: Hound Dog Song, The
DESCRIPTION: "Ev'ry time I come to town, The boys keep kickin' my dog around, Makes no diff'rence if he is a hound, They gotta quit kickin' my dog around." The details of the tussle between dog and people is described, ending when the dog's owners counterattack
AUTHOR: Words: Ebb M. Oungst; music: Cy Pekins (according to the Edison comnpany)
EARLIEST_DATE: 1912 (sundry sheet music publications)
KEYWORDS: fight dog injury
FOUND_IN: US(SE,So)
REFERENCES: (6 citations)
Randolph 512, "The Hound Dog Song" (1 text, 1 tune)
Randolph/Cohen, pp. 357-360, "The Hound Dog Song" (1 text, 1 tune -- Randolph's 512)
Lomax-FSNA, "The Hound Dawg Song" (1 text, 1 tune)
Darling-NAS, pp. 253-254, "The Hound Dog Song" (1 text)
DT, KICKDAWG*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 196-198, "The Ozark Dog Song" (1 fragment plus extensive folklore about whether the song is from Missouri or Arkansas)
Roud #6690
RECORDINGS:
American Quartet & Byron G. Harlan, "They Gotta Quit Kicking My Dog" (Victor 17065, 1912)
Byron G. Harlan, "Gotta Quit Kickin' My Dawg Aroun'" (Columbia A-1150, 1912) (Edison Amberol 1023, 1912)
Gid Tanner and His Skillet Lickers, "Ya Gotta Quit Kickin' My Dog Aroun'" (Columbia 15084-D, 1926)
Cy Stebbins, "They Gotta Quit Kickin' My Dawg Aroun'" (Vocalion 14378, 1922) 
ALTERNATE_TITLES:
You Gotta Quit Kickin' My Dog Around
NOTES: This was the campaign song of Champ Clark, [representative] from Missouri, during his campaign for President of the United States. He lost. -PJS
As a matter of fact, James Beauchamp "Champ" Clark was never even nominated for the Presidency, though he came very close. As Congressman from Missouri, he had been a leader in the fight to strip the Speaker of the House of his dictatorial powers in that chamber. This made him an obvious candidate for the Presidency in 1912. But the Democratic Party required that candidates receive two-thirds of the votes of the nominating convention delegates, and Clark -- though he was the clear favorite among the candidates -- never did gain that many votes (this was in the days when most delegates were chosen by caucus). Eventually his support started to fail, and a series of deals made Woodrow Wilson the Democratic nominee.
With the Republican Party split between the factions of Taft and Theodore Roosevelt, the Democratic nominee's election was assured. Thus Clark was only a rule change away from being elected President -- but not a single person ever voted for him in a national election.
Randolph heard a story which based this on a pre-Civil-War incident in Forsyth, Missouri. Proof is, of course, lacking, and if the attribution to Oungst and Pekins is correct (which I don't quite believe), it seems unlikely to be true. - RBW
File: R512
===
NAME: Hourra, Mes Boues, Hourra!
DESCRIPTION: Shanty. Sailor is gathering strawberries and feeding them to a girl. Her mother arrives; he says he's using the berries to fix her teeth. The mother wants her share too, but the sailor says they're only for girls of 15. The old ones are for the captain.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: foreignlanguage shanty bawdy food
FOUND_IN: Canada France
REFERENCES: (1 citation)
Hugill, pp. 137-138, "Hourra, Mes Boues, Hourra!" (2 texts, 1 tune)
ALTERNATE_TITLES:
Derriere chez nous y a z'un petit bois (Behind Our House There is a Little Wood)
NOTES: If sung in French, the text is full of bawdy double entendres. This was possibly derived from a French-Canadian folk song with a similar story. - SL
File: Hugi137
===
NAME: House Carpenter and the Ship Carpenter, The: see The Daemon Lover (The House Carpenter) [Child 243] (File: C243)
===
NAME: House Carpenter, The: see The Daemon Lover (The House Carpenter) [Child 243] (File: C243)
===
NAME: House of the Rising Sun, The
DESCRIPTION: The singer laments, "There is a house in New Orleans / They call the Rising Sun / It's been the ruin of many a poor girl / And me, O God, I'm one." She tells of her troubled childhood, laments that she cannot escape her life, and warns others against it
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, Ashley & Foster)
KEYWORDS: whore lament gambling drink husband father mother
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph-Legman I, pp. 250-253, "The House of the Rising Sun" (5 texts, 1 tune)
Lomax-FSNA 151, "The Rising Sun Blues" (1 text, 1 tune)
PSeeger-AFB, p. 18, "House Of The Rising Sun" (1 text, 1 tune)
Silber-FSWB, p. 184, "House Of The Rising Sun" (1 text)
DT, HOUSESUN*
Roud #6393
RECORDINGS:
Roy Acuff & his Smoky Mountain Boys, "The Rising Sun" (Vocalion 04909, 1939)
Almanac Singers, "House of the Rising Sun" (General 5020B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Clarence Ashley & Doc Watson, "Rising Sun Blues" (on Ashley03, WatsonAshley01)
[Clarence] Ashley & [Gwen] Foster, "The Rising Sun Blues" (on Vocalion 02576, 1933)
Homer Callahan, "Rounder's Luck" (Melotone 6-02-59, 1936; rec. 1935)
Dillard Chandler, "Sport in New Orleans" (on Chandler01)
Tom Darby & Jimmie Tarlton, "Rising Sun Blues" (Columbia 15701-D, c. 1931)
Woody Guthrie, "House of the Rising Sun" (on AschRec2)
Esco Hankins, "The Rising Sun" (King 650, 1947)
Daw Henson, "The Rising Sun Blues" (AAFS 1508 B2)
Roscoe Holcomb, "The Rising Sun" [LP] or "House in New Orleans" [CD] (on Holcomb-Ward1, HolcombCD1) 
Bert Martin, "The Rising Sun Blues" (AAFS 1496 B2)
Pete Seeger, "House of the Rising Sun" (on PeteSeeger18)
Georgia Turner, "The Rising Sun Blues" (AAFS 1404 A1)
NOTES: Legman offers extensive, if rambling, notes in Randolph-Legman I. - EC
While this song is generally associated in the public mind with African-American tradition, it clearly circulated in the Anglo-American community extensively; Clarence Ashley said he learned it from his grandmother. - PJS
Tex Alexander in 1928 recorded a song with the "Rising Sun" title, which we took for a time to be the earliest reference. But Mark R. Fletcher sends me information making it clear that this is a different piece with the same name. - RBW
File: RL250
===
NAME: House That Jack Built, The
DESCRIPTION: Jack built his house." "This is the malt that lay in the house that Jack built" "This is the sack that held the malt that lay in the house that Jack built" ....
AUTHOR: unknown
EARLIEST_DATE: 1780 (J. Marshall, according to Opie-Oxford2)
LONG_DESCRIPTION: "Jack built his house" The master of hounds chases the fox that killed the cock that woke the priest that married the man that married the maiden that milked the cow that tossed the dog that tossed the dog that worried the cat that killed the rat that gnawed the string that tied the sack that held the malt that lay in the house that Jack built.
KEYWORDS: cumulative nonballad marriage farming animal clergy home
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Opie-Oxford2 258, "This is the house that Jack built (1 text)
Baring-Gould-MotherGoose #30, pp. 44-45, "(This is the house that Jack built)"
Roud #12921
RECORDINGS:
Charlie Wills, "The House That Jack Built" (on Voice18)
File: RcTHTJBu
===
NAME: House-Burning in Carter County, The
DESCRIPTION: A mother sets out from home to get some mullen oil, but -- despite her child's encouragement to hurry -- stays to talk. Before she returns, her house catches fire and her children die in each other's arms. The mother is told they are at rest
AUTHOR: James W. Day ("Jilson Setters")?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: fire death children mother
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 108-109, (no title) (1 text)
ST ThBa108 (Partial)
Roud #13945
File: ThBa108
===
NAME: Housekeeper's Tragedy, A: see The Housewife's Lament (File: FSC097)
===
NAME: Housewife's Lament, The
DESCRIPTION: The housewife complains of her never-ending war against dirt: "Oh life is a toil and love is a trouble, Beauties will fade and riches will flee, Pleasures they dwindle and prices they double...." At last she dies "and was buried in dirt."
AUTHOR: H. A. Fletcher?
EARLIEST_DATE: 1871
KEYWORDS: work wife lament death burial dream
FOUND_IN: US(MA,MW,SE)
REFERENCES: (5 citations)
BrownIII 312, "A Housekeeper's Tragedy" (1 text plus an excerpt)
FSCatskills 97, "Life Is a Toil" (2 texts, 1 tune)
Lomax-FSNA 67, "The Housewife's Lament" (1 text, 1 tune)
Silber-FSWB, p. 184, "The Housewife's Lament" (1 text)
DT, HSEWFLAM
Roud #5472
RECORDINGS:
Loman D. Cansler, "The Housekeeper's Complaint" (on Cansler1)
File: FSC097
===
NAME: How Can A Poor Man Stand Such Times and Live?
DESCRIPTION: Times are hard; goods used to be cheap, but they're now exorbitant. Schools are bad, but all children are sent nonetheless. Prohibition, although good, is inappropriately enforced. Preachers and doctors are corrupt.
AUTHOR: Blind Alfred Reed
EARLIEST_DATE: 1929 (recording, Blind Alfred Reed)
KEYWORDS: hardtimes nonballad money
FOUND_IN: US
REFERENCES: (1 citation)
Darling-NAS, pp. 383-384, "How Can a Poor Man Stand Such Times and Live?" (1 text)
RECORDINGS:
New Lost City Ramblers, "How Can a Poor Man Stand Such Times and Live?" (on NLCR09, NLCRCD1)
Blind Alfred Reed, "How Can a Poor Man Stand Such Times and Live?" (Victor V-40236, 1929; on HardTimes1)
CROSS_REFERENCES:
cf. "The Rigs of the Times" (subject)
NOTES: Pity we don't have a keyword "bitching." - PJS
File: RcHCPMSS
===
NAME: How Can I Keep from Singing
DESCRIPTION: "My life flows on in endless song Above earth's lamentation... It sounds an echo in my soul, How can I keep from singing." The singer notes all the troubles swirling around, but refuses to be influences by such things
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 353, "How Can I Keep From Singing" (1 text)
DT, KEEPSING*
NOTES: This song has become popular in folk revival circles in recent years, but is originally the work of the Society of Friends (Quakers). One wonders how many of the singers realize that it is a celebration of the doctrine of placing the individual conscience ahead of society's rules and Biblical teachings. - RBW
File: FSWB353A
===
NAME: How Come That Blood?: see Edward [Child 13] (File: C013)
===
NAME: How Dry I Am
DESCRIPTION: "How dry I am/How dry I am/Nobody knows/How dry I am"
AUTHOR: Music: Edward Rimbault, adapted by Tom A. Johnstone; Words: Will B. Johnstone
EARLIEST_DATE: 1921 (sheet music)
KEYWORDS: drink nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Fuld-WFM, pp. 279-280, "How Dry I Am"
RECORDINGS:
Bar Harbor Society Orchestra, "Old Timers" (Vocalion A-14315, 1922)
Wise String Orchestra, "How Dry I Am" (Vocalion 05360, 1939)
NOTES: This fits Dave Para's definition of folklore perfectly: What everybody knows, and no one gives a second thought. I'm astonished it's not listed in any books we've indexed thus far.
Fuld describes the melody as an adaptation of the hymn "(O) Happy Day," published in the 1855 "Wesleyan Sacred Harp." A short version of the song appeared in the musical "Up in the Clouds", and we've listed that as "Earliest Date." The complete song was published in Gaskill & Ernest's "Good Fellow Songs," published in 1933 -- just in time for Repeal. - PJS
File: RcHDIA
===
NAME: How I Love the Old Black Cat
DESCRIPTION: "Who so full of fun and glee? Happy as a cat can be, Polished sides so nice and fat, How I love the old black cat! Yes I do." The boys try to sick dogs on the cat, but the girl (?) rescues it. She prefers it to other pets
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: animal nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 147, "How I Love the Old Black Cat" (1 text)
Roud #15767
File: Br3147
===
NAME: How I Wish I Was Single Again: see I Wish I Were Single Again (II - Female) (File: E070)
===
NAME: How Long Blues
DESCRIPTION: "How long, how long Has that evening train been gone, How long, Baby, how long, how long?... How long will it be Before you learn to quit mistreating me?" The singer complains about his lost woman and the travelling he has done.
AUTHOR: Leroy Carr?
EARLIEST_DATE: 1928 (recordings, Tampa Red's Hokum Jazz Band, Gladys Bentley); perhaps 1921 (recorded by Daisy Martin)
KEYWORDS: loneliness separation travel
FOUND_IN: US
REFERENCES: (3 citations)
Cohen-LSRail, pp. 437-440, "How Long, How Long Blues" (1 text, 1 tune)
Lomax-FSNA 314, "How Long Blues" (1 text, 1 tune)
DT, HOWLONG*
RECORDINGS:
Shelley Armstrong [Bumble Bee Slim] , "How Long, How Long Blues" (Champion 50008, 1935)
Gladys Bentley, "How Long - How Long Blues" (OKeh 8612, 1928)
Leroy Carr [and Scrapper Blackwell], "How Long -- How Long Blues" (Vocalion 1191, 1928; Vocalion 1241, 1929; Banner 32557/Oriole 8166/Perfect 0215/Romeo 5166, 1932)
Jed Davenport, "How Long How Long Blues" (Vocalion 1440, 1930)
Folkmasters, "Rising Sun" (on Fmst01) [This is *not* "House of the Rising Sun," but a Brownie McGhee partial rewrite of "How Long Blues"]
Bertha "Chippie" Hill w. Baby Dodds' Stompers "How Long Blues" (Circle J-1003, n.d.)
Wingy Manone & his orchestra, "How Long Blues" (Bluebird B-10749, 1940)
Daisy Martin, "How Long? How Long?" (OKeh 8009, 1921, possibly this song)
Tampa Red's Hokum Jug Band, "How Long How Long Blues" (Vocalion 1228, 1928)
SAME_TUNE:
Leroy Carr, "How Long, How Long Blues Part 2" (Vocalion 1279, 1929; Banner 32557/Oriole 8166/Perfect 0215/Romeo 5166, 1932; rec. 1928); Carr later released additional "How Long" sequels
Leroy Carr w. Earl, "Scrapper" Blackwell, "The New How Long How Long Blues" (Vocalion 1435, 1930)
NOTES: I have not heard the Daisy Martin recording; it may be a different song. If it's the same, however, that shoots Carr's authorship in the foot. - PJS
According to Cohen, Martin's recording is "not closely related"; neither is a song recorded in 1928 by Alberta Brown, "How Long." Cohen of course does note some earlier materials which may have inspired Carr. 
Cohen adds that their June 1928 recordings "inaugurat[ed] a major change in the nature of recorded blues music. Smoother, more urbane than most of the country blues that preceded them, more polished, and considerably more danceable, their style was immediately emulated." The result was to make piano-and-guitar blues much more common. - RBW
Except that they *didn't* get much more common, unless Carr and Blackwell were doing them. It's a difficult combination. - PJS
File: LoF314
===
NAME: How Long, How Long Blues: see How Long Blues (File: LoF314)
===
NAME: How Many Biscuits Can You Eat?
DESCRIPTION: "How many biscuits can you eat, this mornin', this mornin'? (x2) Forty-nine, and a ham of meat, this mornin'." Discussion of food, work, etc., with many floating verses ("Ain't no use me workin' so hard," "If you get there before I do").
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Humphrey Bate)
KEYWORDS: food nonballad work
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #7876
RECORDINGS:
Dr. Humphrey Bate & his Possum Hunters, "How Many Biscuits Can You Eat?" (Brunswick 232, 1928)
Gwen Foster, "How Many Biscuits Can I Eat" (Bluebird B-8082/Montgomery Ward M-7859 [as "How Many Biscuits Can You Eat"], 1939)
Grandpa Jones, "How Many Biscuits Can You Eat?" (King 740, 1948) 
Pickard Family, "How Many Biscuits Can You Eat" (Coast 253, n.d.)
CROSS_REFERENCES:
cf. "Crawdad" (tune)
SAME_TUNE:
Crawdad (File: R443)
NOTES: This is pretty definitely built about "Crawdad," or one of its relatives, and manages to be even sillier than that silly song. But it's been recorded enough that I finally decided it went in the Index. - RBW
File: RcHMBCYE
===
NAME: How Many Miles to Babyland?: see How Many Miles to Babylon? (File: HHH040a)
===
NAME: How Many Miles to Babylon?
DESCRIPTION: Singing game: "How Many Miles to (Babylon)? (Three) score and ten. Can I get there by candlelight? Yes, and back again." The rest of the song may refer to the pleasures of "Babyland" (Henry text), or to courting, or traveling -- or something else
AUTHOR: unknown
EARLIEST_DATE: 1805 (Songs for the Nursery, according to Opie-Oxford2)
KEYWORDS: playparty travel nonballad
FOUND_IN: Ireland Britain(England(All), Scotland) US(NE)
REFERENCES: (5 citations)
SHenry H40a, p. 12, "How Many Miles to Babyland?" (1 text, 1 tune)
Linscott, pp. 18-19, "How Many Miles to London Town" (1 text, 1 tune)
Opie-Oxford2 26, "How many miles to Babylon?" (2 texts)
Baring-Gould-MotherGoose #146, p. 115, "(How many miles to Babylon?)"
Montgomerie-ScottishNR 81, "(How many miles to Glasgow Lea?)" (1 text)
Roud #8148
NOTES: Sam Henry was of the opinion that the original text of this song referred to "Babyland," with "Babylon" as a corruption. Gomme, however, has nineteen texts (though a handful may not be this piece), and seven refer to Babylon, three to Banbury (Cross/Bridge), a couple of others to variants on Bethlehem, a few to London, and none to Babyland.
In defence of Sam Henry, there is a piece called "Babyl-land" with several sheet music settings, by Jeannette Amidon (LOCSheet, sm1877 04182, "Baby-land," Wm. A. Pond (New York), 1877 (tune)) and Gerrit Smith (LOCSheet, sm1884 24704, "Baby-land," Wm. A. Pond (New York), 1884 (tune)). But these really look like by-blows to me. I have to think "Babylon" is original even though it's hard to explain.- RBW
File: HHH040a
===
NAME: How Many Miles to Banbury?: see How Many Miles to Babylon? (File: HHH040a)
===
NAME: How Many Miles to Glasgow Lea?: see How Many Miles to Babylon? (File: HHH040a)
===
NAME: How Many Miles to London Town?: see How Many Miles to Babylon? (File: HHH040a)
===
NAME: How Old Are You, My Pretty Little Miss?: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: How Paddy Stole the Rope
DESCRIPTION: Paddy and Mick rob a church. They need rope to bind the loot. Paddy climbs the bell rope to the top, cuts the rope above himself and falls. Mick climbs up, cuts the rope beneath himself and can't get down. The boys are caught and thrown in jail
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: prison robbery unemployment humorous
FOUND_IN: Ireland
REFERENCES: (3 citations)
O'Conor, pp. 68-69, "How Paddy Stole the Rope" (1 text)
McBride 57, "Paddy Stole the Rope" (1 text, 1 tune)
ADDITIONAL: Hazel Felleman, Best Loved Poems of the American People, p. 474, "How Paddy Stole the Rope" (1 text)
ST OCon068 (Partial)
BROADSIDES:
Bodleian, Harding B 20(65), "How Paddy Stole the Rope," unknown, n.d.
File: OCon068
===
NAME: How Sad Was the Death of My Sweetheart: see Saint James Infirmary (File: San228)
===
NAME: How Sadly My Heart Yearns Toward You: see Broken Ties (I'm Thinking Tonight of My Blue Eyes) (File: BrII156)
===
NAME: How Sweet the Rose Blaws
DESCRIPTION: "How sweet the rose blaws, it fades and it fa's; Red is the rose and bonnie, O! It brings to my mind what my dear laddie was; So bloomed -- so cut off was my Johnnie, O!" Peace is come, but the singer's love is dead. She will meet him soon (in death)
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love soldier death flowers
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, p. 176, "How Sweet the Rose Blaws" (1 text)
Roud #13166
NOTES: This is almost the only song in Ford which is offered entirely without comment. Whatever that means. - RBW
File: FVS176A
===
NAME: How Tattersall's Cup Was Won
DESCRIPTION: "Fair, every heights are gleaming Beneath the sun God gave, Great waves of life are swaying Along the wheel-worn wave." A very detailed description of the race, listing many of the horses as well as the rider who was thrown and killed
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: racing death horse
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 249-253, "How Tattersall's Cup Was Won" (1 text)
NOTES: Meredith and Anderson believe this piece pertains to the race in which Alec Robertson was killed. This is quite reasonable, but the accident plays a relatively minor role. - RBW
File: MA249
===
NAME: How Tedious and Tasteless the Hours: see Greenfields (How Tedious and Tasteless the Hours) (File: San154)
===
NAME: How We Got Back to the Woods Last Year: see How We Got Up to the Woods Last Year (File: FowL45)
===
NAME: How We Got Up to the Woods Last Year
DESCRIPTION: "Come all you lads that would like to hear How we got up to the woods last year." The singer and colleagues gather (to go logging). They hire a coach and feel grand. They perhaps get drunk. They arrive.
AUTHOR: unknown
EARLIEST_DATE: 1957 (Fowke)
KEYWORDS: travel drink logger
FOUND_IN: Canada(Ont,Que)
REFERENCES: (2 citations)
Fowke-Lumbering #45, "How We Got Up to the Woods Last Year" (2 texts, 1 tune)
Fowke/MacMillan 22, "How We Got Up to the Woods Last Year" (1 text, 1 tune)
Roud #3676
RECORDINGS:
O. J. Abbott, "How We Got Back to the Woods Last Year" (on Lumber01)
CROSS_REFERENCES:
cf. "Conroy's Camp" (tune, lyrics, theme)
cf. "Rantin', Roarin', Drunk on the Way" (lyrics)
SAME_TUNE:
Conroy's Camp (File: FowL46)
NOTES: This is about as interesting as the description implies; even Fowke admits that the song lacks "any dramatic incident."
The chorus is shared, in general form, with "Rantin', Roarin', Drunk on the Way" -- but the plot is different; it appears to be simply a case of the cross-fertilization so common among lumbering songs. - RBW
File: FowL45
===
NAME: Howard Carey [Laws E23]
DESCRIPTION: The singer, Howard Carey, recalls his happy youth. But he left home and parents and, despite his mother's warnings, turns to a dissolute life. Blaming his fate on whiskey and bad women, he kills himself
AUTHOR: probably Joe Scott
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: suicide drink family
HISTORICAL_REFERENCES: May 5, 1897 - "Howard Carrick, a woodsman, aged 33, hanged himself in his room at Annie Siddal's boarding house in Rumford, Maine..." (source: Ives-DullCare)
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (5 citations)
Laws E23, "Howard Carey"
Dibblee/Dibblee, pp. 59-60, "Howard Kerry" (1 text, 1 tune)
Ives-DullCare, pp. 131-132,247, "Howard Carey" (1 text, 1 tune)
Manny/Wilson 22, "Howard Carey" (1 text, 1 tune)
DT 834, HOWCAREY*
Roud #9191
ALTERNATE_TITLES:
Howard Carragher
NOTES: Ives-DullCare is unequivocal about the author being Joe Scott. - BS
Manny/Wilson attributes it without hesitation to Scott as well. They note, however, what appear to be allusions to British material. Their background notes that this is described as "the true story of Howard Carey (variously spelled Kerrick, Currie, Carrick...) who was born in Grand Falls on the Upper St. John River. Howard led a wandering life, went to the bad, and finally hanged himself in Rumford Falls, Maine." - RBW
File: LE23
===
NAME: Howes o' King-Edward, The
DESCRIPTION: "Though lovely the land where in childhood I wandered," the singer looks back on a different, more gloomy world. He recalls happy days of the past; now, "O, changed are the Howes o' King-Edward to me!"
AUTHOR: William Cruikshanks (died 1868)
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: home nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 339-340, "The Howes o' King-Edward" (1 text)
Roud #3942
File: Ord339
===
NAME: Hu, Hu, Hu!
DESCRIPTION: German shanty. Translation: "Oh the bosun's great big fid boys, Hu, hu, hu, hu, hu! Is as long as a tops'l yard boys. Hu... Ch: Yaw, yaw, yaw we'll sing boys, an' we'll heave away (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 536-537, "Hu, Hu, Hu!" (1 text, 1 tune -- a translation only; Hugill says the original was too rough)
ALTERNATE_TITLES:
Reise, Reise!
File: Hugi536
===
NAME: Huckleberry Hunting
DESCRIPTION: Shanty. Characteristic line: "To me, Hilo, me Ranzo boy!" Boys and girls went huckleberry hunting, with the boys naturally chasing the girls. In the end a boy proposes to a girl (perhaps after seeing her garter)
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: shanty courting
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (8 citations)
Doerflinger, p. 32, "Huckleberry Hunting" (1 text, 1 tune)
Colcord, p. 69, "Huckleberry Hunting" (1 text, 1 tune)
Harlow, pp. 88-89, "Hilo, My Ranzo Way" (2 texts, 1 tune)
Hugill, pp. 249-250, "We'll Ranzo Way" (1 text, 1 tune) [AbEd, pp. 181-182]
Sharp-EFC, XIV, p. 17, "Huckleberry Hunting" (1 text, 1 tune)
Mackenzie 102, "The Wild Goose" (1 text, 1 tune)
DT, (RANZORAY* -- the text here is very similar to Doerflinger's, but the tunes are so different that one wonders if they could be the same shanty)
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Huckleberry Picking" is in Part 1, 7/14/1917.
Roud #328
CROSS_REFERENCES:
cf. "Ranzo Ray" (floating lyrics, form of chorus)
ALTERNATE_TITLES:
Sing Hilo, Me Ranzo Ray
The Wild Goose Shanty
File: Doe032
===
NAME: Huckleberry Picking: see Huckleberry Hunting (File: Doe032)
===
NAME: Hudson River Steamboat
DESCRIPTION: "Hudson River steamboat, sailing up and down, New York to Albany or any river town, Choo choo to go ahead, Choo choo to slack her...." Sketches of places one would pass and things one might see from the steamboat
AUTHOR: perhaps adapted by John Allison?
EARLIEST_DATE: 1955
KEYWORDS: river ship nonballad technology
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 40, "Hudson River Steamboat" (1 text, 1 tune)
DT, HUDSNRVR
Roud #6671
ALTERNATE_TITLES:
Hudson River Steamer
File: LoF040
===
NAME: Hugh Hill, the Ramoan Smuggler
DESCRIPTION: The singer, a member of Hill's smuggling crew, recalls how Dixon betrayed them. A cutter captures Hill's ship, but when the crew is brought to trial, no proof is available; Hill and crew go free and will smuggle more
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: trial punishment ship escape 
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H494, pp. 127-128, "Hugh Hill, the Ramoan Smuggler" (1 text, 1 tune)
Roud #13372
NOTES: One of the less-intelligent British colonial policies was to cut off all sorts of external (and even internal) trade. This made smugglers like Hugh Hill heroes. There really weren't many of them, though -- Ireland didn't have enough excess income to support a large smuggling industry. - RBW
File: HHH494
===
NAME: Hugh of Lincoln: see Sir Hugh, or, The Jew's Daughter [Child 155] (File: C155)
===
NAME: Hugh of Lincoln and The Jew's Daughter: see Sir Hugh, or, The Jew's Daughter [Child 155] (File: C155)
===
NAME: Hugh Spencer's Feats in France [Child 158]
DESCRIPTION: Hugh Spencer is sent to the king of France to know whether there be peace or war; answer: War. The French queen challenges him to joust with her knight. French horses and spears are inferior but he wins, then fights others until the king sues for peace.
AUTHOR: unknown
EARLIEST_DATE: before 1750 (Percy folio)
KEYWORDS: royalty war France knight fight
HISTORICAL_REFERENCES: 1337-1453 - Hundred Years' War between Britain and France
FOUND_IN: 
REFERENCES: (1 citation)
Child 158, "Hugh Spencer's Feats in France" (3 texts)
Roud #3997
NOTES: In trying to match the events here with actual history, we should note the reigns of the various Kings Henry of England before 1525:
Henry I, 1100-1135 (no war with France; skirmishing in Normandy)
Stephen, 1135-1154 (no war with France; civil war in England)
Henry II, 1154-1189 (constant skirmishing with France)
Richard I, 1189-1199 (continued skirmishing with France)
John, 1199-1216 (John, bankrupted by Richard's spending, cannot defend Normandy)
Henry III, 1216-1272 (cold war with France but no direct fighting)
Edward I, 1272-1307 (cold war with France but no direct fighting)
Edward II, 1307-1327 (cold war with France but no direct fighting)
Edward III, 1307-1377 (war declared with France 1337. Victories at Sluys, Crecy, Poitiers. Peace of Bretigny 1360.)
Richard II, 1377-1399 (Technical peace, but France keeps retaking land)
Henry IV, 1399-1413 (technically at war with France but no direct fighting; France continues to recapture land)
Henry V, 1413-1422 (invaded France 1415; appointed heir to Charles VI 1421)
Henry VI, 1422-1461 AND 1470-1471 (all British possessions in France except Calais lost by 1453; fighting was constant, though Henry hated it and eventually went mad)
Edward IV, 1461-1470 AND 1471-1483 (plans and mounts but does not carry through an invasion of France)
Edward V, 1483 (did not reign in fact)
Richard III, 1483-1485 (no time for war with France)
Henry VII, 1485-1509 (too cheap to even think about war)
Henry VIII, 1509-1547 (last English king to threaten France)
During this period France had several Kings Charles:
Charles IV, 1314-1328
Charles V, 1364-1380 (and sometimes regent while his father John was in English captivity)
Charles VI (Charles the Mad), 1380-1422
Charles VII 1422-1461 (not crowned until 1430)
Charles VIII 1470-1498
Thus, although the song is not dated, it seems very likely that it is intended to refer to the time of Henry V. It's true that Charles VI was not in very good mental shape at the time (a madness that would, in fact, come to affect Henry V's son Henry VI, who was Charles's grandson) -- but an English song could easily ignore that fact. - RBW
File: C158
===
NAME: Hughie Grame [Child 191]
DESCRIPTION: Hugh the Graeme is taken for horse thieving. Many pray for his life, but the Bishop (of Carlisle) is bitterly opposed and has his way. (Hugh is executed.) The reason is that the Bishop has seduced Hugh's wife, and the horse stealing was in retaliation
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scott; reference in Ritson, 1790)
KEYWORDS: execution revenge adultery robbery
FOUND_IN: Britain(England(North),Scotland(Aber,High))
REFERENCES: (7 citations)
Child 191, "Hughie Grame" (9 texts)
Bronson 191, "Hughie Grame" (7 versions)
Dixon XV, pp. 73-76, "Sir Hugh, the Graeme" (1 text)
Stokoe/Reay, pp. 98-99, "Hughie the Graeme" (1 text, 1 tune) {Bronson's #5}
OBB 143, "Hughie the Graeme" (1 text)
BBI, ZN287, "As it befel upon one time"; ZN1008, "Good Lord John is a hunting gone"
DT 191, HUGRAME* HUGRAME2*
Roud #84
RECORDINGS:
Ewan MacColl, "Hughie the Graeme" (on ESFB1, ESFB2) {Bronson's #6}; Ewan MacColl and Peggy Seeger, "Hughie Grame" (on SCMacCollSeeger01) {for tune cf. Bronson's #4}
CROSS_REFERENCES:
cf. "The Gallant Grahams" (lyrics)
File: C191
===
NAME: Hullaballo-Balay: see Hullabaloo Belay (File: FSWB084A)
===
NAME: Hullabaloo Belay
DESCRIPTION: Shanty. Characteristic line: "Hullabaloo belay, Hullabaloo bela belay." The singer's mother keeps a boarding house. With the boarders at sea, Shallo Brown courts the mother. She runs off with Shallo (but returns the next day). The father pines away
AUTHOR: unknown
EARLIEST_DATE: Early 1950s (recording, Richard Dyer-Bennet)
KEYWORDS: shanty home mother father abandonment death jealousy adultery infidelity return humorous
FOUND_IN: 
REFERENCES: (3 citations)
Hugill, pp. 484-485, "Hullaballo-Balay" (1 text, 1 tune)
Silber-FSWB, p. 84, "Hullabaloo Belay" (1 text)
DT, HULLABOO*
CROSS_REFERENCES:
cf. "Shallo Brown (Shallow Brown)" (character)
cf. "Ali Alo" (similar tune and chorus)
File: FSWB084A
===
NAME: Humble Farmer, The
DESCRIPTION: "I saw a humble farmer, His back was bending low, A-pickin' out the cotton, Along the cotton row." The ragged farmer meets the merchant, who demand, "Pay me all you owe." The farmer cannot pay it all; he hopes for an extension until next fall
AUTHOR: unknown
EARLIEST_DATE: 1924 (Brown)
KEYWORDS: work poverty hardtimes farming
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 213, "The Humble Farmer" (1 text)
Roud #6709
CROSS_REFERENCES:
cf. "The Farmer Is the Man" (theme)
cf. "Po' Farmer" (theme)
cf. "Down on the Farm (III)" (theme)
File: Br3213
===
NAME: Humble Village Maid Going a-Milking, The
DESCRIPTION: Maid going milking rejects advances of rich suitor "for Edmund he's the lad I love He won my heart,she said, And he has promised for to wed his humble village maid"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: poverty courting love marriage rejection money
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 77, "The Humble Village Maid Going a-Milking" (1 text, 1 tune)
File: GrMa077
===
NAME: Humoresque
DESCRIPTION: An omnibus of disparate stanzas, bawdy and scatological, set to Dvorak's familiar piano composition.
AUTHOR: unknown (music by Antonin Dvorak)
EARLIEST_DATE: 1940  (music published 1894)
KEYWORDS: bawdy scatological humorous
FOUND_IN: Australia Britain(England) US(MW,SW)
REFERENCES: (2 citations)
Cray, pp. 235-239, "Humoresque" (4 texts, 1 tune)
DT, HUMORESQ*
Roud #10262
CROSS_REFERENCES:
cf. "Footprints on the Dashboard" (tune)
NOTES: The late Supreme Court Associate Justice William O. Douglas claims that he and fellow Yale Law School professor Thurman Arnold wrote at least one of the verses to this in the early 1930s. See Douglas's _Go East, Young Man_ (pp. 171-172). - EC
File: EM235
===
NAME: Humours of Donnybrook Fair (I), The
DESCRIPTION: "To Donnybrook steer, all you sons of Parnassus, Poor painters, poor ... To see what the fun is": pig hunts, fights, horse races, tradesmen of all kinds, tinkers, singers, dancing dogs, pickpockets, barbers, whisky. "There's naught more uproarious"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce sports drink food music begging humorous nonballad animal dog horse
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 184-189, "The Humours of Donnybrook Fair" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 265-267, "The Humours of Donnybrook Fair"
BROADSIDES:
Bodleian, Harding Harding B 25(28), "The Humours of Donnybrook ("To donnybrook steeer [sic] all ye sons of parnassus"), unknown, n.d.
CROSS_REFERENCES:
cf. "Ballynafad" (tune, according to Croker-PopularSongs)
NOTES: Donnybrook is less than three miles from Dublin. - BS
Parnassus is a mountain near Delphi in Greece, considered sacred to Apollo and the muses. Hence the soms of Parnassus are artists, poets, and the like.
According to Partridge's _Dictionary of Slang and Unconventional English_, the term "donnybrook" for a fight is originally Australian and comes from c. 1920, but it derives from the reputation of Donnybrook Fair for wild events such as those described here. - RBW
File: CrPS184
===
NAME: Humours of Donnybrook Fair (II), The
DESCRIPTION: Dermot O'Nolan M'Figg, "that could properly handle a twig" goes to Donnybrook Fair intent on dancing. At each tent he "took a small drop." He sees his Kate dancing and clubs her partner, who, she explained, is her cousin. They are reconciled.
AUTHOR: Charles O'Flaherty (1794-1828) (source: Hoagland)
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(937))
KEYWORDS: fight dancing drink humorous
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 390-392, "The Humours of Donnybrook Fair"
BROADSIDES:
Bodleian, Harding B 11(937), "The Donnybrook Jig" ("Oh, 'twas Dermot O'Nolan M'Figg"), W.S. Fortey (London)), 1858-1885
NOTES: Broadside Bodleian B 11(937) is the basis for the description.
Donnybrook is less than three miles from Dublin. - BS
According to Partridge's _Dictionary of Slang and Unconventional English_, the term "donnybrook" for a fight is originally Australian and comes from c. 1920, but it derives from the reputation of Donnybrook Fair for wild events such as those described here. - RBW
File: Hg10390
===
NAME: Humphrey Marshall
DESCRIPTION: "Oh General Humphrey Marshall Who weighs all of three hundred pound, To fetch here safe your message, On that purpose I am bound." "Humphrey Marshall he's our boss, Brave as hell and big as a hoss."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Civilwar nonballad soldier
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 55-56 (no title) (2 very short fragments)
NOTES: Humphrey Marshall (1812-1872) was a Confederate politician (a Kentuckian, he served in congress as a Whig 1849-1852 and as a Know-Nothing in 1855-1859 as well as in the Confederate congress 1864-1865).
Marshall, who had graduated West Point (barely) but resigned after only a year of military life, was appointed a Confederate general in 1861, and -- in an interesting sidelight to Thomas's narrative about General Garfield -- fought against that Union general in early 1862.
Marshall had originally tried to keep Kentucky neutral in the Civil War, and only "went south" after his hopes failed. He probably received appointment because the Confederates needed Kentucky officers for recruiting purposes; this caused Marshall to be given a command during Bragg's 1862 invasion of Kentucky.
His record, however, was apparently not very distinguished; his weight is mentioned in both my biographic sources, and he is said to have been a poor disciplinarian. He finally resigned from the Confederate army in 1863 (he had already quit once in 1862), perhaps because he couldn't acquire a meaningful command. - RBW
File: ThBa055
===
NAME: Humping Old Bluey (The Poor Bushman)
DESCRIPTION: "Humping old bluey it is a stale game... You're battling with poverty, hunger, sharp thorn -- Things are just going middling with me." The shearer complains about the life after the shearing is over
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: rambling sheep Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, p. 125, "Humping Old Bluey" (1 text, 1 tune)
Manifold-PASB, p. 142, "Humping Old Bluey" (1 text, 1 tune)
File: MA125
===
NAME: Humpty Dumpty
DESCRIPTION: "Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. Threescore men and threescore more Cannot place Humpty Dumpty as he was before." (Or, ... All the kings horses And all the king's men Couldn't put Humpty together again.)
AUTHOR: unknown
EARLIEST_DATE: 1810 (Gammer Gurton's Garland)
KEYWORDS: death riddle
FOUND_IN: Britain(England,Scotland)
REFERENCES: (2 citations)
Opie-Oxford2 233, "Humpty Dumpty sat on a wall" (1 text)
Baring-Gould-MotherGoose #670, pp. 268-269, "(Humpty Dumpty sat on a wall)"
Roud #13026
NOTES: These days, we all know this from Lewis Carroll -- though, interestingly, we don't use his last line ("Couldn't put Humpty Dumpty in his place again," which Alice correctly notes doesn't scan). It's found in the chapter "Humpty Dumpty" in _Through the Looking Glass_. But the first form quoted here is that found in _Gammer Gurton's Garland_, which according to the Baring-Goulds is the first appearance of the rhyme in print.
They claim, however, that the rhyme is much older as a riddle (presumably it ended with a question asking who Humpty was, the answer being "an egg"). - RBW
File: BGMG670
===
NAME: Humpy Hargis: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Hundred Years Ago (I), A
DESCRIPTION: Shanty or windlass song, "A hundred years is a very long time, Oh, aye, oh, A hundred years on the Eastern Shore, A hundred years ago." "Ol' Bully John from Baltimore, Oh, aye, oh, I knew him well, that son-of-a-whore, A hundred years ago."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: sailor work shanty
FOUND_IN: US(MA,NE) Britain
REFERENCES: (6 citations)
Colcord, pp. 67-68, "A Hundred Years on the Eastern Shore" (1 text)
Harlow, pp. 62-63, 150, "A Long Time Ago (version 3)," "A Hundred Years Ago" (2 texts, 1 tune)
Hugill, pp. 101,  "A Long Time Ago" (1 text, version "g" of "A Long Time Ago") [AbEd, p. 92]; pp. 509-511 "A Hundred Years Ago" (2 texts, 2 tunes) [AbEd, pp. 375-376]
Sharp-EFC, LII, p. 57, "A Hundred Years on the Eastern Shore" (1 text, 1 tune)
Sandburg, p. 485, "A Hundred Years Ago" (1 text, 1 tune, curiously listed as a religious song!)
DT, HUNDAGO*
Roud #926
CROSS_REFERENCES:
cf. "Yankee John, Stormalong (Liza Lee)" (lyrics)
ALTERNATE_TITLES:
Tis Time For Us to Go
File: San485
===
NAME: Hundred Years Ago, A: see A Long Time Ago (File: Doe037)
===
NAME: Hundred Years on the Eastern Shore, A: see A Hundred Years Ago (I) (File: San485)
===
NAME: Hung My Bucket on de White Folks' Fence
DESCRIPTION: "Hung my bucket on de white folks' fence, Hain't seen my bucket sense.  Oh Lawd! Oh Lawd! Old Aunt Dinah, well she bounce around, Leave her wooden leg on de ground, Save her meat skin, lay dem away, To grease her wooden leg every day."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: theft dancing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 475, "Hung My Bucket on de White Folks' Fence" (1 short text)
Roud #11801
File: Br3475
===
NAME: Hungry Army (I), The
DESCRIPTION: Having fought with his sweetheart, the Irishman enlists in the army. He quarrels with his NCOs, then is sent off to (China?) in a boat too small and ill-equipped for the soldiers. Sent into battle, he is injured and discharged
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection); c. 1856 (broadside NLScotland, L.C.Fol.178.A.2(054))
KEYWORDS: soldier battle injury disability
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H92, p. 86, "The Hungry Army" (1 text, 1 tune)
Roud #1746
BROADSIDES:
Bodleian, 2806 b.11(27), "The Hungry Army" ("The wind in thundering gales did roar"), unknown, n.d.
Murray, Mu23-y1:097, "The Hungry Army," James Lindsay (Glasgow), 19C
NLScotland, L.C.Fol.178.A.2(054), "The Hungry Army," James Lindsay (Glasgow), c.1856
NOTES: The notes to broadside Bodleian 2806 b.11(27) make the subject "War, Opium War, 1840-1842, Ireland"
Broadside Murray Mu23-y1:097 has the site of the war in China and the battle simply "on the field of battle."
Broadside NLScotland L.C.Fol.178.A.2(054) has the site of the war in Russia, rather than China; the singer is wounded November 5 at Inkerman. - BS
File: HHH092
===
NAME: Hungry Army (II), The
DESCRIPTION: The singer enlists and is sent to Ballarat. The men are so thin a strong wind "blew the lot away"; the singer gets a medal for surviving. He eats cabbage broth. Utensils are only used to cut hair. Sent to drill still strong recruits, he is beaten.
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth b.25(254))
KEYWORDS: army ordeal starvation Australia humorous
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1746
RECORDINGS:
Walter Pardon, "The Hungry Army" (on Voice14)
BROADSIDES:
Bodleian, Firth b.25(254), "The Hungry Army" ("When I was young and in my prime"), W.S. Fortey (London), 1858-1885; also Firth c.19(219), 2806 c.8(288), "The Hungry Army"
NOTES: Hall, notes to Voice14: "Servicemen also have the gift of moaning, and 'The Hungry Army', set in mid-nineteenth century Australia, is a typical squaddie beef at conditions and authority."
Ballarat is in Victoria, Australia, about 65 miles east of Melbourne. - BS
According to Andrew and Nancy Learmouth, _Encyclopedia of Australia_ (article on Ballarat in the second edition), the Ballarat region was not opened for settlement until 1837, during a drought. The population remained small until the 1851 gold rush; in 1851 "a septuagenarian digger named John Dunlop discovered the richest field of all, at Ballarat" (see Robert Hughes, _The Fatal Shore_, p. 562). I suspect that this is what brought Ballarat to the broadside-writers' attention -- especially since the British government charged the large fee of 30 shillings a month for a gold license (Hughes, p. 562),meaning that they needed some sort of law and order in the area. But gold rushes are almost always attended by squalor, since there are few supplies in the area. Hence, presumably, this song. But we note that it has mentions absolutely nothing about Australia except the name "Ballarat." I assume it is in fact an older piece adapted to the Australian gold rush.
Roud lumps this with "The Hungry Army (I)." But while the theme is the same, the plot is different enough that Ben Schwartz and I both believe it should be split. - RBW
File: RcHunAr2
===
NAME: Hungry Confederate Song, A
DESCRIPTION: "The streets are all lonely and drear, love, And all because you are not here, love, if you were here, you would shed a sad tear And open your cupboard to me." The singer describes his woeful condition and wishes that he had stew or cornbread or something
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: food love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Hudson 114, p. 257, "A Hungry Confederate Song" (1 text)
Roud #4498
NOTES: Hudson lists this as a Civil War song, and certainly it fits that conflict, in which Southern troops in particular often went hungry -- but there is no actual evidence in Hudson's text that it is a Civil War song, and neither he nor I knows another version to settle the claim. - RBW
File: Hud114
===
NAME: Hungry Fox, A: see The Fox and the Grapes (File: GC479a)
===
NAME: Hungry Hash House
DESCRIPTION: "I'm a boarder and I dwell in that second-rate hotel. If I stay here long, I think I'll go insane...." "Well, she promised she would meet me when the clock struck seventeen...." "She's my darling, she's my daisy. She's hump-backed and she's crazy...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Uncle Dave Macon)
KEYWORDS: poverty hardtimes home disease nonballad nonsense madness food
FOUND_IN: US(MA,MW,SE,So,SW)
REFERENCES: (7 citations)
Randolph 478, "The Boarding-House" (1 text, 1 tune)
Randolph/Cohen, pp. 371-373, "The Boardinghouse" (1 text, 1 tune -- Randolph's 478)
Sandburg, p. 207, "She Promised She'd Meet Me" (1 short text, 1 tune)
Cohen/Seeger/Wood, pp. 220-221, "Hungry Hash House" (1 text, 1 tune)
Rorrer, p. 74, "Hungry Hash House" (1 text)
Gilbert, pp. 191-192, "The All Go Hungry Hash House" (1 text)
DT, HASHOUSE*
Roud #11719
RECORDINGS:
Arkansas Charlie [pseud. for Charlie Craver], "That Old Go Hungry Hash House" (Vocalion 5401, 1930)
Binkley Brothers' Dixie Clodhoppers, "All Go Hungry Hash House" (Victor 21758, 1928)
Charley Blake, "Hungry Hash House" (Supertone 9534, 1929)
Cofer Brothers, "All Go Hungry Hash House" (OKeh 45099, 1927)
Bill Cox, "Hungry Hash House Blues" (Champion 15792, 1929)
Uncle Dave Macon, "All Go Hungry Hash House" (Vocalion 15076, 1925)
New Lost City Ramblers, "Hungry Hash House" (on NLCR13)
Charlie Poole & the North Carolina Ramblers, "Hungry Hash House" (Columbia 15160-D, 1927; Velvet Tone 2492-V/Clarion 5432-C [both as Pete Harrison & his Bayou Boys], 1932; rec. 1926; on CPoole03)
Ernest V. Stoneman, "The Old Go Hungry Hash House" (Okeh 45062, 1926); "All Go Hungry Hash House" (Victor 20237, 1926); [Ernest Stoneman &] The Dixie Mountaineers, "All Go Hungry Hash House" (Edison, unissued, 1927) (Edison 52350, 1928) (CYL: Edison [BA] 5528, 1928)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Lonesome Hungry Hash House" (on DownYonder)
CROSS_REFERENCES:
cf. "The Little Old Log Cabin in the Lane" (tune) and references there
cf. "Sara Jane" (tune, floating lyrics)
NOTES: The verse "She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Mary Ann" floats (e.g. Charlie Poole uses it in his version of "I Was Born About Ten Thousand Years Ago (Bragging Song)"), and it also appears in "Sara Jane." Paul Stamler thinks that the most likely source, so we are now, somewhat tentatively, listing lose citations of that verse there unless we can determine their source. See, however, "Dennis McGonagle's Daughter Mary Ann." - RBW
File: San207
===
NAME: Hungry Hash House Blues: see Hungry Hash House (File: San207)
===
NAME: Hunt the Buffalo: see Shoot the Buffalo (File: R523)
===
NAME: Hunt the Squirrel
DESCRIPTION: "Hunt the squirrel through the wood, I lost him, I found him; I have a little dog at home, He won't bite you, He won't bite you, And he *will* bite you."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: playparty animal hunting dog
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Linscott, pp. 37-38, "Lucy Locket" (1 text, 1 tune)
Botkin-AmFolklr, p. 806, "Hunt the Squirrel (Itisket, Itasket)" (1 text)
ST BAF806 (Full)
CROSS_REFERENCES:
cf. "Atisket, Atasket (I Sent a Letter to My Love)" (floating lyrics, playparty form)
NOTES: Botkin, following Newell, lumps this with "Atisket, Atasket." There is, however, little contact in the lyrics; if they are connected, it is because both are used as platforms for the "drop glove" playparty game. For details, see the notes on "Atisket, Atasket (I Sent a Letter to My Love)."
Linscott has still a different version, opening with the verse "Lucy Locket lost her pocket, Kitty Fisher found it, There was not a penny in it, only ribbon 'round it." This also occurs in nursery rhymes (see Baring-Gould-MotherGoose #279, p. 165, "(Lucy Locket lost her pocket)"). But the second verse is the "I wrote a letter to my love," and the third is "I have a little dog at home" -- plus she says the game is "Hunt the Squirrel." So I file the piece here. Possibly it should be with "Atisket, Atasket (I Sent a Letter to My Love)." Or maybe the two should be lumped.... - RBW
Verse 1 of Linscott is the same as Opie-Oxford2 312, "Lucy Locket" (earliest date in Opie-Oxford2 is 1842). - BS
This is also the name of an English country dance. - PJS
File: BAF806
===
NAME: Hunt the Wren
DESCRIPTION: "Let's go to the wood, said Robin-the-Bobbin, Let's go to the wood, said Richard to Robin. Let's go to... said John Tullane, Let's go to... said everyone." They hunt, kill, and eat the wren, and argue over disposing of the body
AUTHOR: unknown
EARLIEST_DATE: c. 1744 (Tommy Thumb's Pretty Song Book, Volume II)
KEYWORDS: wren hunting foreignlanguage
FOUND_IN: Britain(Scotland(Bord),Wales) US(NE)
REFERENCES: (7 citations)
Kennedy 78, "Helg yn Dreean [Hunt the Wren]" (1 Manx Gaelic text+translation, 1 tune, plus fragments and a text of "The Cutty Wren" in the notes)
LPound-ABS, 117, pp. 235-236, "Let's Go to the Woods" (1 text)
Linscott, pp. 230-233, "Let's Go to the Woods or The Hunting of the Wren" (1 text, 1 tune)
Opie-Oxford2 447, "We will go to the wood, says Robin to Bobbin" (1 text)
Baring-Gould-MotherGoose #29, p. 41-44, "(We will go to the Wood)"
Montgomerie-ScottishNR 16, "The Hunting of the Wren" (1 text)
DT, HNTWRN2 HUNWREN2
Roud #236
RECORDINGS:
Jack Elliott, "Billy the Bob" (on Elliotts01)
CROSS_REFERENCES:
cf. "The Wren (The King)" (subject)
cf. "Billy Barlow" (form)
cf. "Cricketty Wee" (form)
cf. "The Cutty Wren" (form, subject)
ALTERNATE_TITLES:
Robin-the-Bobbin
NOTES: Many have identified this song with "Billy Barlow," "Cricketty Wee," or (especially) "The Cutty Wren," but while the form is similar, and in the latter case even the subject is the same, the plot is distinct enough that the Index splits them.
In some cases, e.g. the Kennedy text, I'll admit this is doubtful, but some of the Digital Tradition texts are more distinct, and even pick up pieces of "The Wren (The King)." In another Digital Tradition text (HNTWRN2), the plot doesn't even involve a wren; it's just a bunch of kids(?) finding a bird's next; that one seems to have some "Billy Barlow" in its ancestry (or, more likely, the reverse).
For a little information, and a lot of speculation, on the history of wrenning, see the notes to "The Wren (The King)." - RBW
File: K078
===
NAME: Hunter from Kentucky, A: see The Hunters of Kentucky [Laws A25] (File: LA25)
===
NAME: Hunter's Log Camp: see Burns's Log Camp (File: Doe217)
===
NAME: Hunter's Song, The: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Hunters of Kentucky, The [Laws A25]
DESCRIPTION: The hunters of Kentucky are praised and offered as a specimen based on their performance at the Battle of New Orleans
AUTHOR: Samuel Woodworth
EARLIEST_DATE: 1822 (published 1826)
KEYWORDS: war patriotic bragging
HISTORICAL_REFERENCES: Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulsed Pakenham's force; the British commander is killed in the battle.
FOUND_IN: US(Ap,MA,MW,NE,So)
REFERENCES: (11 citations)
Laws A25, "The Hunters of Kentucky"
Belden, pp. 298-299, "The Hunters of Kentucky" (1 text plus 2 fragments, 1 tune, but the "A" fragment and part of "C" is "Pakenham")
Randolph 666, "A Hunter from Kentucky" (1 short text, 1 tune)
MHenry-Appalachians, pp. 93-94, "The Hunters of Kentucky" (1 text)
Rickaby 40, "The Hunters of Kentucky" (1 text (Woodworth's original) plus a fragment, 1 tune)
Sandburg, pp. 427-429, "The Hunters of Kentucky or Half Horse and Half Alligator" (1 text, 1 tune)
Scott-BoA, pp. 113-117, "The Hunters of Kentucky" (1 text, 1 tune)
Darling-NAS, pp. 163-164, "The Hunters of Kentucky" (1 text)
Arnett, pp. 34-35, "The Hunters of Kentucky" (1 text, 1 tune)
Silber-FSWB, p. 288, "Hunters of Kentucky" (1 text)
DT 369, HUNTKENT*
Roud #2211
RECORDINGS:
Bob Atcher, "Hunters of Kentucky" (Columbia 50484, 1948; rec. 1947)
CROSS_REFERENCES:
cf. "The Battle of New Orleans" [Laws A7] (subject)
cf. "Pakenham" (floating lyrics)
cf. "Unfortunate Miss Bailey" (tune)
NOTES: Samuel Woodworth's only other noteworthy composition was "The Old Oaken Bucket." His novels and plays are mercifully forgotten.
For a Creole account of this battle, see Courlander-NFM, pp. 167-168 (an untitled piece which appears to be about the Battle of New Orleans).
For the general background of the final campaigns of the War of 1812, see the notes on "The Siege of Plattsburg." For the Battle of New Orleans itself, see The Battle of New Orleans" [Laws A7].
It should probably be noted that the Kentucky and Tennessee militia weren't all that great in themselves; in a series of Indian engagements in 1814, they showed a disastrous tendency to fall apart. Some of them, in fact, were routed at New Orleans -- only to be saved when general Pakenham refused to take advantage of the opening. But Andrew Jackson executed some of the deserters, and managed to tighten discipline. - RBW
File: LA25
===
NAME: Huntin' for Fun
DESCRIPTION: "Ain't no use in foolin' around, Too many cops in this old town." The singer advises going to the country for corn liquor and women, more common there than in town. "Just fill up your belly and roll in the leaves, Sing and whistle and do as you please."
AUTHOR: probably adapted by John Daniel Vass
EARLIEST_DATE: 1959 (collected by Shellans from John Daniel Vass)
KEYWORDS: drink courting police nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, p. 52, "Huntin' for Fun" (1 text, 1 tune)
Roud #7332
NOTES: Shellans notes the similarity of this tune to a military cadence, though he does not state whether informant John Daniel Vass was ever in the military. Nonetheless, given the nature of the material collected from Vass, and the degree of repetition in this piece (in essence, it consists of a threefold repetition: No drink in this town, go to the country; No women in this town, go to the country; No fun in this town, go to the country) I have to suspect that Vass put it together himself based on the cadence chant. - RBW
File: Shel052
===
NAME: Hunting Ballad: see Shoot the Buffalo (File: R523)
===
NAME: Hunting of the Cheviot, The [Child 162]
DESCRIPTION: Percy, Earl of Northumberland, goes deer hunting into Earl Douglas' land of (Cheviot/Chevy Chase), in defiance of a warning from Douglas. In battle they earn each other's respect, but both die, along with many of their men.
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy; mentioned in "Wit's End" in 1617 and in the Stationer's Register in 1624)
KEYWORDS: battle hunting death nobility
HISTORICAL_REFERENCES: 1388 - Battle of Otterburn. Scots under Douglas attack England. Although Douglas is killed in the battle, the Scots defeat the English and capture their commander Harry "Hotspur" Percy
FOUND_IN: Britain(England(North),Scotland) US(NE,SE)
REFERENCES: (20 citations)
Child 162, "The Hunting of the Cheviot" (2 texts)
Bronson 162, "The Hunting of the Cheviot" (10 versions)
Percy/Wheatley I, pp. 20-35+notes on pp. 51-52, "The Ancient Ballad of Chevy Chase"; pp. 249-264, "The More Modern Ballad of Chevy Chace" (sic.) (2 texts) 
BarryEckstormSmyth pp. 243-248, "Chevy Chase" (1 text)
Flanders-Ancient3, pp. 135-144, "The Hunting of the Cheviot, or Chevy Chase" (1 text, from "The Charms of Melody" rather than tradition)
Davis-Ballads 34, "The Hunting of the Cheviot" (1 text)
Davis-More 31, pp. 239-244, "The Hunting of the Cheviot" (1 text, 1 tune) {Bronson's #5}
Leach, pp. 446-463, "The Hunting of the Cheviot" (3 texts)
Friedman, p. 276, "Chevy Chase" (1 text, 2 tunes)  {approximating Bronson's #1, #4}
Stokoe/Reay, pp. 1-3, "Chevy Chase" (1 text, 1 tune) {cf. Bronson's #6, also from Stokoe's collection but differing in one note}
OBB 128, "Chevy Chase" (1 text)
PBB 71, "Chevy Chase (The Hunting of the Cheviot)" (1 text)
Gummere, pp. 105-115+325-327, "The Hunting of the Cheviot" (1 text)
Hodgart, p. 96, "Chevy Chase (The Hunting of the Cheviot)" (1 text)
TBB 21, "The Hunting of the Cheviot" (1 text)
HarvClass-EP1, pp. 93-101, "Chevy Chase" (1 text)
Abrahams/Foss, pp. 43-45, "Chevy Chase" (1 text)
Chappell/Wooldridge I, pp. 90-92, "Chevy Chase" (1 tune, perhaps linked to this piece)
BBI, ZN980, "God prosper long our Noble King"; ZN982, "God prosper long our noble king" (?)
DT 162, CHEVCHAS*
Roud #223
CROSS_REFERENCES:
cf. "The Battle of Otterburn" (subject)
cf. "Lord Thomas and Fair Annet" [Child 73] (tune)
SAME_TUNE:
Of Turkey lately I did read/The Patient Wife betrayed; Or, The Lady Elizabeths Tragedy (BBI ZN2124)
Give o'er you rhiming Cavaliers/ Bloody News from Chelmsford (BBI ZN971)
In bloody town of Newberry/...Shuff of Newberry (BBI ZN1413)
In Popish time when Bishops proud/The King and the Bishop ((BBI ZN1452)
In searching ancient chronicles/A pleasant history of a Gentleman in Thracia (BBI ZN1461)
Strange news, strange news, I here have write/..Relation from the Faulcon.. Mr Powel [a ghost] (BBI ZN2405)
Amongst the Forresters of old/The Unfortunate Forrester ...Lord Thomas.. fair Elener (BBI ZN173)
God prosper long our noble King, and send him quickly o'er/Hunting-Match (BBI ZN986)
When as my mind was fully bent/ Bloudy News from Germany (BBI ZN2821)
All you which sober minded are/Terrible News from Branford (BBI ZN155)
All tender hearts that ake to hear/The Spanish Virgin (BBI ZN97)
God prosper long our noble king, His Turks and Germans all/An excellent new Ballad (BBI ZN983)
God hath preserved our Royal King/The Royal Patient Traveller [Charles II] (BBI ZN978)
NOTES: Child opines that this is based on the same events as "The Battle of Otterburn" (Child #161) rather than some other border battle between Percies and Douglases. The historical Henry Percy (Hotspur) fought [and] was captured [by the Scots], but did not in fact die at Otterburn in 1388 or at any other battle with Scots but was instead slain in battle with Henry IV's forces. - KK
In addition, Harry Hotspur was never Earl of Northumberland. His father (the first of five generations of Henry Percys of Northumberland) was the first Earl, and lived until 1408. Hotspur was killed in 1403, and thus never succeeded to the title, although Hotspur's son became the second Earl.
However, none of the various Earls Percy died in battle with the Scots. The first Earl was a traitor against Henry IV; the second (d. 1455) and third (d. 1461) were casualties of the Wars of the Roses, and the fourth was killed by the people of his own Earldom because he had not supported Richard III at Bosworth. (Richard, despite his later reputation, was loved in the north of England for being fair and honest and keeping the Scots away from the borders.) - RBW
File: C162
===
NAME: Hunting of the Wren, The: see Hunt the Wren (File: K078)
===
NAME: Hunting Priest, The (Parson Hogg; Sing Tally Ho!)
DESCRIPTION: The singer will tell of the priest "with constitution strong," who regularly goes out "to 'Tally ho, the hounds, sir.'" He will interrupt anything -- a sermon, a wedding -- when he hears the sound of the hunt.
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: clergy hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H222, pp. 29-30, "The Hunting Priest" (1 text, 1 tune)
Roud #1861
CROSS_REFERENCES:
cf. "We'll All Go A-Hunting Today" (theme)
NOTES: The thene of gentlemen who prefer hunting to church is an ancient complaint in Britain; "The Mourning of the Hare" is the tale of a creature which is pursued by huntsmen who do not wait for mass; it is thought to date to the fifteenth century. - RBW
File: HHH222
===
NAME: Hunting Seals
DESCRIPTION: "With knife and fork, with kettle and pan, With spoon and mug, and glasses.... For we are swoilers fearless, bold, As we copy from pan to pan, sir." The singer describes hunting seals, facing polar bears, and enticing girls with furs
AUTHOR: probably James Murphy
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting courting animal
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 133, "Hunting Seals" (1 text, tune referenced)
NOTES: The original manuscript of this lists the tune as "The Rigs O Barley" -- i.e. presumably Burns's "Corn Rigs and Barley Rigs." The verse fits the first four lines of that tune, and the chorus of this fits the last four lines of the verse, but the chorus of "Corn Rigs" has to be omitted. - RBW
File: RySm133
===
NAME: Hunting Song
DESCRIPTION: The singer tells about hare-hunting dogs. When Timer hunts the hare, "she knows that her life's nearly run." When the formal hunt is over too soon, Gay-Lad "will go by himself on the mountain and will hunt by the light of the moon"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: hunting nonballad dog animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 10, pp. 23-24,104,158-159, "Hunting Song" (1 text fragment, 1 tune)
Roud #2932
File: MoMa023
===
NAME: Hunting Tale, A: see The Sally Buck (File: SKE70)
===
NAME: Huntingdon Shore
DESCRIPTION: The singer narrates preparations for a fishing journey to Huntingdon Shore. Conditions aboard and the itinerary are described. They meet girls on Round Island, Labrador but the singer insists that the place can't compare with the Huntingdon Shore.
AUTHOR: Doyle (A fisherman of St. John's and not the editor of the collection)
EARLIEST_DATE: 1940
KEYWORDS: fishing work travel
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Doyle2, p. 23 , "Huntingdon Shore" (1 text, 1 tune)
Lehr/Best 53, "The Huntingdown Shore" (1 text, 1 tune)
Roud #4415
RECORDINGS:
Omar Blondahl, "Huntingdon Shore" (on NFOBlondahl05)
NOTES: Said to have been composed in the 1860s. - SH, RBW
"Young Goodridge," according to Doyle, was a renowned merchant of the time. - SH
Lehr/Best: "The Huntingdown or Huntingdon shore was a fishing area on the Labrador coast." - BS
File: Doy23
===
NAME: Huntingdown Shore, The: see Huntingdon Shore (File: Doy23)
===
NAME: Huntsman's Horn, The
DESCRIPTION: "The sturdy boys from Newton and the boys from College Land" hunt hare in Kilnacran. The hounds are named as well as the landmarks passed. At least two hare are killed. A health to Ned Crudden and Comely who "did bring the cup to old Loughgar"
AUTHOR: unknown
EARLIEST_DATE: 1979 (IRHardySons)
KEYWORDS: death hunting animal dog horse moniker Ireland
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #12920
RECORDINGS:
James and Paddy Halpin, "The Huntsman's Horn" (on IRHardySons)
Big John Maguire, "The Huntseman's Horn" (on Voice18, IRHardySons)

CROSS_REFERENCES:
cf. "The Fair of Rosslea" (subject: competitive hare hunt from the huntsman's point of view)
cf. "Killafole Boasters" (subject: competitive hare hunt from the huntsman's point of view) and references there
NOTES: The hunt takes place in the area around Lough Erne, County Fermanagh, Northern Ireland. - BS
File: RcHuntHo
===
NAME: Hurling Down the Pine: see The Lumber Camp Song (File: Doe210)
===
NAME: Huron Carol, The (Jesous Ahatonhia)
DESCRIPTION: The Christmas story in Indian terms: "'Twas in the moon of wintertime when all the birds had fled That mighty Gitchi Manitou sent angel choirs instead. Before their light the stars grew dim, and wand'ring hunters heard the hymn...."
AUTHOR: Father Jean de Brebeuf (English text by J. E. Middleton, 1926)
EARLIEST_DATE: c. 1642
KEYWORDS: Christmas Jesus religious Indians(Am.)
HISTORICAL_REFERENCES: 1634 - the Jesuit Jean de Brebeuf leads the first missionary party to evangelize by living among the Hurons
1639 - Father Jemore Lalemant founds the mission of Ste-Marie.
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 130-132, "The Huron Carol (Jesous Ahatonia)" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 29-31, "The Huron Carol" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Une Jeune Pucelle" ("A Young Maiden") (tune)
NOTES: Having been unable to teach the Indians old Catholic hymns, Father Brebeuf created this song for the Hurons in 1641 or 1642 (long after the first permanent missions to the Hurons were created in 1625). They sang it every Christmas until 1648, when the Hurons were attacked by Iroquois (the Hurons had by then been badly weakened by the white man's diseases).
In a twist of irony, few Hurons showed to that time had shown any interest in Catholicism; Catholic ways were very different, the French themselves brought disease, and often they looked down on native ways.
To an exent, the Iroquois attack changed that. The Iroquois set out starting in 1645 to destroy all their neigbours (which they would succeed in doing by 1655); the Huron were the 1648 victims.
This caused some Hurons to turn Catholic. The Iroquois were winning with the white man's weapons; perhaps the Hurons thought the white man's religion might answer. But it was too late; Huronia was destroyed in 1649. (A severe blow to the French settlement, which was closely allied to the Hurons.)
Father Jean de Brebeuf and Father Gabriel Lalemant (the nephew of Jerome Lalemant of Ste.-Marie), the leading spirits of the Jesuit missions, refusing to flee to safety, were captured, tortured, and killed. (We should note that they were *not* tortured for their faith; the Iroquois simply tortured captives as part of a policy of terror.)
Even then, the song continued to be sung in Huron circles; it was collected by another Jesuit, Father de Villeneuve, and was translated into French (as "Jesus est ne") as well as English.
"Gitchi Manitou" -- in other Algonquian-language-family traditions, Keeche Keeche Manitou -- is "The Great, great Spirit... the master of life... [who] leaves the human race to their own conduct, but has placed all other living things under the care of [lesser] Manitos" (from the notes of the early explorer David Thompson, though he was writing of the Cree, not the Huron; the Huron language is part of the Iroquoian family, which is not Algonquian, so there appears to be some cultural contamination here). - RBW
File: FJ130
===
NAME: Hurrah for Baffin's Bay
DESCRIPTION: Nonsense song. Ch: "Avast belay, Hurrah for Baffin's Bay! We couldn't find the pole, because the barber moved away. The boat was cold we thought we'd get the grip so the painter put three coats, upon the ship! Hip, hip! Hip, hip! Hurrah for Baffin's Bay!"
AUTHOR: Theodore F. Morse/Music: Vincent Bryan
EARLIEST_DATE: 1903 (Broadway "Wizard of Oz")
KEYWORDS: sailor nonsense nonballad humorous
FOUND_IN: 
REFERENCES: (1 citation)
Harlow, pp. 230-231, "Baffin's Bay" (1 text)
Roud #9157
NOTES: From the 1903 Broadway production of "The Wizard of Oz." It was performed by the comedy team of Fred A. Stone and David C. Montgomery (and may have been written with them in mind). - SL
And a surprisingly topical item it is, because there was a "polar push" going on, but the participants had a pretty astounding record of failures. At the time this was written, the quest for the North Pole was looking much like the quest for the Northwest Passage fifty years earlier, or the quest to climb Mount Everest forty or fifty years later: Lots of attempts, little luck -- and the prospects for success rather poor.
Indeed, Mirsky observes (p. 293; for references, see the Bibliography at the end of this note) that "In the recent history of Arctic Exploration undue stress was laid on the attainment of the North Pole. In 1896 Nansen showed conclusively by the _Fram's_ drift across the polar basin that the Pole lay somewhere on a shifting, ice-covered sea, at a point that had to be mathematically determined." In other words, by the time this song was written, everyone knew that the North Pole was sea, not land; there would never be a base or research station there.
It's interesting to note that the serious quest for the North Polebegan relatively late (though earlier than the quest for the South Pole); people had been seeking the Northwest Passage for years before they really started looking for the Pole. (For background on the quest for the Passage, see the notes to "Lady Franklin's Lament (The Sailor's Dream)" [Laws K9].) Indeed, the first two serious Northward Nuts (Elisha Kent Kane and Charles Francis Hall) started their careers searching for Franklin's lost expedition. Charles Francis Hall managed to bring home some Franklin artifacts and tales, as well as relics from Frobisher's very first Northwest Passage quest -- but he also started a ridiculous story that Franklin's second-in-command Crozier was still alive as late as 1860.
The Pole expeditions never produced the casualties that the Franklin expedition did -- but only because no one was willing to send so many men.
The first fairly modern attempts to reach the pole were made in the early nineteenth century by the British Navy. The first, in 1818, was commanded by David Buchan in the _Dorothea_, with John Franklin in the _Trent_ as his second-in-command. The goal was to go forward by ship, but they made it only about to the north end of Spitsbergen. They gave up after a long summer, their ships much battered but with the crews intact (Fleming-Barrow, pp. 52-55).
The second naval attempt, in 1827, was made by William Edward Parry, the Admiralty's darling boy for his near-conquest of the Northwest Passage in 1819. This time, the ship _Hecla_ was only to take them to Spitzbergen; from there they would proceed with sledges and small boats. They quickly discovered that the polar ice was not smooth, so the sledges were slow, and that the ice had a southward drift. The expedition set a new record for "Farthest North" that would stand for half a century (Fleming-Barrow, pp. 239-240), but finally had to return.
That ended naval attempts at exploration; there just wasn't the money for more expeditions with such feeble results. When polar exploration resumed, it was largely done by amateurs, who found amazing ways to get in trouble.
It probably didn't help that, where the Northwest Passage expeditions were led by sober men like Parry and Franklin, many North Pole expeditions were organized by fruitcakes like Elisha Kent Kane, who had little contact with reality. (It is probably not coincidence that, when Farley Mowatt published a book about arctic exploratoin in the 1960s, it was entitled _The Polar Passion_; Bryce, pp. 944-945). In the expedition Kane commanded, he faced multiple near-mutinies, ended up eating rats, and finally lost his ship (Berton, pp. 250-258, 273-295). His problems may even have been genetic; reading histories of the Mormons, I find that his brother Thomas Leiper Kane was also given to wild plans, grandiose notions, and illnesses that sound psychosomatic. (T. L. Kane was not an explorer, but he mediated between the U. S. Government and the Mormons, and later became a Civil War general, with limited success.)
Charles Francis Hall had no relevant training (he was an engraver who had run a no-account newspaper in Cincinnati) and was given to prophetic dreams, quarrels with everyone, and perhaps a mild case of bipolar disorder; on an earlier expedition, he had murdererd one of his crew, but was never prosecuted because no one could figure out which jurisdiction the case fell under.
Robert Peary, who came later, wasn't given to visions, but he was secretive to the point of paranoia, and so obsessed that he refused to have his toes treated for frostbite on one expedition. He ended up losing eight toes -- and being forced to stop anyway; see Berton, p. 525. Fleming-North, p. 284, calls him "probably the most unpleasant man in the annals of polar exploration," noting that in his youth he liked to trip his grandfather just to see the old man fall down. Bryce, p. 871, quotes an observer who said, "Peary strikes me as a man who never smiles except when he thinks it would be rude not to."
The Pole really did seem to lure people who were in it for the glory. This was utterly unlike the Northwest Passage expeditions, which had strong scientific components (John Franklin's _Journey to the Polar Sea_, for instance, which describes his disastrous 1819 expedition, notes that he was instructed to "register the temperature of the air at least three times in every twenty-four hours; together with the state of the wind and weather and any other meteorological phenomena. That I should not neglect any opportunity of observing and noting down the dip and variation of the magnetic needle, and the intensity of the magnetic force; and should take particular notice whether any, and what kind or degree of, influence the Aurora Borealis might exert on the magnetic needle..." and so forth. See the introduction to Franklin's work, p. 28 in the 2000 Brassey edition with introduction by James P. Delgado). Peary's sole goal, by contrast, was to reach the Pole. So strong was Peary's obsession that, when he heard of other attempts, he gave orders to his subordinates to automatically discount them -- see Henderson, p. 210.
Hall's third expedition, 1871-1873, in the ship _Polaris_, shows how badly a polar expedition could fail: They made an incredible push northward, heading up Baffin Bay to the Kane Basin between Ellesmere Island and Greenland, then continuing up the Kennedy Channel to reach the north shore of Greenland at the place now called Hall Basin.
But the expedition crew by then was in near-total disarray, with a drunken ship's captain and a rebellious scientific staff; the goofy Hall was unable to exert control. In November 1871, Hall died. Almost a century later (1968), Chauncey Loomis led an expedition that excavated his grave -- and found he had been poisoned with arsenic. (Unlike the Franklin Poisoned By Lead theory, this doesn't seem to have been questioned, though it's not clear if it was murder or accident. For the story, see Loomis, especially the epilogue starting on p. 303, which describes the trip to conduct the Hall autopsy. A shorter summary can be found in Berton, pp. 390-394. A third vivid account is found in Fleming-North,  pp. 138-141. In Berton and Fleming, the pages before and after describe the horrid plight of the crew on the expedition, giving rather more detail than Loomis, who devotes most of his work to Hall himself.) Most of the other members of the expedition eventually made it home, but the _Polaris_ was lost and the crew suffered extreme privations.
The 1879-1882 expedition of the _Jeannette_ was worse. Lincoln R. Paine's _Ships of the World_ (entry on the _Jeanette)_ tells of how the former H.M.S. _Pandora_ was sold to U. S. Navy Lt. George W. de Long. The ship was renamed for the sister of James Gordon Bennett, editor of the _New York Herald_, which had earlier sent reporter Henry M. Stanley into Africa to find Dr. Livingstone (Guttridge-Ice, p. 21) and who had also sent a reporter on de Long's one previous arctic expedition, to search for Hall's _Polaris_ (Guttridge-Ice, p. 14). Bennett loved to publish exploration stories, so he decided to fund a new polar venture. At least, he promised to fund it. In practice, he demanded that de Long keep the cost under control, causing a lot of dangerous corner-cutting (Guttridge-Ice, pp. 41-44, etc.) The ship's boilers were inefficient, she had divided objectives, she didn't acquire a tender until the last minute, and she really wasn't designed to withstand the ice. Some changes were made before she sailed, including strengthening of the sides -- but certainly not enough (Guttridge-Ice, pp. 55-56).
The ship's voyage began on July 8, 1879 (Guttridge-Ice, p. 2). On August 28, 1879, _Jeannette_ set out through the Bering Straight, to try to reach the Pole from western Canada. (They were seeking the alleged open Polar Sea, even though the U. S. Coast and Geodetic Survey determined in that year that such a sea almost certainly did not exist.; Guttridge-Ice, p. 80).
After numerous delays for this and that, the _Jeannette_ finally passed through the Bering Strait. It was late in the year, and coal was relatively low (de Long was rather profligate with fuel; he had  gone through too much on the _Polaris_ rescue mission and had used it up at a prodigious rate pushing toward the Arctic; Guttridge-Ice, pp. 15, 63), but de Long didn't hesitate; he tried to make it as far north as possible even after the ice started to close in (Guttridge-Ice, pp. 80-81). He made little northward progress, and within days, the ship was trapped in the ice (Guttridge-Ice, p. 83).
It wasn't long before the ship sprung the first of several leaks (Guttridge-Ice, p. 114); it took all the ingenuity of chief engineer George Melville to rig enough pumps to keep the ship afloat (Guttridge-Ice, pp. 115-128, etc.) -- and even with all his exertions, much of the ship was flooded and many supplies destroyed, plus, until Melville managed a wind-powered pump, they were burning irreplaceable coal. And they were trapped in a trap they would never escape. They could perhaps have tried to leave the ship to reach Wrangel Island (which, until then, had been known as "Wrangel Land," because it wasn't until de Long passed north of it that it was demonstrated to be an island). They had sighted it just before they became trapped (Guttridge-Ice, pp. 79-81), and it would still have been within reach. But de Long wasn't ready to abandon ship for an unexplored island; not yet. (And, though he couldn't know it, Wrangel Island would prove very inhospitable for the crew of the _Karluk_ thirty years later; see the notes to "Captain Bob Bartlett." Of course, de Long would have had his expedition in better shape than Bartlett had he abandoned immediately.)
The next summer, when they hoped to get free of the pack, they were able to make some repairs (Guttridge-Ice, p. 133 and following), but the ice had carried them north; it never quite thawed enough to let them loose. By the summer of 1881, they were passing north of the New Siberian Islands, several of which they had discovered and named (Guttridge-Ice, pp. 157-158). In June 1881, the ice finally destroyed the _Jeannette_ (Guttridge-Ice, p. 163). The islands nearby were far too cold and small to support them; the crew sledged painfully over the ice, then upon reaching open water set out for home in three smaller boats they had hauled with them (Guttridge-Ice, pp. 185-190). Fleming-North, pp.  221-229, tells how they were separated in bad waather. One boat simply vanished. Two landed near the outlet of the Lena river in Siberia, but not together. The crew led by engineer Melville managed to survive. De Long and his party starved to death; in all, over half the crew was killed.
The story of Andrew Greely's party, which set out shortly after the _Jeanette_ went missing, was similar. Greely and his party of 25 was sent to explore northern Ellesmere Island, gathering scientific data and perhaps making a run for the pole. They were supposed to stay several years, with supplies arriving in summer. They were ill-equipped for the task; it was mostly an army signal corps expedition, and few men had arctic experience (Guttridge-Sabine, p. 7).
Even though the expedition had to sail north to their base at Lady Franklin Bay, was little inter-service cooperation (Greely had boats, but no navy men; apart from one former seaman and a sergeant brought up on Cape Breton, no one even knew how to manage a boat! -- Berton, p. 459). Greely had a congressional appropriation to outfit his party, but it was too small and long-delayed; it was nearly impossible for Greely to acquire the supplies he required with the money he had available (Guttridge-Sabine, pp. 39-47). He had a hard time finding the officers and specialists he needed. Finally, on deadline, the party set out despite not really being ready.
It didn't take long for trouble to arise. Greely had a strange notion of discipline (reading Guttridge-Sabine, pp. 117-118, and other passages, he seems to have been the sort who felt that forcing people to obey silly and arbitrary orders promoted military order; Berton, p. 437, calls him a martinet and humorless -- very bad for an expedition in the arctic, where initiative is key). He sacked his second in command (Guttridge-Sabine, pp. 64-66) almost the moment the expedition arrived at its destination, then (p. 118) started taking duties away from the doctor/naturalist. When trouble came, he was in a position where he had no intelligent subordinates whose advice he could trust.
The first supply ship, which was supposed to arrive in 1882, never showed up; the army bureaucracy in effect placed all the arrangements in the hands of a private, who was given conflicting orders and had no useful experience (Guttridge-Sabine, pp. 92-97); the ship he chartered was blocked by ice, and he gave up after caching a bare handful of the supplies he had brought (Guttridge-Sabine, pp. 100-101). Not long after, the private would die of a drug overdose (Guttridge-Sabine, p. 203).
The next year's supply expedition was bigger -- it included the _Proteus_, which had brought the expedition north in the first place, and the naval vessel _Yantic_ -- but the _Yantic_ was neither fitted nor supplied for the ice (Guttridge-Sabine, p. 130), and the _Proteus_ ended up "nipped"; she sank with most of her supplies (Guttridge-Sabine, p. 138). Plagued by indiscipline in the transport's crew (her excellent complement of two years earlier having been replaced by a different and more mutinous bunch; see e.g. Guttridge-Sabin p. 139), it took some effort just to get the relief expedition home; they left no supplies (Guttridge-Sabin, pp. 144-146).
After two years without contact, Greely decided to abandon Fort Conger, the base on northern Ellesmere. This was written into his instructions: If he hadn't been resupplied by September 1, 1883, he would depart. After 721 days at their base, Greely decided to leave just a little early, on August 9 (Guttridge-Sabine, p. 152; Berton, p. 448). Greely can hardly be blamed; while there was still sufficient food for at least another year, the men were unhappy (especially with him, as it would prove), and travel in the arctic winter was never easy.
What followed showed the disastrous effects of inadequate planning; Greely did not really know what course to take, and made assorted errors along the way. He took too many records and equipment (which could always have been recovered from Fort Conger at a later date) and too few rations. Plus, being the nut case he was, he insisted on hauling along his heavy dress uniform (Berton, p. 458). Had everything gone exactly as planned, he had just enough food to get to where he was going (Guttridge-Sabine, p. 157)
But nothing ever goes according to plan in the arctic. The engineer in charge of keeping the motorboat's engine running was an alcoholic, and Greely couldn't keep him sober (Berton, p. 459; Guttridge-Sabine, p. 158, 162, etc.). Greely eventually decided to take passage on an ice floe, leading the rest of the edition to discuss mutiny (Berton, p.. 460; Guttridge-Sabine, p. 163-164). Greely himself fell in the water, and though he was rescued, many of the party thought he should have been left to drown (Guttridge-Sabine, p. 164). His failed planning caused one of the boats to be destroyed (Guttridge-Sabine, p. 173). Even his most reliable sergeant described this part of the trip as "madness" (Guttridge-Sabine, pp. 198-199). The map in Guttridge-Sabine, p. 213 shows how the ice  drove them around the Kane Basin as they tried to get to the island of Cape Sabine; twice they came within sight of it only to have the ice turn them around).
As all this went on, the _Yantic_ headed south on September 15 (Guttridge-Sabine, p. 171), and the war department decided not to send further help (Guttridge-Sabine, p. 184).
Greeley's crew came ashore south of their destination at Cape Sabine, with sone of the men starting to become ill from their ordeal (Berton, p. 462). They had perhaps three months' worth of food to last the entire arctic winter (Berton, pp. 463-464). They built a shelter that was more cave than hut (25 feet long, 18 wide, but only 5 feet high; Guttridge-Sabine, p. 222), and basically prepared for rescue or death. (They hoped at first to be able to sledge to the Greenland side, but the ice, for once, never closed over the passage, and they were too debilitated to try the remaining boats; Guttridge-Sabine, p. 239).
By New Year's, the doctor was amputating a soldier's foot and fingers due to frostbite (Guttridge-Sabine, p. 226). They had lived at Fort Conger for two years without scurvy, but now, with little fresh food, the traces began to appear; when the first man died on January 18, 1884, it was of a mix of scurvy and starvation (Guttridge-Sabine, p. 234; Berton, p. 469).
Ironically, Greely, a failure until this point, managed to be a good fairly leader at this time (Berton, p. 472), rationing the food and keeping the the men relatively sane (Berton, pp. 467). But they slowly died off due to malnutrition. There were several instances where men stole food (Berton, pp. 467, 470, 473, etc.); in the end, they had to execute the worst thief, who had enlisted under an assumed name to hide his history (Berton, p. 475; Guttridge-Sabine, p. 272, notes that he was not really given a trial, simply shot -- though he admits that, in the circumstances, the formality of a court-martial "was out of the question"). On the last day before rescue, when the tent by the burial plot (to which they had moved their base, Guttridge-Sabine, p. 266) fell in, no one was strong enough to put it up again. And it was later shown that someone had engaged in cannibalism (Berton, pp. 484-485). It was probably the doctor, since it was skillfully done and ceased at about the time he died (none of the men who died after him had any flesh removed), but Guttridge-Sabine, pp. 271, 275, offers a few cryptic hints that others might have been involved.
By early June, the deaths were happening almost daily, and the survivors had no strength left to bury the corpses; the last one was simply pushed out into the snow. When they were finally rescued in the fourth week of the month, only seven men were still alive, and one of them was the man who had had his feet amputated; he would soon after die of his injuries, leaving only six. Out of 25 who had set out. Apparently only two were still relatively mobile when found. Greely was the only officer to live.
A constant theme, from exploratory party after exploratory party, is men who went out of control. Some of this, no doubt, is commanders who didn't know how to command (even Peary was a civil engineer, not a line officer). But I wonder a little about seasonal affective disorder. In any case, in 1903, the quest for the polehad a worse record than the quest for the Passage had been when Franklin set out.
No wonder, then, that the repeated Polar expeditions became the subject of mirth: What sane person would risk what the explorers had been through? Besides, there were all the mad inventor types the quest encouraged: Peary was mailed ideas for building a wooden tunnel to the pole, for building a pipe to transport hot soup, and to fire himself to the pole by cannon (Henderson, p. 185; compare Fleming-North, p. 353).
In 1904, about the time this song came out, Peary founded the Peary Arctic Club with the declared mission of "altering... public opinion so that existing prejudice against Arctic work would be lessened" (Henderson, p. 159). You almost wonder if it was cause and effect.
Note that the Pole was not reached until 1908 at the earliest, five years after this song was performed -- and it was probably much later. The first person we are certain saw the North Pole was Roald Amundsen and the crew of the dirigible _Norge_, which flew over the pole in 1926.
This was days after Robert Byrd' attempt to fly over the Pole. Although he claimed success, the evidence is against him (for Byrd's failure, see Roberts, pp. 155-168. Roberts, pp. 159-160, summarizes the case against Byrd: In trials, his plane never exceeded 75 miles per hour, and was slower with landing skis, but his flight time of only fifteen and a half hours meant he had to average 87 miles per hour. He returned with an engine leaking oil, which would have forced him to turn around as soon as it was noticed whether he had reached the Pole or not. And his only sextant had been broken, so that, even if the readings were accepted, the instrument's error could not be checked. It was very Peary-like: No one could prove he didn't make it, but there was no good evidence and the claim required travel speeds while unobserved which Byrd had never managed while observed. Byrd's claim isn't as outrageous as Peary's -- he claimed a tailwind helped him out, which at least means he acknowledged the problem -- but the probability is low. And he went to great lengths to hide his records; Roberts, p. 164. Bryce, p. 921, makes the interesting point that the man who "verified" Byrd's record was the same one who "'proved,' and improved, Peary's observationsat the 'Pole.'").
The following list shows key dates in the quest for the North Pole (adapted from Berton, p. 637 and following). 
1818 - David Buchan's expedition from Spitzbergen (two ships, the other commanded by Lt. John Franklin)
1827 - William Edward Parry's expedition from Spitzbergen passes the latitude of 82 degrees N
1860-1861 - An American expedition under Isaac Hayes seeks (and naturally fails to find) the "Open Polar Sea"; it also produces some hideously inaccurate maps  (Berton, pp. 353-364; Fleming-North, pp. 61-78)
1871-1873 - North Pole expedition of the _Polaris_ (Hall's third northward expedition, but the first devoted to the Pole rather than Franklin), which features the death of Hall and the stranding of half his crew; see description above
1875-1876 - British naval expedition under George Nares. This was to be the last try by the British navy, and it does briefly set a new Farthest North record -- but scurvy, which the Admiralty thought it had solved, forces the expedition home a year early (Berton, pp. 413-429; Fleming-North, pp. 161-186)
1879-1882 - _Jeannette_ expedition, described above. All told, 20 out of 33 involved die.
1881-1884 - Adolphus Greely explores Ellesmere Island and his team sets a new "farthest north" record, but only six of 25 survive (due mostly to American government errors), and at least one man was guilty of cannibalism
1886 - Robert Peary fails to cross Greenland (crossing Greenland  may not sound like a big deal, but the island is all glacier; there is no life at all for hunters to harvest, and the Inuit wouldn't go near the interior. Had Peary succeeded, it would have been a testimony to his techniques; also, there was at the time a hope that Greenland might provide a route to the Pole). Peary also claims to chart shoreline later shown not to exist
1888 - Fridtjof Nansen crosses Greenland
1891-1892 - Another Peary expedition to Greenland. He doesn't chart any more territory -- and makes off with sacred and irreplaceable Inuit artifacts which he sells entirely for his own profit. Later he will lure six Inuit back to "civilization" where they will become the victims of "scientific" experimentation; all will die young, and it will be decades before their bones are returned north for burial
1893-1895 - Nansen, using a new type of boat (the _Fram_) and later sledges, sets a new Farthest North but does not reach the pole
1897 - Salomon Andree tries and fails to reach the pole by balloon. He and his crew make it back to the uninhabited islands of Franz Joseph Land but die there; their bodies are not discovered for more than thirty years
1898-1902 - Another Peary expedition fails -- this time leaving Peary with damaged feet
1899-1900 - Abruzzi expedition sets another Farthest North record but doesn't approach the Pole
1901-1902 - Ziegler/Baldwin expedition from Norway fails to reach the pole
1903-1905 - Ziegler/Fiala expedition, again from Norway, fails with the loss of the ship _America_
1905-1906 - Peary fails again
1908-1909 - Peary claims to reach the Pole (April 6, 1909). So does Dr. Frederick Albert Cook (April 21, 1908).
Examination of the incomplete records of Cook and Peary makes it unlikely that either ever made the Pole -- but Peary saw to it that Cook's instruments and many of his records were lost, making it impossible for him to offer proper evidence for his claims. (In fact, Bryce, p. 848, notes that Peary began a six-part plan to discredit Cook the moment he learned the doctor had set out for the pole. To make things even harder for Cook, an accident also destroyed many of his photos -- Bryce, pp. 335 -- but these probably would not have affected the case, since they were taken before his run for the pole.)
In addition, Edward Barrill, who had accompanied Cook on an expedition to Mt. McKinley (Bryce, p. 280, etc.), released a report claiming Cook never made the summit (Henderson, pp. 267-269, offers evidence that Barrill's account was made up after the fact and that he was paid by Peary supporters to concoct it,and Bryce, p. 797, notes that he *was* paid a great deal for producing it, but Fleming-North, p. 386, offers evidence that Cook's description doesn't match reality, and Roberts,pp. 120-124, covers attempts to retrace Cook's actual footsteps, which allowed them to take photos which matches Cook's but from points other than where he said he took them). With Cook's claim definitely unprovable, and with his reputation damanged, Peary's equally unprovable claim was accepted almost by default (for details on this, see the notes to "Captain Bob Bartlett").
So did Cook or Peary reach the pole? The controversy continued for years, with Cook's supporters and his descendents fighting to clear his name until the last of them died out. Cook's case is much weakened by his lack of observations; indeed, there are charges that he could not so much as use a sextant to find his latitude (Bryce, p. 860fff.). Peary's partisans also stuck to their guns, and the National Geographic Society apparently still refuses to re-examine the matter; they initially accepted Peary's claim -- after all, they had supported his expedition; in fact they never really tested his data. Forty years later, just discussing the matter was enough to get Walt Gonnason thrown out of their offices (Bryce, p. 747). They still maintain that attitude; the eighth edition of their World Atlas (no copyright date but released after 2000) still lists him as the first to reach the pole (Roberts, pp. 153-154, considers this to be the result of loyalty to its own reputation).
Of other authorities I checked, Henderson thinks Cook made it and Peary may have. Asimov does not state an explicit opinion but strongly implies that Peary made it and Cook didn't. Berton thinks neither did (though Berton, whose general policy is to consider everyone a disreputable idiot, does make the observation that, though Peary didn't reach the Pole, he came closer than anyone else to go there solely by muscle power, without support from aircraft, and returning under his own power; see p. 624.) Roberts of course is sure that neither Cook nor Peary made it. Fleming thinks Peary didn't but doesn't see why it matters (a view more meaningful in hindsight: We now know there is no land under the pole, so there is no real distinction between 88 or 89 or 90 degrees north. But Peary *didn't* know that -- in fact, he reported seeing land that wasn't there -- and he wasn't doing science anyway). The 1972 edition of_Webster's Geographical Dictionary_ did not mention Peary and says the Pole was first crossed by foot and dogsled 1968-1969, though the 1998 edition credits Peary with reaching the Pole while admitting the claim is disputed.
Bryce, p. 876, makes an interesting observation. On p. 864, he hypothesizes that the navigationally-challenged Cook might have tried to reach the Pole by "following the magnetic meridian." This in fact would not work, but Cook might have throught it would. This allows two possibilities: That he was trying to cheat all along -- or that he tried his meridian trick, came back thinking he had made it, learned when he returned that his method was not adequate -- but tried to revive his claimed once he realized that Peary's 1909 effort had not reached the Pole. But, as Bryce points out, his behavior would have been much the same either way, so we can't tell which is true. I will admit that I find much of Cook's behavior incomprehensible,making me wonder if he was entirely sane; it's interesting that several other witnesses cited by Bryce (pp. 844, 901), including Roald Amundsun thought the same thing -- and, indeed, the Arctic was good at driving people mad; see again "Lady Franklin's Lament (The Sailor's Dream)" [Laws K9]. Bryce, however, does not accept this explanation
Bryce's first conclusion on Peary (p. 880) is that "All of Peary's ations after April 6, 1909... give every inication of a guilty man trying to shield his greatest deceit from the spotlight of any impartial investigation. Moreover, evidence preserved by Peary himself shows thatall his expeditions before 1909h ad produced exaggereated or false claims." Interestingly, though Bryce absolutely rejects Cook's claim to have reached the Pole, he considers his story of attaining it far more plausible than Peary's (p. 916).
At this time, the matter probably cannot be settled by direct evidence; we must rely on the (very strong) indirect evidence. It seems unlikely that either Cook or Peary made it to the pole.
But I would make a secondary observation: We don't let athletes who use steroids earn credit for winning races. Nor are candidates who commit vote fraud generally allowed to win elections. Why shouldn't Peary be held to the same standard? Did he reach the Pole? Maybe. Did he lie (to the Inuit), cheat (Bartlett, whom he had promised to take to the Pole) and steal (from Cook and from the Inuit -- taking at various times their meteorites, their people to be museum exhibits, and, for his last expedition, their much-needed dogs; Bryce, p. 332)? Yes. Indeed, at one point, his behavior could be called murder, since he refused to allow a doctor to treat Inuit who needed help (Bryce, pp. 319-320). By today's definitions, he was guilty of abduction and perhaps even rape of underage girls (Bryce, p. 341) and child pornography (Roberts, between pages 100 and 101, reprints one of his nude photos of a 14-year-old Inuit girl). Bryce, p. 854, reports that some Inuit labelled him "the great tormentor" for decades.  His behavior should disallow his claim.
Incidentally, the first people to stand at the Pole may not have arrived (by plane) until 1953 (Roberts, p. 166). And, although trips to the North Pole are now almost routine (since a traveler in trouble can always radio for help and be rescued by air), the arctic has not entirely relented since Peary's time. Alfred Wegener, who did noteworthy work on meteorology and lunar craters and who invented the modern theory of Continental Drift in the period before the first world war (though it did not come to be accepted until decades after his death) sought evidence for his theories in Greenland, and died there in 1930 when the expedition ran into trouble (see Asimov, p. 595; John Gribbin, _Science: A History 1543-2001_, BCA, 2002; p. 448).  And, of course, no less a man than Roald Amundson died on the polar cap while searching for the survivors of another wreck (Asimov, p. 561; Mirsky, pp. 314, 317).
>>*BIBLIOGRAPHY*<<:
In writing this summary, in addition to the standard references, I have consulted the following works, of varying quality.
Isaac Asimov, _Isaac Asimov's Biographical Encyclopedia of Science & Technology_ (revised edition, 1972; I use the 1976 Equinox edition) is of course about scientists, not polar exploration, but has entries on people like Amundson, Peary, and Wegener.
A classic is Pierre Berton's _The Arctic Grail_ (Viking, 1988), which covers nearly the entire history of Northwest Passage and Polar explanation, though its harsh descriptions of failures make little allowance for hindsight.
Robert M. Bryce's _Cook & Peary: The Polar Controversy, Resolved_ (Stackpole, 1997) is an exhaustive -- maybe I should say exhausting -- look at the Cook/Peary controversy. If anything, it's too detailed, and the index has to be better if it is to be useful as a quick reference. But just about everything known about those two explorers is probably in there.
Fergus Fleming, _Barrow's Boys_, (Grove Press, 1998; cited as Fleming-Barrow). A general-purpose book about exploratory expeditions by the British Navy from about 1816 to 1846, only the handful of chapters on polar exploration are of interest here.
Fergus Fleming, _Ninety Degrees North_, (Grove Press, 2001; cited as Fleming-North) is a history of northward exploration starting roughly at the time the search for Franklin ended (and hence a semi-sequel to Fleming-Barrow). This pays particular attention to expeditions not mounted from Britain or the U. S. Although less negative than Berton, it does give much of its attention to the ways the various expeditions failed.
Leonard F. Guttridge, _Icebound_ (Naval Institute Press, 1986; I used the 2001 Berkeley edition. Cited as Guttridge-Ice) is specific to the _Jeannette_ expedition. The ending is a bit confusing -- he spends a lot of time considering who should bear the blame, then never assigns any! -- but it's a readable reference on this sad, largely avoidable disaster.
Leonard F. Guttridge, _Ghosts of Cape Sabine: The Harrowing True Story of the Greely Expedition_ (Berkley, 2000. Cited as Guttridge-Sabine) is Guttridge's account of the Greely disaster. Like his book on the _Jeannette_, it is specific to that one event, and shares many of the strengths and weaknesses of his earlier book.
Bruce Henderson, _True North_ (Norton, 2005) is devoted almost entirely to the explorations of Cook and Peary, approaching the status of biography of the two. Its only real purpose appears to be to vindicate Cook (which it would do better if it didn't whitewash over so much of the evidence against him), but it has much useful detail about the final phases of Peary's quest also.
Chauncey Loomis, _Weird and Tragic Shores: The Story of Charles Francis Hall, Explorer_ (Modern Library edition, with a new afterword, published 2000) is more a life of Hall than a story of arctic exploration, but it inevitably details the early stages of his last voyage -- and of the inquiry that followed.
Mirsky: Jeannette Mirsky, _To the Arctic: The Story of Northern Exploration from the Earliest Times to the Present_, revised edition, Knopf, 1948. Unduly generous; it never questions anything (except the claims of Cook -- and this, according to Bryce, pp. 721-722, 726, was mostly under legal pressure from the Peary and Cooks factions). But if it praises everyone who ever so much as looked toward the north, it also lists a lot of expeditions that get no other coverage
David Roberts, _Great Exploration Hoaxes_ (Sierra Club, 1982; I use the 2001 Modern Library edition with an Introduction by Jan Morris) covers much more than arctic exploration, and is perhaps a little one-sided in situations where balance might be better, but it has much useful information on Peary and Cook. - RBW
File: Harl230
===
NAME: Hurrah, Hurrah, Hurrah!
DESCRIPTION: German shanty. Sailors arrive in David street in Hamburg where they can buy girls for five pennies. Song enumerates various girls and their attributes. The sailors spend all the money and go back to sea.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: foreignlanguage shanty sailor whore sex money
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 138-140, "Hurrah, Hurrah, Hurrah!" (2 texts-German & English, 1 tune)
ALTERNATE_TITLES:
Wat Wi Doht
David Straat
File: Hugi138
===
NAME: Hurrah, Lie!: see Martin Said To His Man (File: WB022)
===
NAME: Hurrah, Sing Fare Ye Well
DESCRIPTION: Shanty. "We're bound away to Callyo, Hurrah sing fare ye well. Oh fare ye well, me Liverpool gal, Hurrah sing fare ye well." Verses have vague courting, whoring, and sailing themes.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty separation farewell
FOUND_IN: US Britain
REFERENCES: (1 citation)
Hugill, pp. 119-120 "Hurrah, Sing Fare Ye Well" (1 text, 1 tune) [AbEd, pp. 102-103]
ALTERNATE_TITLES:
Goodbye, Sing Fare You Well
Fare Ye Well
My Bonnie Young Girl
File: Hugi119
===
NAME: Hurry Up, Harry: see The Lumber Camp Song (File: Doe210)
===
NAME: Husband Lamenting the Death of the Wife, The
DESCRIPTION: "Come, my dear friends, and mourn with me In my afflicted state. I am bereaved, as you may see, Of my dear loving mate." He tells his grief, notes how the children miss their mother, and says it is God's will
AUTHOR: unknown
EARLIEST_DATE: 1938 (Belden), from a diary of the Civil War era
KEYWORDS: husband wife death loneliness orphan
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 467, "The Husband Lamenting the Death of the Wife" (1 text)
Roud #7957
File: Beld467B
===
NAME: Husband With No Courage In Him, The: see My Husband's Got No Courage in Him (File: K213)
===
NAME: Husband-man and the Servant-man, The: see The  Husbandman and the Servingman (File: K226)
===
NAME: Husband's Departure, The
DESCRIPTION: The husband prepares to go to war against the south. His wife tries to dissuade him. He says she would not respect him if he were a coward. He finally convinced her and departs
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden)
KEYWORDS: husband wife battle Civilwar dialog
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 378-39, "The Husband's Departure" (1 text)
Roud #7761
CROSS_REFERENCES:
cf. "The Rolling Stone" [Laws B25] (form, lyrics)
NOTES: Sort of a cross between "The Rolling Stone" (which Belden lists as a probable source) and Lovelace's "To Lucasta, Going to the Wars." - RBW
File: Beld378
===
NAME: Husband's Dream, The: see The Drunkard's Dream (I) (File: R307)
===
NAME: Husbandman and the Servingman, The
DESCRIPTION: A husbandman and a servingman meet and discuss their occupations. The servant describes all the rich people he associates with; the husbandman details the pleasure of a good season in the fields. The servingman wishes he had chosen the other occupation
AUTHOR: unknown
EARLIEST_DATE: 1843 (Broadwood)
KEYWORDS: work dialog farming servant
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Kennedy 226, "The Husband-man and the Servant-man" (1 text, 1 tune)
cf. Chappell/Wooldridge I, pp. 282-283, "Paul's Steeple, or I Am the Duke of Norfolk" (1 tune, partial text, said by Kennedy to be this piece)
DT, HUSBSERV
Roud #873
RECORDINGS:
Mummers from Symondsbury, "The Symondsbury & Eype Mummer's Play & The Singing of the Travels"  (on Lomax41, LomaxCD1741, FSB9)
CROSS_REFERENCES:
cf. "The Farmer and the Shanty Boy" (plot)
cf. "The Plooman Laddie" (theme)
cf. "Soldier Boy for Me (A Railroader for Me)" (theme)
cf. "Buttercup Joe" (subject, a few phrases)
ALTERNATE_TITLES:
The Singing of the Travels
NOTES: Kennedy claims that Chappell's piece "I Am the Duke of Norfolk" is this tune. This overstates the case -- Chappell's tune is similar but not identical in the tenor line. And neither tune is the one I know. "I Am the Duke of Norfolk" is, however, a popular tune; it is cited many times in the Broadside Ballad Index (ZN338, ZN1208, ZN1839, ZN2168, ZN2570, ZN2671, ZN2955). - RBW
File: K226
===
NAME: Hush Alee
DESCRIPTION: "I sit up all night with the fire burning bright, While rocking my baby to sleep, Singing, 'Hush a-le la lee, hush a-lo lee, Your daddy will come by and by, So close your eyes and go to sleep, Your dear mother she is tired, Singing hush alee..."
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: lullaby nonballad father mother
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H591b, p. 6, "Hush Alee" (1 text, 1 tune)
Kennedy 343, "Hush, Little Babbie" (1 text, 1 tune)
DT, HUSHALEE*
Roud #2158
NOTES: It's far from certain that these songs are the same. Kennedy, who knew the Henry collection, did not equate them, speculating instead that "Hush, Little Babbie" came from a Gaelic original.
But both the Kennedy and Henry texts are from Northern Ireland, and they share lines and somewhat similar choruses. I decided to equate them.
The text cited in the description is from Henry. Kennedy's version has a curious floating segment, "Where are you going, my old man, Where are you going, my honey?" - RBW
File: HHH591b
===
NAME: Hush You (The Black Douglas)
DESCRIPTION: "Hush you, hush you, Little pet you, Hush you, hush you, Dinna fret you, The Black Douglas Shall not get you."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: lullaby
FOUND_IN: 
REFERENCES: (1 citation)
Montgomerie-ScottishNR 137, "(Hush you, hush you)" (1 text)
NOTES: Whether this is a traditional song I do not know -- but it's old enough to have folklore about it. Unfortunately, I don't remember the source, but the tale went as follows:
A singer, high in a castle, was singing "The Black Douglas shall not get you" to her bairn, when Douglas, who was raiding the castle and had come up behind her, announced, "I'm not so sure of that."
Probably too good to be true, to be sure.
The Douglas family arose to prominence in the reign of Robert I Bruce (King of Scotland 1306-1329); Sir James Douglas (died 1330) was Bruce's right-hand man, and I seem to recall one version of the above story in which he was the Douglas involved.
But James Douglas was not a "Black Douglas"; at the time, there was but the one Douglas family. His descendants became Earls of Douglas. It was the second Earl, another James, who died young at Otterburn (for which see "The Hunting of the Cheviot [Child 162]"). He had no direct heir, so the Douglas family split into Red and Black branches.
The Black Douglases were the stronger -- indeed, they were the strongest family in Scotland, probably stronger than the King. For half a century, they were a constant menace, until James II killed William Douglas (the eighth earl) in 1452. His brother James succeeded as ninth earl, but was driven into exile a few years later, and the Douglases were finally broken.
Thus this piece, if real, would have to date from between 1388 and 1455. Probably it comes from the earlier end of that period, in the period of the most intense border wars -- which were not really battles between England and Scotland; like Otterburn, they were between the Percies of Northumbria and the Douglases of Lothian. - RBW
File: MSNR137
===
NAME: Hush-a-Bye, Baby
DESCRIPTION: The singer is forty-five with a young wife who "loves to go out on a spree" leaving him to watch the baby. One night he goes out for a stroll while the baby is sleeping and "my dear wife I spied hugging a soldier sixteen"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: infidelity marriage baby wife
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 115, "Hush-a-Bye, Baby" (1 text, 1 tune)
ST LLab115 (Full)
Roud #9971
CROSS_REFERENCES:
cf. "Rocking the Cradle (and the Child Not His Own)" (theme)
cf. "Unhappy Jeremiah (The Brats of Jeremiah)" (plot)
File: LLab115
===
NAME: Hush-a-bye, Baby, On The Tree Top: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Hush-a-Bye, Don't You Cry: see All the Pretty Little Horses (File: LxU002)
===
NAME: Hush-oh-bye Baby
DESCRIPTION: The singer meets a woman with her three children on a sleeting night. She say her husband, a farmer, was killed in town by a gang. She spent all she had to bury him and was put on the road when she could not pay rent. She and the babies die of the cold.
AUTHOR: unknown
EARLIEST_DATE: 1974 (Lehr/Best)
KEYWORDS: poverty burial death children mother husband storm
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 54, "Hush-oh-bye Baby" (1 text, 1 tune)
RECORDINGS:
Anita Best, "Hush-o-bye Baby" (on NFABest01)
CROSS_REFERENCES:
cf. "Three Perished in the Snow" [Laws G32] (plot)
NOTES: In the song the couple are said to live "in a place they called Newton Perry." Newton Perry is a sector of Limerick City, County Limerick, Ireland (source: inforing Ireland Gateway site). Lehr/Best (viz., Anita Best): "This is no doubt a song which originated in Ireland where, in the nineteenth century, evictions of poor tenant farmers unable to pay rent was extremely common." - BS
File: LeBe054
===
NAME: Hush, Honey, Hush: see Go Slow, Boys (Banjo Pickin') (File: R278)
===
NAME: Hush, Little Babbie: see Hush Alee (File: HHH591b)
===
NAME: Hush, Little Baby
DESCRIPTION: "Hush little baby, don't say a word, Papa's gonna buy you a mockingbird. And if that mockingbird won't sing. Papa's gonna buy you...." And so forth, through many objects, ending "And if that () won't (), you'll still be the prettiest little baby in town."
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: lullaby bird commerce gift
FOUND_IN: US(Ap,SE,So) Canada(Newf)
REFERENCES: (10 citations)
Randolph 359, "Mamma, Mamma, Have You Heard?" (1 short text plus a fragment, 1 tune)
BrownII 196, "Swapping Songs" (4 text plus 2 excerpts, with most texts being "The Swapping Boy," but "E" and "F" are this song)
SharpAp 234, "The Mocking Bird" (2 texts, 2 tunes)
Peacock, p. 15, "Lullaby" (1 text, 1 tune)
Baring-Gould-MotherGoose #558, p. 228, "(Hush, little baby, don't say a word)"
Scott-BoA, p. 164, "Hush, Little Baby" (1 text, 1 tune)
Arnett, p. 61, "Hush, Little Baby" (1 text, 1 tune)
Pankake-PHCFSB, pp. 224-225, "Mockingbird" (1 text, with some unusual verses; the ending may be a parody)
Silber-FSWB, p. 409, "Hush Little Baby" (1 text)
DT, HUSHLIL*
Roud #470
CROSS_REFERENCES:
cf. "Say, Darling, Say" (lyrics, tune)
cf. "Mamma's Goin' to Buy Him a Little Lap Dog (Come Up Horsie)" (theme, lyrics)
ALTERNATE_TITLES:
Mockingbird Song
Papa's Going to Buy Me a Mockingbird
NOTES: An Ozark version of this song ends "If that lookin-glass doesn't shine, Papa's going to shoot that beau of mine!" -- referring to a belief that mirrors only shone for chaste women.
Although this particular song seems to have become popular only recently, the form with progressive items is old; Gammer Gurton's Garland (1784), for instance, has a poem beginning
A man of words and not of deeds
Is like a garden full of weeds;
And when the weeds begin to grow,
It's like a garden full of snow;
And when the snow begins to fall,
It's like a bird upon the wall....
(For this poem, see Baring-Gould-MotherGoose #75, p. 81; also in Talley's _Negro Folk Rhymes_). - RBW
File: SBoA164
===
NAME: Hush, Little Baby (II): see Jesus Done Taken My Drifting Hand (File: Br3580)
===
NAME: Hush, Little Bonnie: see More Pretty Girls Than One (File: CSW192)
===
NAME: Hushabye (I): see All the Pretty Little Horses (File: LxU002)
===
NAME: Hustling Gamblers: see Little Maggie (File: CSW048)
===
NAME: Hut that's Upside Down, The
DESCRIPTION: The singer has travelled many places, but now is "anchored hard and fast in the hut that's upside down." He describes the wild behaviors there -- gambling, frantic shearing, and watching the cook beat a brownie or dance a highland fling
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: rambling sheep Australia cook
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 58-59, "The Hut that's Upside Down" (1 text, 1 tune)
NOTES: Thought to refer to a shed in Big Burrawang in New South Wales. Meredith and Anderson report that this shed was "so big that a wooden tramway ran around it to move the wool." - RBW
File: MA058
===
NAME: I Ain't A-Gonna Work a No Mo'!
DESCRIPTION: "I ain't a-gonna work a no mo'! (x2), Done an' work-ed till my hands got sore. I ain't a-gonna work a no mo!"
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 242, "I Ain't A-Gonna Work a No Mo'!" (1 short text)
File: Br3242
===
NAME: I Ain't Gonna Grieve My Lord No More: see Ain't Gonna Grieve My Lord No More (File: R300)
===
NAME: I Ain't Got Nobody: see Took My Gal a-Walkin' (File: RcTMGAW)
===
NAME: I Ain't Got Time to Tarry: see Don't Get Weary Children (Massa Had a Yellow Gal) (File: BAF904)
===
NAME: I Am a Brisk Young Sprightly Lad
DESCRIPTION: "I am a brisk and sprightly lad, But just come home from sea, sire... A sailor's life for me, sir." "Yeo, yeo, yeo, Whilst the bosun pipes all hands With a yeo, yeo, yeo!" The sailor loves foreign ports, and promises to fight for the nation when attacked
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: sailor battle money
FOUND_IN: 
REFERENCES: (1 citation)
Shay-SeaSongs, p. 138, "I Am a Brisk and Sprightly Lad" (1 text)
NOTES: This is another of those sea-poems Shay seems to have dug up somewhere; I have not found it elsewhere.
The boast about each man "hasten[ing] to his guns" would surely have sounded very strange to the sailors who fought in the Napoleonic wars -- it is estimated that half of the men in Nelson's fleet were impressed, and more were quota men. - RBW.
File: ShaSS138
===
NAME: I Am a Done-Up Man
DESCRIPTION: "I am a done-up (hic) man, You'll agree with me ev'ry one (hic), Tis true I've seen the bright side of (hic) life (hic), But now I'm a poor old bum (hic)." The drunkard believes that, when he dies, Heaven turn him out, and Satan will reject him too
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: drink death devil
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 406, "I Am a Done-Up Man" (1 text, 1 tune)
Roud #7683
File: R406
===
NAME: I Am a Girl of Constant Sorrow: see Girl of Constant Sorrow (File: FSWB128B)
===
NAME: I Am a Great Complainer
DESCRIPTION: "I am a great complainer, that bears the name of Christ... I feel my faith declining...." The singer calls on Christ to repair (his) wavering faith and help (him) in (his) stumbling in a fast-moving world: "I am so full of folly, and have no time to pray"
AUTHOR: unknown
EARLIEST_DATE: 1848 (Hesperian Harp)
KEYWORDS: religious Jesus nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 647, "I Am a Great Complainer" (1 text)
Roud #7568
File: R647
===
NAME: I Am a Man of Constant Sorrow: see Man of Constant Sorrow (File: CSW113)
===
NAME: I Am a Newfoundlander
DESCRIPTION: "I am a Newfoundlander, I go out to the ice. I'm always in the best of ships.... The man I wish to sail with is Captain Harry Dawe." The Adventure sets out in 1906 and takes 20,000 seal. The singer tells of the voyage, the crew, and an injured Irishman
AUTHOR: unknown
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: ship hunting moniker injury doctor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Ryan/Small, pp. 89-90, "I Am a Newfoundlander" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pride of Logy Bay" (tune)
File: RySm089
===
NAME: I Am a Pilgrim
DESCRIPTION: "I am a pilgrim and a stranger Traveling through this wearisome land, I have a home in yonder city, And it's not made, not made by hand."  The singer's family has gone before; the singer hopes to be made whole
AUTHOR: unknown
EARLIEST_DATE: 1917 (recording, Imperial Quartet)
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 353, "I Am A Pilgrim" (1 text)
DT, IAMPLGRM*
RECORDINGS:
Imperial Quartet, "I'm a Pilgrim, I'm a Stranger" (Victor 18199, 1917)
Silver Leaf Quartet, "I Am A Pilgrim" (OKeh 8594/ARC 6-12-63/Vocalion 04395, 1928)
CROSS_REFERENCES:
cf. "Tossed and Driven (The Poor Pilgrim)"
NOTES: The Digital Tradition lists this as by Merle Travis. The Folksinger's Wordbook doesn't list an author. I haven't a clue -- but there are a lot of traditional lines in here. - RBW
I think the 1917 recording effectively washes out the claim of Merle Travis as sole author, although he certainly put the song into the form in which it's most commonly sung today. Sam Hinton learned a version in his childhood which is probably closer to the 1917 version than to Travis's. - PJS
File: FSWB353B
===
NAME: I Am a Pretty Wench
DESCRIPTION: "I am a pretty wench, And I come a great way hence, And sweethearts I can get none: But every dirty sow Can get sweethearts enow, And I, pretty wench, can get never a one."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: oldmaid
FOUND_IN: 
REFERENCES: (3 citations)
Opie-Oxford2 525, "I am a pretty wench" (1 text)
Baring-Gould-MotherGoose #82, p. 84, "(I am a pretty wench)"
cf. Vaughan Williams/Lloyd, p. 84, "The Ploughman" (1 text, 1 tune, not this song as printed, but the notes reveal that the informant's version began with a verse of this)
Roud #2538
ALTERNATE_TITLES:
The Condescencing Lass
Pretty Wench
File: BGMG082
===
NAME: I Am a Rambling Rowdy Boy
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
The Butcher Boy [Laws P24]
File: LP24
===
NAME: I Am a Rich Widow: see The Rich Widow (File: Lins019)
===
NAME: I Am a River Driver: see The River-Driver's Lament (I Am a River Driver) (File: FowL69)
===
NAME: I Am a Union Woman
DESCRIPTION: The singer proclaims, "I am a union woman, Just as brave as I can be... And the bosses don't like me." She tells all to "join the C.I.O./N.M.U." She is called a Red and shot at for her activities; her husband denied work; but she still supports the union
AUTHOR: Words: Aunt Molly Jackson/Music: Traditional
EARLIEST_DATE: 1930s (recorded by author)
KEYWORDS: work unemployment labor-movement
FOUND_IN: 
REFERENCES: (2 citations)
Arnett, pp. 174-175, "I Am a Union Woman" (1 text, 1 tune)
Greenway-AFP, pp. 269-270, "I Am a Union Woman" (1 text)
Roud #16050
RECORDINGS:
New Lost City Ramblers, "Join the C.I.O." (on NLCR09)
CROSS_REFERENCES:
cf. "Which Side Are You On?" (tune)
ALTERNATE_TITLES:
Join the N. M. U.
Join the C. I. O.
NOTES: The radical National Miners' Union (N.M.U.) attempted to organize miners in the 1930s, but were defeated by the mine owners after bitter and bloody conflicts. The United Mine Workers of America (U.M.W.), part of the Congress of Industrial Organizations (C.I.O.) succeeded a few years later, again after terrible struggle. The song was rewritten [it is based on "Which Side Are You On" - DGE] to suit the new organizing drive.
The note from DGE states that this was based on, "Which Side Are You On?," but this song may predate it. Both were based on a traditional hymn tune. - PJS
File: Arn174
===
NAME: I Am a Wee Laddie, Hard, Hard Is My Fate: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: I Am a Wee Lassie
DESCRIPTION: The singer complains "how false was that young man that I loved so dear." He swore to be true. Now that Spring has returned "I'll go down to the green woods where the small birds do sing ... Where no one shall see me till I cry my fill"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: courting love rejection lyric
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hayward-Ulster, p. 109, "I Am a Wee Lassie" (1 text)
Roud #6542
File: HayU109
===
NAME: I Am a Wild Young Irish Boy [Laws L19]
DESCRIPTION: The Irish convict, trained as a sailor, flees the farm where he has been sent. He turns outlaw, but never robs the poor or kills without cause. Trapped by the police, he kills five and escapes. Only when he is dying does he let the police be tipped off
AUTHOR: unknown
EARLIEST_DATE: 1959
KEYWORDS: sailor outlaw fight escape death
FOUND_IN: US(MA) Australia
REFERENCES: (3 citations)
Laws L19, "I Am a Wild Young Irish Boy"
Doerflinger, pp. 270-272, "I Am a Wild Young Irish Boy' (1 text, 1 tune)
DT 573, YNGIRSHB
Roud #1907
File: LL19
===
NAME: I Am a Young Maiden (If I Were a Blackbird)
DESCRIPTION: The girl has been courted by a sailor, but now is deserted. She wishes she were a blackbird so she could follow her love. She tells of how her parents' dislike caused her to love him the more. He promised to buy her ribbons, but now has left her
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection); c.1920 (OLochlainn)
KEYWORDS: separation courting love floatingverses
FOUND_IN: US(MA) Ireland Canada(Newf) Britain(England(Lond),Scotland)
REFERENCES: (7 citations)
FSCatskills 38, "I Am a Young Maiden" (1 text, 1 tune)
SHenry H79, pp. 428-429, "If I Were A Blackbird" (1 text, 1 tune)
OLochlainn 46, "If I Was a Blackbird" (1 text, 1 tune)
Meredith/Anderson, pp. 170-171, "If I Was a Blackbird" (1 text, 1 tune)
MacSeegTrav 31, "If I Was a Blackbird" (2 texts, 2 tunes)
Blondahl, p. 119, "If I Were a Blackbird" (1 text, 1 tune)
DT, (IFBLKBRD -- apparently a reworking of the song from a man's perspective) IFBLKBR2*
Roud #387
RECORDINGS:
Diddy Cook, "The Blackbird" (on Voice15)
Blanche Wood, "I'm a Young Bonnie Lassie" (on FSB1)
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
NOTES: Although this song is composed entirely of floating lyrics -- from "The Wagoner's Lad," "Oh, Dear, What Can the Matter Be" and others -- this combination is sufficiently widespread that it must be considered a song in its own right - RBW
File: FSC38
===
NAME: I Am Bound for the Promised Land: see Bound for the Promised Land (File: LxU099)
===
NAME: I Am Gaun to the Garret
DESCRIPTION: "My mither has three butter platies. Platies? Ay, platies... And she's nae ither dochters but me. But I maun gang tae the garret... Since there's nae bonnie laddie for me." After lamenting her fate, she at last reports that she is to marry a miller
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: oldmaid courting dowry beauty marriage miller
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 58, "I Am Gaun to the Garret" (1 text, 1 tune)
Roud #818
CROSS_REFERENCES:
cf. "I Wonder When I Shall Be Married" (lyrics, theme)
NOTES: This is fundamentally the same song as "I Wonder When I Shall Be Married," and both very possibly derive from a broadside "The Maiden's Sad Complaint for Want of a Husband." But this version ends with the girl getting married, and the other with her still an old maid. That's a sufficient change in the plot that I list the two separately, but there is clearly overlap. Roud unsurprisingly lumps them. - RBW
File: Ord058
===
NAME: I Am Going to Heaven
DESCRIPTION: "I am going to Heaven (x3), (To see/I and) the bleeding lamb." "Come, my loving father, And don't you want to go? Come go with me to glory To see the bleeding lamb." Similarly with mother, brother(s), sister(s)
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 534, "I Am Going to Heaven" (1 text)
Roud #11873
CROSS_REFERENCES:
cf. "Religion Is the Best of All" (lyrics)
File: Br3534
===
NAME: I Am Going Where the Blood Flows Stronger
DESCRIPTION: "I am going where the blood flows stronger (x2), Way over in the promised land." "I wonder where is my dear old mother?" "Who will rise and go to my father?" "I know those angels are having a good time, Eating of honey and drinking of wine."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad wine
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 582, "I Am Going Where the Blood Flows Stronger" (1 text, with irregular lyrics that strongly hint two songs were combined)
Roud #11898
File: Br3582
===
NAME: I Am Growing Old and Gray
DESCRIPTION: The old man laments, "I am growing old and gray ev'ry year," and laments his loss of sexual power, as well as the ability to hold liquor. The women "ask for much more" every year, but he can no longer supply it
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: sex age bawdy
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 53-54, "I Am Growing Old and Gray" (1 text, 1 tune)
Roud #10140
CROSS_REFERENCES:
cf. "She'll Be Coming Round the Mountain" (tune) and reference there
cf. "When I Was Young and in My Prime" (theme)
File: EM053
===
NAME: I Am Napoleon Bonaparte: see Napoleon's Farewell to Paris (File: GC089)
===
NAME: I Am On My Way: see Jacob's Ladder (I) (File: CW190A)
===
NAME: I Am Sold and Going to Georgia
DESCRIPTION: "O! When shall we poor souls be free? When shall these slavery chains be broken? I am sold and going to Georgia, Will go go along with me." The singer has lost his wife and child. He bids farewell, and says, "Go sound the jubilee."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: slavery travel separation family
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, pp. 95-96, "I Am Sold and Going to Georgia" (1 text)
NOTES: Greenway, for some reason, is convinced that this is of white origin. I suppose it is possible, but it clearly refers to the plight of the Black slave. - RBW
File: Grnw095
===
NAME: I Am Standing in the Shoes of John
DESCRIPTION: "I am standing in the shoes of John (x2), I am standing, I am standing, I am standing in the shoes of John." "If they fit me, I will wear them on...."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: religious nonballad clothes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 589, "I Am Standing in the Shoes of John" (1 short text)
Roud #11837
NOTES: There is, of course, no Biblical reason to think that there was anything special about the shoes of either John the Baptist (who said he wasn't even worthy to untie Jesus's shoes) or John the Apostle. The reference is probably to the John of the Apocalypse anyway. - RBW
File: Br3589
===
NAME: I Am the Duke of Norfolk: see references under The Husbandman and the Servingman (File: K226)
===
NAME: I am the Master (Dusty Bluebells)
DESCRIPTION: Singing game: "In and out those dusty bluebells (x3), I am the master. Tip a little apple on my shoulder (x3), I am the master." "Tippety, tappety, on your shoulder (x3), I am the master"
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: playparty nonballad
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
SHenry H48a, p. 10, "I Am the Master" (1 text, 1 tune)
Montgomerie-ScottishNR 79, "(In and out the dusty bluebells)" (1 text)
Roud #734
NOTES: Roud classifies this as a version of "In and Out the Window/Marching Round the Levee." I would say the "I am the master" line makes them distinct. - RBW
File: HHH048a
===
NAME: I Am Waiting on the Levee
DESCRIPTION: "I am waitin' on the levee, Waitin' for the steamboat to come down, I hope she's loaded pretty heavy, I hope she's loaded to the ground. I think I hear her whistle blowin'... It must be the Natchez or the Robert Lee."
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: racing ship river
HISTORICAL_REFERENCES: Jun 30, 1870 - Race between the Natchez and the Robert E. Lee.
FOUND_IN: 
REFERENCES: (1 citation)
MWheeler, pp. 57-58, "I Am Waitin' on the Levee" (1 text, 1 tune)
Roud #10019
NOTES: The Natchez, built 1869, and the Lee, built 1866, were regular competitors on the Natchez/New Orleans run. In 1870, the two captains agreed to a race.
It wasn't an equal contest, though -- the Natchez (thought by many to have been the slightly faster boat) took an ordinary load of passengers and cargo; the Lee was stripped for the race and drove through a fogbank. The Lee won the race by seven hours -- six of which the Natchez spent waiting out the fog to protect her passengers' safety.
The race was famed in popular folklore (see, for instance, Botkin's Mississippi River Folklore, pp. 58-61), but it didn't really set any records; it was just a straight race. And, interestingly, true folk songs about it are rare. Wheeler's is the first I've encountered to mention it, and it's only a fragment; the real subject might be something else. - RBW
File: MWhee057
===
NAME: I Ask that Gal
DESCRIPTION: When the singer asks her to give him some, she tells him to wait until the 'taters are done. He can't wait, and forces himself on her, only to lament "the 'taters got burnt an' so did I."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex disease lament
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 133-134, "I Ask that Gal" (3 texts, 1 tune)
Roud #11500
CROSS_REFERENCES:
cf. "Frog Went A-Courtin'" (tune)
NOTES: Sung to the melody of "Frog Went A-Courtin'." - EC
This instinctively reminds me of the story of King Alfred and the Cakes. But it's not the same story, and I would be shocked at any evidence of literary dependence. - RBW
File: RL133
===
NAME: I Been a Miner: see Take This Hammer (File: FR383)
===
NAME: I Believe This Dear Old Bible
DESCRIPTION: Sundry Bible stories told briefly and linked by the refrain, "I believe this dear old Bible from beginning to the end." Sample: "I believe that Father Adam was the first created man."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: religious Bible
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 648, "I Believe This Dear Old Bible" (1 fragment)
Roud #7569
File: R648
===
NAME: I Belong to that Band
DESCRIPTION: "I never saw the like since I been born, People keep coming and the train done gone." "I belong to that band, Hallelujah, hallelujah, hallelujah, I belong to that band, Hallelujah." "Some come crippled and some come lame." "Clouds look heavy...."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Chappell)
KEYWORDS: religious nonballad floatingverses train disability
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 583, "I Belong to that Band" (1 text); also 624, "Old Satan's Mad" (5 texts, 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")
Chappell-FSRA 87, "O I Believe in Jesus" (1 text, 1 tune)
Roud #11900
CROSS_REFERENCES:
cf. "Ten Stone" (lyric)
File: Br3583
===
NAME: I Bid You Goodnight (The Christian's Good-Night)
DESCRIPTION: Funeral hymn/spiritual, recognized by the chorus line, "And I bid you goodnight, goodnight, goodnight." The hymn form describes a farewell and the afterlife. Other versions encourage repentance or sound almost like a lullaby
AUTHOR: F. A. and J. E. Sankey (?) Sarah Doudney?
EARLIEST_DATE: 1928 (recording, Lonnie McIntorsh)
KEYWORDS: death funeral religious nonballad
FOUND_IN: US Britain(England(North)) Bahamas
REFERENCES: (1 citation)
DT, BIDGNITE
ST DTbidgni (Full)
Roud #15632
RECORDINGS:
Men from Andros Island, "I Bid You Goodnight" (on LomaxCD1822-2)
Five Gospel Souls [pseud. for the Five Soul Stirrers] "Sleep On Darling Mother" (Ebony 137, rec. 1945)
Lonnie McIntorsh, "Sleep On, Mother, Sleep On" (Victor 21271, 1928)
Mound City Jubilee Quartette, "Sleep On, Darling Mother" (Decca 7158, 1936; rec. 1935)
Sister Rosetta Tharpe, "Sleep On, Darling Mother" (Decca 8657, 1944; rec. 1943)
Lena Thompson, Lucy Scott, & Lucy Smith, "Sleep On" (on VaWork)
NOTES: This song has an incredibly tangled history. Bob Bovee tells me that he found a 78 of this song: "It's by Lonnie McIntorsh with the title 'Sleep On, Mother, Sleep On' (Victor 21271). He's [a] black gospel singer with guitar recorded in Memphis in 1928."
The Sankey Brothers version of the song appeared in the Cokesbury Worship Hymnal in 1928.
In 1936, Hazel Felleman's _The Best Loved Poems of the American People_ (pp. 342-343) lists a version as by Sarah Doudney. (Perhaps Doudney wrote the lyrics, with the Sankeys adding a tune?)
And then there is the recording by Joseph Spence, with what amounts to only a single verse, applied to different relatives. It's hardly even the same song.
This hymn thoroughly deserves a detailed research project. Did the Sankeys write it, or just adapt it? Which versions of the song are traditional, and where? Did Spence create his version, or did it exist before him? I can't answer any of these questions from my library. - RBW
Spence's version is quite similar to another, collected in the Bahamas in 1935 by Alan Lomax; both include traditional Bahamian "rhyming" -- improvised verses over a sung or chanted background. And to another, found in Virginia in 1980 among crabpickers, who sang it as they worked.
It's also found in Yorkshire, and interestingly enough it is used there as a lowering-down song at funerals, just as it is in the Bahamas. - PJS
File: DTbidgni
===
NAME: I Binged Avree
DESCRIPTION: Travellers' cant. Singer meets two men in a North Scotland lodging house. They get drunk and start a fight; he hits one, then flees. He buys an accordion with the money he has begged and goes to Ireland. He meets two Tinkers who ask why he left Scotland
AUTHOR: unknown
EARLIEST_DATE: 1961 (recorded from Davie Stewart)
LONG_DESCRIPTION: Travellers' cant. Singer takes to the road, heads for northern Scotland, far from home, where he meets two men in a lodging house. They get drunk and start a fight; he hits one, then flees. He goes into a music shop and buys an accordion with the money he has begged; he gets tea and two shillings from a woman whose man is away at work. She tells him he'd best get away; he goes to Ireland. There he meets two Irish Tinkers who ask why he left Scotland
KEYWORDS: homesickness fight violence rambling travel music Ireland Scotland foreignlanguage Gypsy
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kennedy 344, "I Binged Avree" (1 text, 1 tune)
Roud #2159
File: K344
===
NAME: I Bless the Lord, I'm Born to Die
DESCRIPTION: Fragment: "I bless the Lord, I'm born to die; Keep me from sinkin' down; I'm gwine to jedgment bye an' bye, Keep me from sinkin' down."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 13, (no title) (1 fragment)
File: ScaNF013
===
NAME: I Bought Me a Rooster: see I Had a Little Rooster (Farmyard Song) (File: R352)
===
NAME: I Bought Myself a Cock: see I Had a Little Rooster (Farmyard Song) (File: R352)
===
NAME: I Called My Dogs
DESCRIPTION: "I called my dogs through the rye To get to see them run and try. Ho oggie, ho doggie, harpin, tarpin rusty gills... call all your dogs home." The singer calls the dogs through various types of ground to see how they will perform
AUTHOR: unknown
EARLIEST_DATE: 1931 (Henry)
KEYWORDS: animal nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 4, "I Called My Dogs" (1 text)
File: MHAp004
===
NAME: I Came to This Country: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: I Can Forgive But Not Forget (Sweetheart, Farewell)
DESCRIPTION: "Sweetheart, farewell; at last we part. I leave you with an aching heart." The singer tells how (her?) lover scorned her. She says she loves him yet; "I can forgive but not forget." She thinks his false friends may prove untrue, and he will remember her. 
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: love separation betrayal nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 166, "Farewell, Sweetheart" (1 text)
Roud #6579
CROSS_REFERENCES:
cf. "Forget You I Never May" (theme)
File: BrII166
===
NAME: I Can't Feel At Home In This World Any More: see This World Is Not My Home (File: Wa135)
===
NAME: I Can't Help But Wonder Where I'm Bound
DESCRIPTION: The singer describes the life of a rambler, commenting "I can't help but wonder where I'm bound." He sees worried people everywhere, he misses his former girlfriend and his buddy; he advises people who have homes to stay there
AUTHOR: Tom Paxton
EARLIEST_DATE: 1963
KEYWORDS: rambling home
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 52, "I Can't Help But Wonder Where I'm Bound" (1 text)
DT, WHERBOND*
ALTERNATE_TITLES:
Can't Help But Wonder Where I'm Bound
Can't Help But Wonder
NOTES: Obviously this isn't a traditional song, and it probably never will become one. On the other hand, it has been sung so widely by pop/folk singers (themselves ramblers, and so perhaps unusually sympathetic to the song) that I have seen a number of bluegrass sources list it as traditional. It may be that the song belongs in the Index just to refute that claim. - RBW
File: FSWB052
===
NAME: I Cannot Be Your Sweetheart
DESCRIPTION: Singer asks his beloved to marry him. She refuses; she loves him, but is pledged to another. Ch.: "I cannot be your sweeheart, I cannot stay by your side, Another is patiently waiting, waiting to call me his bride, My heart it is almost broken,,,,"
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Howard & Peak)
LONG_DESCRIPTION:  Singer courts his beloved, asks her to marry him. She refuses, saying that though she loves him, she's promised to another. They part; he pines. Chorus: "I cannot be your sweeheart, I cannot stay by your side / Another is patiently waiting, waiting to call me his bride / My heart it is almost broken, your vows only add to my pain / I love you, sweetheart, I love you / Though we never meet again"
KEYWORDS: grief virtue courting love marriage promise rejection lover
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
Roud #4964
RECORDINGS:
[Blind James] Howard & [Charles] Peak, "I Cannot Be Your Sweetheart" (Victor V-40189, 1930; rec. 1928; on KMM)
NOTES: A classic plot, but apparently not a member of another song family. Nor could I find it in sheet music; possibly Howard or Peak wrote it. - PJS
File: RcICBYSH
===
NAME: I Cannot Call Her Mother (The Marriage Rite is Over; The Stepmother)
DESCRIPTION: "The marriage rite is over," and the children have seen their father take a new wife. Their mother's picture is replaced by the pretty new girl's. The child "could not call her mother." She calls herself an orphan; "God gave us but one mother."
AUTHOR: Henry Harrison
EARLIEST_DATE: 1855 (date of composition)
KEYWORDS: family marriage mother father children stepmother orphan
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph 726, "The Stepmother" (3 texts, 1 tune)
Rorrer, p. 79, "I Cannot Call Her Mother" (1 text)
Huntington-Whalemen, pp. 298-299, "I Can Not Call Her Mother" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "The Stepmother" (source notes only)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 201-202, "(The Stepmother)" (1 short text)
ST R726 (Partial)
Roud #2091
RECORDINGS:
Bradley Kincaid, "I Cannot Call Her Mother" (Supertone 9565, 1929; Champion 15968, 1930 [as Dan Hughey])
[Roy Harvey and the] North Carolina Ramblers  "I Cannot Call Her Mother" (Silvertone 5181 [as The Three Kentucky Serenaders], 1927; Supertone 9246/Silvertone 8147, 1928)
Charlie Poole and the North Carolina Ramblers, "I Cannot Call Her Mother" (Columbia 15307-D, 1928)
CROSS_REFERENCES:
cf. "The Blind Child" (theme)
File: R726
===
NAME: I Catch-a Da Plenty of Feesh
DESCRIPTION: "I sail over the ocean blue, I catch-a da plenty of feesh; The rain come down like hell, And the wind blow through my wheesk. Oh, Marian, my good compan, O Viva le Garibaldi! Viva, viva, viva l'Italiane!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: sailor work patriotic
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Sandburg, p. 409, "I Catch-a Da Plenty of Feesh" (1 text, 1 tune)
NOTES: Garibaldi was, of course, the soldier who (in a military sense) was most responsible for the unification of Italy. The mention presumably dates the song to the period around 1861 when Cavour (sometimes helped, and sometimes hindered, by Garibaldi) was unifying Italy under the Piedmont dynasty. - RBW
File: San409
===
NAME: I Come from Salem City: see Oh California (File: ShaSS114)
===
NAME: I Come Up Put uv Egypt: see Balm in Gilead (File: FSWB360A)
===
NAME: I Could'n Live Bedout de Flowers
DESCRIPTION: About southern living habits. "I could'n live bedout de flowers Ur fdat sweet magnolia tree. I could'n sleep where de mockin' bird Could'n sing he song to me." The singer claims he would "pine an' die on Boston beans, 'Caze possum is what we eat."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: food home nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 442, "I Could'n Live Bedout de Flowers" (1 text)
Roud #11781
NOTES: The editors of Brown say this is of minstrel origin, and it seems likely enough.
File: Br3442
===
NAME: I Couldn't Hear Nobody Pray
DESCRIPTION: "Couldn't hear nobody pray, I couldn't hear nobody pray, Well, way down yonder by myself I couldn't hear nobody pray." "In the valley... On my knees... Callin' Jesus... So lonesome... In the mornin'... In the evenin'...."
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk University Jubilee Quartette)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Lomax-FSNA 246, "I Couldn't Hear Nobody Pray" (1 text, 1 tune)
Silber-FSWB, p. 351, "I Couldn't Hear Nobody Pray" (1 text)
Roud #11949
RECORDINGS:
Emory University Glee Club, "Couldn't Hear Nobody Pray" (Victor 20594, 1927)
Fisk University Jubilee Quartette, "I Couldn't Hear Nobody" (Victor 16448, 1909)
Fisk University Jubilee Singers, "Couldn't Hear Nobody Pray" (Columbia A-1932, 1916); "I Couldn't Hear Nobody Pray" (on Fisk01)
Four Blues, "I Couldn't Hear Nobody Pray" (DeLuxe 1003, 1945)
Paramount Jubilee Singers, "I Couldn't Hear Nobody Pray" (Paramount 12070, 1923)
Southern Four, "I Couldn't Hear Nobody Pray" (Edison 50885, 1921)
Vaughan Quartet, "Couldn't Hear Nobody Pray" (Vaughan 300, n.d.)
CROSS_REFERENCES:
cf. "Wreck on the Highway" (words)
NOTES: Not to be confused with "Wreck on the Highway," which uses a similar phrase in its chorus. -PJS
File: LoF247
===
NAME: I CouldnÕt Stay Away: see Way Down in Old Virginia (File: ScaNF225)
===
NAME: I Died My Petticoat Red: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: I Do Love Sugar in My Coffee O: see Sugar in My Coffee (File: R565A)
===
NAME: I Do Wonder Is My Mother on That Train
DESCRIPTION: "I do wonder is my mother on that train (x2). Train is a-comin' roun' de curve, an' she's strainin' ever' nerve, I do wonder...." Sinners are told of the arrival of the train in heaven and told they should behave better.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious train nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 586, "I Do Wonder Is My Mother on That Train" (1 text)
Roud #11902
File: Br3586
===
NAME: I Don't Care If I Do: see I Don't Mind If I Do (File: MA263)
===
NAME: I Don't Know When Old Death's Gwine ter Call Me
DESCRIPTION: "I don't know when old death's gwine ter call me, He's ridin' every day. He don' let nobody stay. My heart is full of sorrow, my eyes is full of tears, Old death is gwine ter call me 'fore many more years."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 590, "I Don't Know When Old Death's Gwine ter Call Me" (1 fragment)
Roud #11903
NOTES: Although the editors of Brown list this among the religious songs, and it certainly *could* be one of those laments-on-death-but-I'll-wait-for-Jesus type songs -- but there is no indication of such in the actual text. - RBW
File: Br3590
===
NAME: I Don't Like a Nigger
DESCRIPTION: "I don't like a nigger, I'll be dinged if I do. Feet's so big Till he can't wear a shoe. Head like a hay-stack, Mouth like a frog's; Eats more bread than Forty Bull-dogs. Got de glory and honor! Praise de Jesus, to my dyin' land!...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Black(s) discrimination Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 484, "I Don't Like a Nigger" (1 text)
Roud #11866
NOTES: For some reason, the notes in Brown equate this with "I Don't Like No Railroad Man." I wonder if this isn't an error -- "I Don't Like No Railroad Man" is much more like "Don't Like a Rich White Man Nohow," which occurs a few entries earlier in Brown. This may be a white man's answer to the latter complaint -- but if so, it is a clearly inferior product. As well as much less justified. - RBW
File: Br3484
===
NAME: I Don't Like No Railroad Man
DESCRIPTION: "I don't like no railroad man, Railroad man he'll kill you if he can, I don't like no railroad man." "I don't like no railroad boss, Railroad boss got a head like a hoss...." "I don't like no railroad fool, Railroad fool got a head like a mule...."
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: railroading nonballad floatingverses discrimination Black(s)
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
Sandburg, p. 326, "I Don't Like No Railroad Man" (1 text, 1 tune)
BrownIII 481, "Don't Like a Rich White Man Nohow" (1 short text)
Roud #11802 and 11865
CROSS_REFERENCES:
cf. "I Wish I Was a Mole in the Ground" (floating lyrics)
NOTES: The similarity in lyrics between the Brown and Sandburg versions clearly make them the same, though Brown's is a clear reminiscence of the bitter era in the American South after the Civil War, when Jim Crow laws made life miserable for Blacks. The Brown lyrics are much more explicit:
Don't like a rich white man nohow (x2),
Head like a hoss, and he tries to be de boss,
An' I don't like a rich white man nohow.
Don't like a poor white man nohow (x2),
Head like a mule, an' he tries to act a fool....
An' I don't like a poor white man nohow.
The resulting texts, though almost entirely the same in form, have completely different feelings. I have to suspect Sandburg's text is a cleaned up version -- but it too is seemingly early, and it was indexed first, so I retain its title. - RBW
File: San326
===
NAME: I Don't Love Nobody
DESCRIPTION: "I love a nobody, nobody loves me, Ain't gonna get married, Live single and free, They're after my money, ain't after me, I love a nobody, nobody love me."
AUTHOR: original version by Lew Sully
EARLIEST_DATE: c. 1896 (sheet music published)
KEYWORDS: love money
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 782, "I Love a Nobody" (1 fragment, 1 tune)
Randolph/Cohen, pp. 384-385, "I Love a Nobody" (1 text, 1 tune -- Randolph's 782)
Scarborough-NegroFS, pp. 229, (no title) (1 fragment, possibly of this)
Roud #7414
RECORDINGS:
Elizabeth Cotten, "I Don't Love Nobody" (on Cotten01)
George Gaskin, "I Don't Love Nobody" (Berliner 928Z/0928Z, 1896)
Earl Johnson & his Dixie Entertainers "I Don't Love Nobody" (OKeh 45101, 1927)
Walter Morris, "Crazy Coon" (Columbia 15079-D, 1926)
Poplin Family, "I Don't Want to Get Married" (on Poplin01)
Riley Puckett "I Don't Love Nobody" (Columbia 150-D, 1924)
Hoke Rice & his Gang, "I Don't Love Nobody" (Brunswick 482, 1930)
Doc Roberts "I Don't Love Nobody" (Perfect 12929/Conqueror 8239, 1933)
Gid Tanner & his Skillet Lickers "I Don't Love Nobody" (Columbia 15123-D,  1927; rec. 1926)
ALTERNATE_TITLES:
I Don't Want to Get Married
Duplin County Blues
I Ain't Got Nobody
NOTES: Paul Stamler points out that this was a "popular string ragtime song in the 1920s," but I don't know whether that is the immediate source of Randolph's version, which was collected around that time.
Cohen speculates that this is derived from Lew Sully's 1899 song "I Don't Love Nobody," while admitting that that in turn may have been a reworking of something else. - RBW
And the date on the George Gaskin recording suggests it may have been. The chorus is often all that remains of the original, which was a "coon song." - PJS
File: R782
===
NAME: I Don't Love Old Satan
DESCRIPTION: "I don't love old Satan, Old Satan don't love me, And under the circumstances, Me and old Satan don't agree." "I'se gwine to Mount de Zion, My beautiful home." "I stepped in de water, And the water was cold; Got a free body, And I want a free soul."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Devil nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 584, "I Don't Love Old Satan" (1 text plus an excerpt from 1 more, both from the same informant); also 595, "I'se Gwine Land on Dat Shore" (1 text, with a "I'se gwine land on dat shore" chorus, but not long enough to classify with anything else)
Roud #11899
File: Br3584
===
NAME: I Don't Mind If I Do
DESCRIPTION: Various reminiscences about courting, all ending with something like, "Bedad, then, says I, I don't mind if I do." The singer comes courting, enters the house, takes a drink, kisses the girl, learns she has a dowry, and marries her
AUTHOR: unknown
EARLIEST_DATE: before 1885 (broadside Bodleian, Harding B 11(2164))
KEYWORDS: courting marriage
FOUND_IN: Australia Canada(Mar) Ireland
REFERENCES: (5 citations)
Meredith/Anderson, pp. 263-264, "Oh, Bedad Then, Says I" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 268-269, "I Don't Care If I Do" (1 text, 1 tune)
Ives-DullCare, pp. 106-107,252, "Pat Murphy" (1 text, 1 tune)
Ives-NewBrunswick, pp. 97-99, "Pat Murphy" (1 text, 1 tune)
Morton-Maguire 20, pp. 46-47,111,164, "Joe Higgins" (1 text, 1 tune)
Roud #847
RECORDINGS:
John Maguire, "Joe Higgins" (on IRJMaguire01)
BROADSIDES:
Bodleian, Harding B 11(2164), "Joe Muggins"/"I Don't Care If I Do," ("If you listen to me I will sing you a song"), unknown (London), 1863-1885
File: MA263
===
NAME: I Don't Sing Like I Used to Sing
DESCRIPTION: "I don't sing like I used to sing, Jesus done changed, changed, changed Dis heart o' mine (x4). Jesus done changed this heart of mine." Similarly, "I don't pray like I used to pray," and also shout, talk, walk, moan, etc.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 585, "I Don't Sing Like I Used to Sing" (1 text)
Roud #11901
File: Br3585
===
NAME: I Don't Want to Be a Gambler
DESCRIPTION: "Oh, I don't want to be a gambler, An' I'll tell you the reason why, My Lord, sittin' in his Kingdom, Got his eyes on me, God got his eyes on me...." "Oh, I don't want to be a lawyer, An' I'll tell you the reason why" "Oh, I don't want to be a drunkard"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious virtue nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 465, "I Don't Want to Be a Gambler" (1 text, 1 tune)
File: San465
===
NAME: I Don't Want to Join the Army
DESCRIPTION: Rather than join the army, the singer prefers to hang around Picadilly, "living off the earnings of a highborn ly-dee."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous soldier
FOUND_IN: Australia Canada US(MW,SW) New Zealand
REFERENCES: (2 citations)
Cray, pp. 384-386, "I Don't Want to Join the Army" (2 texts, 1 tune)
DT, JOINARMY*
Roud #10263
File: EM384
===
NAME: I Don't Want to Play in Your Yard
DESCRIPTION: Two girls were neighbors and close friends until "one day a quarrel came." The one tells the other "You can't play in our yard;" the other replies, "I don't want to play in your yard"; she will be sorry for all the fun she misses. Then they make up
AUTHOR: Words: Philip Wingate / Music: H. W. Petrie
EARLIEST_DATE: 1927
KEYWORDS: youth fight
FOUND_IN: 
REFERENCES: (1 citation)
Spaeth-WeepMore, pp. 254-256, "I Don't Want to Play in Your Yard" (1 text, 1 tune)
Roud #16802
NOTES: Reported by Spaeth to be "the most popular child's song of the [1890s]" other than the works of Charles K. Harris. - RBW
File: SWM254
===
NAME: I Don't Want Your Millions, Mister
DESCRIPTION: "I don't want your millions, mister; I don't want your diamond ring; All I want is the right to work, Mister; Give me back my job again." The worker describes his toils that made the owner rich. But he doesn't need riches -- just food for his children
AUTHOR: Words: Jim Garland
EARLIEST_DATE: 1938
KEYWORDS: unemployment hardtimes work
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-FSNA 153, "I Don't Want Your Millions, Mister" (1 text, 1 tune)
Silber-FSWB, p. 313, "I Don't Want Your Millions Mister" (1 text)
DT, MLLIONMR*
RECORDINGS:
Almanac Singers , "All I Want" (on Almanac04, PeteSeeger01) 
Pete Seeger , "I Don't Want Your Millions, Mister" (on PeteSeeger39)
CROSS_REFERENCES:
cf. "East Virginia (Dark Hollow)" (tune & meter)
cf. "Greenback Dollar" (tune & meter)
File: LoF153
===
NAME: I Don't Work for a Living
DESCRIPTION: "I don't work for a living, I get along all right without, I don't toil all day, I suppose it's because I'm not built that way." The singer describes all the things he can accomplish if someone else does the work, and describes his relaxed way of living
AUTHOR: James Mullen & Edward Leroy Freeman
EARLIEST_DATE: 1929 (recording, Hobo Jack Turner)
KEYWORDS: work humorous unemployment
FOUND_IN: Australia US
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 142-143, "I Don't Work for a Living" (1 text, 1 tune)
RECORDINGS:
Frank Crumit, "I Don't Work for a Living" (Victor V-40214, 1930)
Walton Dalton, "I Don't Work for a Living" (Perfect 12574, 1930)
Jack Kaufman, "I Don't Work for a Living" (Broadway 8145, n.d. but c. 1930)
Frankie Marvin, "I Don't Work for a Living" (Brunswick 401, 1930);  (Conqueror 7449/Romeo 1145 [both as Frankie Wallace], c. 1930)
Hobo Jack Turner  [pseud. Ernest Hare], "I Don't Work for a Living" (Velvet Tone 2070-V, 1929)
Pete Wiggins, "I Don't Work for a Living" (OKeh 45412/Parlophone [UK] E-6357, 1930)
File: MCB142
===
NAME: I Dream of Jeanie: see Jeanie with the Light Brown Hair (File: FSWB249)
===
NAME: I Dreamed Last Night of My True Love: see Locks and Bolts [Laws M13] (File: LM13)
===
NAME: I Dreamed of my True Lover: see Locks and Bolts [Laws M13] (File: LM13)
===
NAME: I Dreamt Last Night of My True Love: see Locks and Bolts [Laws M13] (File: LM13)
===
NAME: I Drew My Ship into the Harbour: see I Will Put My Ship In Order (File: Ord318)
===
NAME: I Dropped the Baby
DESCRIPTION: "I dropped the baby in the dirt, I asked the baby if it hurt, But all the little thing could say was, 'Waa, waa, waa.'"
AUTHOR: unknown
EARLIEST_DATE: 1949 (recording, Dorothy Howard)
KEYWORDS: humorous baby
FOUND_IN: US(So)
REFERENCES: (0 citations)
Roud #14046
RECORDINGS:
Dorothy Howard, "I Dropped the Baby" (on USWarnerColl01)
File: RcIDtBab
===
NAME: I Dyed My Petticoat Red: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: I Fight Mit Sigel
DESCRIPTION: "Dutch dialect" song, describing how a German immigrant came to the United States and worked, apparently with little success, at various occupations. Now he has given it up; "Dey dress me up in soldier clothes To go und fight mit Sigel"
AUTHOR: unknown
EARLIEST_DATE: 1913 (Randolph)
KEYWORDS: humorous Civilwar foreigner
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 217, "I Fight Mit Sigel" (1 fragmentary text, 1 tune, plus another fragment and tune which might be a chorus)
Randolph/Cohen, pp. 210-211, "I Fight Mit Sigel" (1 text, 1 tune -- Randolph's 217A)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 222-223, "I Fights Mit Seigle" (1 text)
ST R217 (Partial)
Roud #4867
ALTERNATE_TITLES:
 I Goes to Fight Mit Sigal [sic]
NOTES: Franz Sigel (1824-1902), a German immigrant, was the leading German in the Union armies. His fame and influence brought many Germans to the colors.
Despite having had officer training in Germany, he proved a poor soldier; his performance at Wilson's Creek contributed to the Union's loss of that battle, and his performance at Pea Ridge, though adequate, was hardly exceptional. Transferred to the east after that battle, his troops were badly mauled by "Stonewall" Jackson, and his XI (German) Corps came to be the laughingstock of the Army of the Potomac even before Jackson routed it at Chancellorsville in May 1863.
Sigel had retired from active duty in February of 1863, but his political clout led to him being re-appointed in 1864. Sent to the Shenandoah Valley, his incompetence once again shone through. One wonders if the Germans were as ardent for him in 1864 as they had been in 1861.
Foote: Shelby Foote, _The Civil War: A Narrative_ (Volume I: Fort Sumter to Perryville) (Random House, 1958), reports that the phrase "I fights mit Sigel" was popular after Pea Ridge, during the brief time when people might delude themselves into thinking Sigel was a competent soldier.
Cohen reports that this is a parody of an obscure piece "I Fights Mit Sigel," said to be by Grant P. Robinson and printed in _Songs of the Soldiers_ in 1864. It can also be found in Hazel Felleman's _The Best Loved Poems of the American People_, pp. 439-440.
Roud seems to lump this with a completely unrelated piece, "Why Did They Dig Grandmother's Grave So Deep." - RBW
File: R217
===
NAME: I Fights Mit Seigle: see I Fight Mit Sigel (File: R217)
===
NAME: I Found a Horseshoe
DESCRIPTION: "I found a horseshoe, I found a horseshoe, I picked it up and nailed it to a door. And it was rusty and full of nail holes, Good luck 'twill bring you forevermore." "The man who owned the horse he lives in New York." "The horse... his name was Mike"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: horse nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 382-383, "I Found a Horseshoe" (1 text, 1 tune)
Roud #10077
File: San382
===
NAME: I Gave My Love a Cherry
DESCRIPTION: The singer gave his love "a cherry without a stone... a chicken without a bone," etc. He is asked how these things are possible. The reply: "A cherry when it's blooming, it has no stone," etc.
AUTHOR: unknown
EARLIEST_DATE: c. 1430 (British Museum -- Sloane MS. 2593, "I have a yong suster")
KEYWORDS: riddle nonballad love gift
FOUND_IN: Britain(England(South),Scotland) Canada(Mar) US(Ap,MW,NE,SE,So)
REFERENCES: (29 citations)
Bronson (46), 18 versions given as an appendix to "Captain Wedderburn's Courtship"
Randolph 123, "The Four Brothers" (1 text)
BrownII 12, "Captain Wedderburn's Courtship" (1 text plus mention of another, but it is nothing but riddles and not to be connected with Child #46)
Scarborough-SongCatcher, pp. 230-231, "Captain Wedderburn's Courtship" (1 text with no listed local title; it is nothing but riddles and not to be connected with Child #46)
Eddy 8, "Captain Wedderburn's Courtship" (1 text, 1 tune, with little except the riddles and no sign that it was ever part of the longer ballad) {Bronson's #15}
Flanders-Ancient1, pp. 299-315, "Captain Wedderburn's Courtship" (3 texts plus two fragments, 5 tunes; the "I" and II" texts and tunes are "I Gave My Love a Cherry")
Gardner/Chickering 188, "Gifts From Over the Sea" (1 text plus mention of 1 more, 1 tune) {Bronson's #13}
SharpAp 144, "The Riddle Song" (3 texts, 3 tunes) {Bronson's #7, #6, #5}
MHenry-Appalachians, p. 25, "I Gave My Love a Cherry" (1 text)
Creighton/Senior, pp. 162-163, "I'll Give My Love an Apple" (1 text plus 1 fragment, 2 tunes) {Bronson's #2a,2b}
Linscott, pp. 267-269, "Perrie, Merrie, Dixi, Domini" (1 text, 1 tune)
Friedman, p. 137, "Captain Wedderburn's Courtship" (2 texts, but only the second belongs with this song)
Fowke/Johnston, pp. 136-137, "I'll Give My Love an Apple" (1 text, 1 tune)
Niles 1, "Riddles Wisely Expounded" (3 texts, 3 tunes, of which the second, "The Riddle Song," and the third, "Piri-miri-dictum Domini," go with this piece)
Scott-BoA, pp. 9-10, "I Will Give My Love an Apple" (1 text, 1 tune)
Lomax-FSNA 11, "I'll Give My Love an Apple" (1 text, 1 tune)
Sharp/Karpeles-80E 59, "The Riddle Song" (1 text, 1 tune) {Bronson's #7}
Opie-Oxford2 478, "I have four sisters beyond the sea" (3 texts)
Baring-Gould-MotherGoose #270, pp. 162-163, "(My true love lives far from me)"
Montgomerie-ScottishNR 189, "(I had three little sisters across the sea)" (1 text)
Arnett, p. 41, "The Riddle Song" (1 text, 1 tune)
Chase, pp. 156-157, "The Riddle Song" (1 text, 1 tune)
Stevick-100MEL 56, "(I Have a Yong Suster)" (1 text)
Abrahams/Foss, pp. 55-56, "Peri Meri Dixie Dominie" (1 text, 1 tune)
PSeeger-AFB, p. 72, "Riddle Song" (1 text, 1 tune)
Silber-FSWB, p. 408, "Riddle Song" (1 text)
DT, RIDDLSNG RDDLSNG3* (GONORUSH*) PERIMERI*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #65, "I Have a Young Sister" (1 text); notes to #258 ("I have three presents from over the sea") (1 excerpt)
Brown/Robbins, _Index of Middle English Verse_, #1303
Roud #36
RECORDINGS:
Pete Seeger, "The Riddle Song" (on PeteSeeger18)
Tony Wales, "Piri-iri-igdum" (on TWales1)
CROSS_REFERENCES:
cf. "Captain Wedderburn's Courtship" [Child 46]
cf. "Riddles Wisely Expounded" [Child 1]
ALTERNATE_TITLES:
I Have a Young Sister
NOTES: Certain scholars have seen this as a worn-down form of "Captain Wedderburn's Courtship" [Child 46]. Since, however, it goes back at least to 1430, the dependency is if anything in the other direction. But there is no real reason to believe they are related in any but a casual way; riddle songs were popular for a long time. Still, because many scholars list versions of this song under "Captain Wedderburn," one should check both songs for complete references
"Go No More A-Rushing" (DT GONORUSH) appears to be an Elizabethan prologue tacked on to the old song.
In modern English and in far eastern folklore, cherries are associated with sex. Whether that has any significance here I do not know. - RBW
File: R123
===
NAME: I Give My Horn a Blow: see Whoop 'Em Up, Cindy (File: CSW196)
===
NAME: I Got a Bonnet Trimmed with Blue
DESCRIPTION: "I got a bonnet trimmed with blue Which I like to wear and so I do, Oh I do wear it when I can Oh when I go out with my man." The rest is all "chin music"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: courting clothes nonballad
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 60-61, "I Got a Bonnet Trimmed with Blue" (1 text, 1 tune)
Roud #8212
NOTES: Most of Peacock's version is "chin music." Specifically, a text verse is "Oh da diddle la diddle la diddle la Da da diddle la da da da da Da da da da diddle la diddle la Da da diddle la da da da da." 
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: Ord060
===
NAME: I Got a Gal at the Head of the Holler: see Sourwood Mountain (lyric) (File: R417)
===
NAME: I Got a Gal in Baltimore
DESCRIPTION: "I got a gal in Baltimore, Street-car runs right by her door, Crazy baby a-settin' on the floor, Get your hair cut pompadour!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, The Georgia Crackers)
KEYWORDS: technology hair
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
Randolph 452, "I Got a Gal in Baltimore" (1 fragment)
Roud #7601
RECORDINGS:
Georgia Crackers "I've Got a Gal in Baltimore" (OKeh 45192, 1928; rec. 1927)
NOTES: Randolph, taking a lead from Spaeth (in _Read 'Em  and Weep_, p. 146 [Randolph prints 166 in error]), thinks this may be connected to "Ta-ra-ra boom-de-ay." The form suggests a connection to "Old Joe Clark" or a relative. But until we have more text to work with, any conclusions are shaky. - RBW
Well, here's a bit more [a second half-verse to the half-verse above]: "She don't wear no -- yes, she do/She don't wear no Sunday shoes." The tune is nothing like either "Old Joe Clark" or "Ta-Ra-Ra-Boom-De-Ay"; it's a string-ragtime sort of tune.  - PJS
Which, however, still leaves us with only a single verse.... - RBW
File: R452
===
NAME: I Got a Girl
DESCRIPTION: "I got a girl, she lives in town. She wrote me a letter, she's a comin' down." "Down the road and across the creek, I ain't had a letter since away last week." "I do red she ain't no fool, Tryin' to put a saddle on a hump-backed mule."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII I Got a Girl, "" (1 short text)
Roud #11791
NOTES: Almost certainly a fragment of something more detailed -- but I've no idea what. - RBW
Ida Red? Pretty close to "I do red." - PJS
File: Br3448
===
NAME: I Got a Key of De Kingdom: see I Got a Key to the Kingdom (File: Br3587)
===
NAME: I Got a Key to the Kingdom
DESCRIPTION: "Preacher, I got de key of de kingdom, De world can't do me no harm... Watch your secret keeper, Always bringin' you news, Tell a lie upon you And keep you all confuse'." The singer warns of false friends but doesn't think they matter
AUTHOR: unknown
EARLIEST_DATE: 1930 (cf. Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 587, "I Got a Key of De Kingdom" (1 text)
Roud #11829
CROSS_REFERENCES:
cf. "This Is the Key of the Kingdom" (lyric)
File: Br3587
===
NAME: I Got a Letter from Jesus
DESCRIPTION: "I got a letter from Jesus, Ahah, ahah, I got a letter, I got a letter, I got a letter from Jesus, Mm--, mm--."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Jesus religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Sandburg, p. 487, "I Got a Letter from Jesus" (1 short text, 1 tune)
File: San487
===
NAME: I Got de Hezotation Stockings and de Hezotation Shoes: see Hesitation Blues (File: FSWB075)
===
NAME: I Got Mine
DESCRIPTION: The singer gets into all sorts of scrapes, getting out in some manner while maintaining "I got mine." Example: The police raid a craps game in which the singer is involved. He grabs the pot and successfully makes off.
AUTHOR: John Queen and Charles Cartwell
EARLIEST_DATE: 1901 (recording, Collins & Natus)
KEYWORDS: gambling chickens robbery trial escape trick
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 52, "I Got Mine" (1 text)
Gilbert, p. 243, "I Got Mine" (1 partial text)
DT, IGOTMINE
Roud #7852
RECORDINGS:
Chris Bouchillon, "I Got Mine" (Columbia 15317-D, 1928)
Fiddlin' John Carson, "I Got Mine" (OKeh 40119, 1924)
Bill Chitwood & Bud Landress, "I Got Mine" (Brunswick 2810, 1925)
[Arthur] Collins & [Joseph] Natus, "I Got Mine" (CYL: Edison 7889, 1901) (Victor [Monarch] 1297, 1902)
Fleming & Townsend, "Yes, I Got Mine" (Victor 23676, 1932)
Jenkins Family, "I Got Mine" (OKeh 40247, 1924)
John McGhee, "I Got Mine" (Gennett 6403, 1928)
Peg Moreland, "I Got Mine" (Victor 23510, 1930)
Jesse Oakley ,"I Got Mine" (Supertone 9256, 1928)
Gid Tanner & his Skillet Lickers, "I Got Mine" (Columbia 15134-D, 1927; rec. 1926)
Unknown baritone & tenor [probably Collins and Harlan] "I Got Mine" (Standard 597, c. 1901)
NOTES: The Digital Tradition footnotes claim that this is from McNeil's Southern Folk Ballads. This is incorrect; I have not been able to discover the source of the DT version. - RBW
Perhaps the DT transcription came from the Carson recording? Or, more likely, from one of the several revival performances of the song, such as Roy Bookbinder's. - PJS
Brown's text seems to be a racist version of the original (or other texts are cleaned up); the singer devotes his efforts to cheating "coons." - RBW
Looking at the sheet music on the American Memory website makes it clear that the other texts were cleaned up; this was originally a "coon song." It was recorded by a duo that was probably Collins & Harlan, who specialized in "coon songs." - PJS
File: Gil243
===
NAME: I Got My Questionnairy
DESCRIPTION: "Well I got my questionnairy, and it leads me to the war (x2), Well, I'm leavin', pretty baby, Child, can't do anything at all." "Uncle Sam ain't no woman, but he sure can take your man (x2), Boys, they got them in the service...."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: war soldier separation
FOUND_IN: US
REFERENCES: (2 citations)
Courlander-NFM, p. 137, "(I Got My Questionnairy)" (1 text, 1 tune)
DT, DRAFTBLU*
ALTERNATE_TITLES:
Draftee's Blues
File: CNFM137
===
NAME: I Got to Roll
DESCRIPTION: "Ham and eggs, pork and beans, I woulda et more, but the cook wasn't clean." "I got to roll, roll in a hurry, Make it on the side of the road." "If I'd-a known my Captain was blind... If I'd known my Captain was bad... If I'd known my Captain was mean..."
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: chaingang work hardtimes prison
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Lomax-FSNA 292, "I Got to Roll" (1 text, 1 tune)
DT, GOTROLL*
Roud #6713
File: LoF292
===
NAME: I Had a Banjo Made of Gold: see Troubled In My Mind (File: LoF102)
===
NAME: I Had a Handsome Fortune: see Oh, Once I Had a Fortune (File: R316)
===
NAME: I Had a Heart that Doted Once
DESCRIPTION: "I had a heart that doted once In passion's boundless pain, An' though the tyrant I abjured, I could not break his chain."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 616, "I Had a Heart that Doted Once" (1 fragment, 1 tune)
Roud #7553
File: R616
===
NAME: I Had a Little Horse Whose Name Was Jack
DESCRIPTION: "I had a little horse whose name was Jack, Put him in the stable and he jumped through the crack."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: horse
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
BrownIII 176, "I Had a Little Horse Whose Name Was Jack" (1 short text)
CROSS_REFERENCES:
cf. "I Had a Little Pony (I)"
cf. "I Had a Little Pony (II)" (lyrics)
NOTES: The notes in Brown connect this with the English nursery rhyme, "I had a little pony, his name was Dapple Gray." This is possible -- but only that. - RBW
I don't see the connection either but Brown is refering to Opie-Oxford2 127, "I had a little pony" or--less likely--Opie-Oxford2 223, "I had a little horse."  [See also Montgomerie-ScottishNR 12, 25, and especially Baring-Gould-MotherGoose #157, pp. 118-119, about dapple gray, and notes there. - RBW]
There seems a more complete version from Texas at the Real Live Preacher site in _Finding the Man in the Picture Part One_:
"I had a little dog, his name was Rover. He died all over except for his tail, and it turned over."
"I had a little mule, his name was Jack. I put him in the stable but he jumped through the crack." - BS
File: Br3176
===
NAME: I Had a Little Nut Tree
DESCRIPTION: "I had a little nutmeg, nothing would it bear But a silver nutmeg and a golden pear. The King of Spain's daughter came to visit me And all for the sake of my little nut tree." "Her dress was all of crimson.... She asked me for my nutmeg...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott); first printing appears to have been in one of the Tom Thumb songbooks (n.d. but c. 1790)
KEYWORDS: royalty food courting
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Linscott, pp. 210-211, "I Had a Little Nut Tree" (1 text, 1 tune)
Opie-Oxford2 381, "I had a little nut tree" (2 texts)
Baring-Gould-MotherGoose #130, p. 106, "(I had a little nut tree)"
Roud #3749
NOTES: Folklorists, ever desperate for an event upon which to hang a song, have connected this to the visit of Juana (Joanna) of Castile (the future Juana the Mad, 1479-1555, queen of Castile from 1505), the father of the future Emperor Charles V, who visited England in 1506 during the reign of Henry VII.
This has the usual problems. For starters, Juana's father Ferdinand of Aragon was not King of Spain; he was King of Aragon, and it was not until Juana succeeded him in 1516 that Spain was properly a united kingdom. (Though, in fairness, Ferdinand was regent of Castile after his wife's death, so one might loosely call him King of Spain.)
Problem #2 is the dating; there is no hint of the song at the time of Juana's visit.
It's also worth noting that, even if you project this song back 250 years before the earliest known version, there is still no real reason to connect it to Juana. Why not connect it to, say, Catherine of Aragon, Juana's sister, who happened to marry the son of Henry VII?
In the incidentals department: I learned this song somewhere along the line, I think from my mother, and my tune is not Linscott's (and I know of no other printed traditional tune).
Whatever the origin of this item, it has inspired various imitations and parodies. Walter de la Mare, _Come Hither_, revised edition, 1928; #208, prints two under the collective title "Two Nut Trees." The first, credited to "Thomas Anon," simply adds a fewline. The second, by Edith Sitwell, is an independent poem about "The King of China's daughter," but clearly dependent upon this, because it also mentions nutmeg trees and the courting of the princess. - RBW
File: Lins210
===
NAME: I Had a Little Pony (I)
DESCRIPTION: "I had a little pony, I rode him down town. And ev'ry time I turned him round, Turn him on an acre ground! Boots and show-line come down, Lady show-line come down; Boots and show-line come down, Lady show-line come down."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 184, (no title) (1 fragment)
CROSS_REFERENCES:
cf. "I  Had a Little Horse Whose Name Was Jack"
cf. "I Had a Little Pony (II)"
File: ScNF184A
===
NAME: I Had a Little Pony (II)
DESCRIPTION: "I had a little (pony/mule), His name was Jack; I rid his tail To save his back." "The lightning roll, the thunder flash, And split my coat-tail clear to smash."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 184, (no title) (1 fragment, with only the first four lines); p. 185 (no title) (1 fragment, adding the "lightning roll" verse; I have a feeling those two floated together)
Roud #16341
CROSS_REFERENCES:
cf. "I  Had a Little Horse Whose Name Was Jack"
cf. "I Had a Little Pony (I)"
SAME_TUNE:
This might be a variant on any of several things -- the Brown piece "I Had a Little Horse Whose Name Was Jack"; the English folk poem "I had a little pony, his name was Dapple Gray" (for which see Baring-Gould-MotherGoose #157, pp. 118-119 and notes there); perhaps others. But all such links are just possibilities. - RBW
File: ScNF184B
===
NAME: I Had a Little Puppy (Pussy Willow, Hot Dog)
DESCRIPTION: Riddle-song, with a description of something (cat, dog, etc.) that actually describes something else. E.g., 'I had a little puppy, it had a stubby tail... you buy it at a butcher's shop" (describing a hot dog)
AUTHOR: unknown
EARLIEST_DATE: 1972
KEYWORDS: wordplay riddle nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 68, "Pussy Willow" (1 text, tune described but not printed)
Roud #10248
NOTES: There are a whole class of songs of this sort. I learned "I had a little puppy" somewhere in an (obviously mis-spent) youth, and also heard "pussy willow" many years ago. Both use the same tune (or, rather, tune device: Each word in a line sung to a single note, with each line one note higher than the preceding). I imagine there are more of these things around. I'll just lump them here. - RBW
File: PHCFS068
===
NAME: I Had a Little Rooster (Farmyard Song)
DESCRIPTION: The singer enjoys the company of various animals, e.g. "I had a little rooster by the barnyard gate, And that little rooster was my playmate, And that little rooster went Cock-a-doodle-doo...." And so forth, cumulatively, for various animals
AUTHOR: unknown
EARLIEST_DATE: 1849 (Halliwell)
KEYWORDS: animal cumulative nonballad farming humorous chickens sheep horse dog
FOUND_IN: Britain(England(Lond,South),Scotland) Ireland US(Ap,SE,So) Canada(Newf)
REFERENCES: (12 citations)
Randolph 352, "I Bought Me a Rooster" (4 texts, 2 tunes)
Randolph/Cohen, pp. 290-291, "I Bought Me a Rooster" (1 text, 1 tune -- Randolph's 352A)
BrownIII 124, "Barnyard Song" (1 text plus3 excerpts and mention of 2 more); also 127, "The Dogs in the Alley" (1 text, with a slightly different form but too short to classify separately)
Wyman-Brockway I, p. 6, "The Barnyard Song" (1 text, 1 tune)
Kennedy 297, "I Bought Myself a Cock" (1 text, 1 tune)
SharpAp 218, "The Farmyard" (1 text, 1 tune)
Sharp/Karpeles-80E 78, "The Farmyard" (1 text, 1 tune -- a composite version)
Lomax-FSNA 230, "Fiddle-I-Fee" (1 text, 1 tune)
Chase, pp. 171-174, "Fiddle-i-Fee" (1 text, 1 tune)
Silber-FSWB, p. 387, "I Had a Rooster" (1 text)
Montgomerie-ScottishNR 13, "(I had a wee cock and I loved it well)" (1 text)
DT, ROOSTR2
Roud #544
RECORDINGS:
George Blackman, "I Bought Myself a Cock" (on FSB10)
John Curtis, "Farmyard" (on NFMLeach)
Maud Long, "Fiddle-I-Fee" (AFS; on LC14)
Jamesie McCarthy, "Kerry Cock" (on IRClare01)
Marieo Perkins, "I Love My Rooster" (on JThomas01)
Pete Seeger, "Bought Me a Cat" (on PeteSeeger03, PeteSeegerCD03); "I Had a Rooster" (on PeteSeeger08, PeteSeegerCD02)
Asher Sizemore & Little Jimmie, "My Little Rooster" (Bluebird B-5495, 1934)
CROSS_REFERENCES:
cf. "Le Marche des Animaux (The Animal Market)" (theme and structure)
File: R352
===
NAME: I Had a Wee Cock and I Loved It Well: see I Had a Little Rooster (Farmyard Song) (File: R352)
===
NAME: I Had a Wife
DESCRIPTION: Singer describes how he got rid of his wife by chopping off her head. Without evidence, the killing is ruled an "act of providence." Listeners are advised to follow the singer's example
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Pete Seeger)
KEYWORDS: marriage violence homicide death wife humorous
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 174, "I Had A Wife" (1 text)
DT, HADAWIFE
RECORDINGS:
Pete Seeger, "I Had a Wife" (on PeteSeeger02, PeteSeegerCD01)
CROSS_REFERENCES:
cf. "Drunken Sailor" (tune)
File: FSWB174B
===
NAME: I Had But Fifty Cents
DESCRIPTION: The singer takes a girl to the ball. He thinks, since she is so delicate, that it is safe to take her to a restaurant, even though he has but fifty cents. But she orders a huge meal. The singer, unable to pay, is beaten up by the restaurant staff
AUTHOR: Words: Billy Mortimer; Music: Dan Lewis
EARLIEST_DATE: 1881 (sheet music, with the title "Fifty Cents")
KEYWORDS: food money poverty courting
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 485, "I Had But Fifty Cents" (1 text)
Gilbert, p. 121, "I Had But Fifty Cents" (1 text)
DT, FIFTYCNT*
Roud #2798
RECORDINGS:
Binkley Brothers' Dixie Clodhoppers, "When I Had But Fifty Cents" (Victor V-40129, 1929)
Bill Chitwood & his Georgia Mountaineers, "I Had But Fifteen Cents" (OKeh 45131, 1927)
Otto Gray & his Cowboy Band, "I Had But Fifty Cents" (Vocalion 5256, c. 1928)
Jack Golding, "I Had But Fifty Cents" (Champion 16072 [as Jerry Ellis]/Supertone 9711 [as Jack Edwards], 1930)
Peg Moreland, "When I Had But Fifty Cents" (Victor V-40209, 1930)
Riley Puckett, "When I Had But Fifty Cents" (Columbia 15015-D, 1925; rec. 1924)
CROSS_REFERENCES:
cf. "Bill Morgan and His Gal" (theme)
ALTERNATE_TITLES:
Fifty Cents
NOTES: A piece entitled "Fifty Cents," by Billy Mortimer and Dan Lewis, was published in 1881. Paul Stamler has verified that this is the same song. - PJS, RBW
File: R485
===
NAME: I Hate That Train Called the M & O
DESCRIPTION: "I hate that train that they all call the M and O (x2), It took my baby away, and he ain't comin' back to me no more." Her man sticks his head out the window and says "I'm going away, baby." She wishes the train had not parted them
AUTHOR: unknown, but probably adapted by Lucille Bogan
EARLIEST_DATE: 1934 (recording, Lucille Bogan)
KEYWORDS: train separation
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 444-445, "I Hate That Train Called the M & O" (1 text, 1 tune)
RECORDINGS:
Lucille Bogan, "I Hate That Train Called the M. and O." (Banner 6-02--04/Oriole 6-02-04/Melotone 6-02-04/Perfect 6-02-04, 1936; rec. 1934)
File: LSRai444
===
NAME: I Have a Dog
DESCRIPTION: "I have a dog, I call him Pen; He's just as smart as lots of men. He goes with me to feed the cow...." "He will bound around, bark and yelp." ""He makes the cats walk the chalk, And it does seem he tries to talk... He can already say 'bow-wow-wow.'"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Mrs. L. S. Eams)
KEYWORDS: dog nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 226, "I Have a Dog" (1 text)
File: MHAp226
===
NAME: I Have a Father Gone to Glory (I Am Alone in this World)
DESCRIPTION: "I have a father gone to glory, I am alone in this world. I have a father gone to glory, I am alone.... Take me home, bless the Savior, take me home." Repeat with mother, sister, etc. with a conclusion that there is room in heaven for all.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Granville Gadsey)
KEYWORDS: religious nonballad home
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 201-202, "I Have a Father Gone to Glory" (1 text)
Roud #4213
CROSS_REFERENCES:
cf. "The Other Bright Shore" (lyrics)
NOTES: Roud lumps this with "Where Is Old Elijah? (The Hebrew Children, The Promised Land)," which seems a bit strong, and also with "The Other Bright Shore" and other material. The link to "The Other Bright Shore" is obvious, but there are no shores of any sort in Henry's version, so I think they have to be separated. - RBW
File: MHAp201
===
NAME: I Have a Father in My Native Land
DESCRIPTION: "I have a father in my native land, Oh, he's looking for me tonight, night, night, Oh, he's looking for me tonight." "He may look, he may look with his withering watery eyes, And it's oh, he may look to the bottom of the sea, sea, sea...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: sailor death father separation mourning
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 231, "I Have a Father in My Native Land" (1 text)
CROSS_REFERENCES:
cf. "He Lies in the American Land" (theme)
File: Br3231
===
NAME: I Have a Wife: see Smiggy Maglooral (File: OCon143)
===
NAME: I Have a Yong Suster: see I Gave My Love a Cherry
 (File: R123)
===
NAME: I Have a Young Sister: see I Gave My Love a Cherry
 (File: R123)
===
NAME: I Have Been Redeemed
DESCRIPTION: "I have been redeemed, I know I have been redeemed, O hallelujah, I know I have been redeemed, O sinner, you better obey." "This world is not my home.... Oh, sinner, you better obey." "O, heaven is my home...."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Chappell)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 84, "I Have Been Redeemed" (1 text, 1 tune)
Roud #16934
File: ChFRA084
===
NAME: I Have Finished Him a Letter: see Anna Lee (File: R775)
===
NAME: I Have Four Sisters Beyond The Sea: see I Gave My Love a Cherry
 (File: R123)
===
NAME: I Have Long Since Been Learned
DESCRIPTION: "I have long since been leaned Dat de trumpets will be sounding... in dat day. Oh, sinner, where will you stand in dat day?" "He can able de blind to see... Jesus is knocking at de door." The singer describes heaven and resurrection.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 588, "I Have Long Since Been Learned" (1 text)
Roud #11838
File: Br3588
===
NAME: I Have No Loving Mother Now (Oh, See My Father Layin' There)
DESCRIPTION: "Oh, see my father layin' there (x3), I cannot stay here by myself." "Lord, I cannot stay here by myself (x2), When de wind blows east and de wind blows west, Lord I cannot...." "Oh, see my mother layin' there...." "Oh, see my brother layin' there...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
[Randolph 612, "I Have No Loving Mother Now" -- deleted in the second printing]
Randolph/Cohen, pp. 432-433, "I Have No Loving Mother Now" (1 text, 1 tune -- Randolph's 612)
BrownIII 622, "Oh, See My Father Layin' There" (1 text)
Roud #11925
RECORDINGS:
Kelly Harrell, "I Have No Loving Mother Now" (Victor C-20935, 1927; on KHarrell02)
CROSS_REFERENCES:
cf. "I Wish I Was a Little Bird (Nobody Cares for Me)" (lyrics)
NOTES: This is a very amorphous song, recognized mostly by its form and its vaguely religious theme. - RBW
File: Br3622
===
NAME: I Have No One to Love Me: see The Deep Blue Sea (I) (File: R794)
===
NAME: I Have Worked in the Woods
DESCRIPTION: Singer describes all the things he's done while working as a logger, including both work and recreation: logged, driven, danced, fought, sung and slept on the floor.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 7, "I Have Worked in the Woods" (1 text)
Roud #8868
File: Be007
===
NAME: I Heard Somebody Call My Name: see Little Bessie (File: MN2172)
===
NAME: I Hope I'll J'ine the Band: see I Hope I'll Join the Band (Soon in the Morning) (File: R266)
===
NAME: I Hope I'll Join the Band (Soon in the Morning)
DESCRIPTION: Sundry verses about the pleasures of heaven ("Goin' to see my Jesus," "Meet our fathers there," "Lookin' over Jordan," etc.). Usual internal refrain is "Soon in the morning"; final chorus, "And I hope I'll join the band."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: music religious
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 266, "I Hope I'll J'ine the Band" (3 texts, 1 tune)
Randolph/Cohen, pp. 227-228, "I Hope I'll J'ine the Band" (1 text, 1 tune -- Randolph's 266A)
BrownIII 598, "I Wanter Jine de Ban'" (1 text)
Scarborough-NegroFS, pp. 16-17, (no title) (1 text); also. p. 198, "Bullfrog" (1 text, 1 tune, with the chorus from here though the verses are about the frog)
ST R266 (Partial)
Roud #7816
CROSS_REFERENCES:
cf. "I'm Going to Ride in Pharaoh's Chariot" (lyrics, theme)
NOTES: This is one of those songs with extreme variations, especially between the Brown and Randolph versions (Brown's text has stanzas without repeats and doesn't use the "Soon in the morning" refrain). But the similarities are too great to split them. - RBW
File: R266
===
NAME: I Keep My Dogs: see Gamekeepers Lie Sleeping (File: K249)
===
NAME: I Know a Boarding-House
DESCRIPTION: "I know a boarding-house Not far away Where they have ham and eggs Three times a day." "Lord, how those boarders shout..." "Lord, how those boarders yell When they hear that dinner-bell!"
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Uncle Dave Macon)
KEYWORDS: food home humorous nonballad derivative
FOUND_IN: US(MW,So)
REFERENCES: (3 citations)
Randolph 479, "I Know a Boarding-House" (1 text)
Pankake-PHCFSB, "At the Boarding House Where I Live" (1 text, tune referenced); also p. 190, "While The Organ Pealed Potatoes" (1 text, tune referenced)
DT, BORDHOUS* (HAPYLND2*)
Roud #7636
RECORDINGS:
Uncle Dave Macon, "Country Ham and Red Gravy" (Bluebird 7951, 1938)
CROSS_REFERENCES:
cf. "There Is a Happy Land" (tune, form)
cf. "The Barefoot Boy with Boots On" (floating lyrics)
NOTES: This is one of those composite songs -- the key element is humorous verses to the tune of "Silver Threads." The most common verse -- shared with "The Barefoot Boy" -- is "while the organ pealed potatoes"; my father learned this from a substitute teacher in Detroit around 1941.
Dave Macon copyrighted his "Country Ham and Red Gravy" version of this song, which does indeed seem to be a rewrite (rather racist), but it's clearly from the same roots. Though he may have supplied the tune, also known as "New Five Cents."
Laura Ingalls Wilder printed a stanza of this in _By the Shores of Silver Lake_, chapter 4. If she actually heard it then, it would date the song from 1879. But, of course, she was writing half a century later, and her work is much fictionalized anyway, so that's not a very trustworthy date. - RBW
File: R479
===
NAME: I Know a Little Feller: see He's Got the Money Too (File: R299)
===
NAME: I Know Moonlight
DESCRIPTION: "I know moonlight, I know starlight, I lay this body down." "I walk in the moonlight, I walk in the starlight, I lay...." "I walk in the graveyard, I lay in my grave, I lay...." "I go to the judgment, In the evening of the day, When I lay this body down."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious death burial nonballad
FOUND_IN: US
REFERENCES: (6 citations)
Sandburg, p. 451, "I Know Moonlight" (1 text, 1 tune)
BrownIII 611, "Mary Bowed" (1 short text, with a verse "I wonder where Sister Maryy's gone... She's gone to some new buryin' ground For to lay her feeble body down" and a second verse from "While Shepherds Watched Their Flocks")
Scott-BoA, pp. 209-210, "Lay This Body Down" (1 text, 1 tune)
Lomax-ABFS, pp. 577-578, "Lay Dis Body Down" (1 text, 1 tune)
Darling-NAS, p. 322, "Lay This Body Down" (1 text)
DT, KNOWMOON*
Roud #11839
RECORDINGS:
Bertha Smith & Moving Star Hall Singers, "Lay Down Body" (on BeenStorm1)
File: San451
===
NAME: I Know My Love
DESCRIPTION: "I know my love by his way of walking," his speech, his clothes. She laments, "If my love leaves me, what will I do?" She knows he is courting strange girls in Maradyke. He rejects her because of her lack of money
AUTHOR: unknown
EARLIEST_DATE: 1959 (sung by David Hammond on "I Am the Wee Falorie Man: Folk Songs of Ireland")
KEYWORDS: love courting abandonment poverty
FOUND_IN: Ireland
REFERENCES: (2 citations)
Silber-FSWB, p. 143, "I Know My Love" (1 text)
DT, KNOWLOVE
Roud #60
CROSS_REFERENCES:
cf. "Tavern in the Town" (floating lyrics)
cf. "Queen of Hearts"
NOTES: Paul Stamler suggests that this is a version of "Tavern in the Town" (based on the stanza about the dancehouse in Maradyke, which is almost the same as in "Tavern"). I am more reminded of "Queen of Hearts." The first half-stanza, we might note, seems to exist independently of any plot at all, and is fairly popular.
The inevitable result: I list this as a separate song, with a lot of cross-references. Roud lumps it with "Love Has Brought Me to Despair" (Laws P25) -- which for him is a huge family, though Laws lists only a handful of songs in the group. - RBW
Also collected and sung by David Hammond, "I Know My Love" (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: FSWB143
===
NAME: I Know Where I'm Going: see Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going) (File: SBoA050)
===
NAME: I Know Where They Are: see The Old Barbed Wire (I Know Where They Are) (File: San442)
===
NAME: I Know You Rider
DESCRIPTION: "I know you rider, gonna miss me when I'm gone (x2), Gonna miss your li'l mama from rollin' in your arms." The singer sets out to find a man who will give her some "decent care." If she can't be her man's love, she won't be his dog. Many verses float
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: love separation abandonment abuse floatingverses
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-ABFS, pp. 196-197, "Woman Blue" (1 text, 1 tune)
Silber-FSWB, p. 77, "I Know You Rider" (1 text)
DT, KNOWRIDR
Roud #15575
NOTES: The Lomaxes claim to have gotten one verse of this from a female prisoner (location unidentified). No word of the source for the other ninety percent of their text. - RBW
File: LxA196
===
NAME: I Lay Around the Old Jail House (John C. Britton)
DESCRIPTION: Perhaps a composite song: The singer complains of life in jail and of working in the coal mines. There follows a brief item about a raid or a race from "Manthus" to Cairo in which John C. Britton suffers a grave loss of men
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: prison mining work hardtimes racing war death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 364, "I Lay Around the Old Jail House (John C. Britton)" (1 text)
Roud #11734
NOTES: It's not often that one encounters a song this confusing. The first four stanzas seem to be your standard prison/poverty song. Stanza 5 is a floater. Stanzas 6 and 7 are suspected of being from at least one and perhaps two other songs.
The editors of Brown suggest that the last stanzas might be a description of a Civil War raid. Possible, but if so, it's too small to have left a dent in the standard histories. But I rather doubt it. It looks to me like a race between two boats, the John C. Britton and the (Robert E.?) Lee, from Memphis to Cairo. The rest must be referred to the reader. - RBW
File: Br3364
===
NAME: I Learned about Horses from Him
DESCRIPTION: The singer describes the horses (and others) he has met in his life. Every incident ends with the rueful comment, "I learned about horses from him." There is a "horse," Conscience, he hasn't ridden; he expects hereafter to learn about that horse from Him
AUTHOR: George B. German
EARLIEST_DATE: 1932
KEYWORDS: cowboy horse humorous gods
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 71, "I Learned about Horses from Him" (1 text, 1 tune)
NOTES: Modeled after Kipling's poem "The Ladies" ("I Learned about Women from Her"). - RBW
File: Ohr071
===
NAME: I Left Ireland and Mother Because We Were Poor: see There's a Dear Spot in Ireland (File: HHH821)
===
NAME: I Like to Be There
DESCRIPTION: "I like to be there when the engine starts early in the morning; I like to sit me down at breakfast time, Just when the engine's roaring.... Then hurrah for the life of the factory While we're waiting for the judgment day."
AUTHOR: unknown
EARLIEST_DATE: 1954 (MacColl)
KEYWORDS: technology work
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
MacColl-Shuttle, p. 5, "I Like to Be There" (1 short text, 1 tune)
CROSS_REFERENCES:
cf. "Country Life" (form, lyrics) 
NOTES: This reminds me very strongly of "Country Life"; I'm fairly sure there is influence. But the tunes are different. - RBW
File: MacCS05
===
NAME: I Live Not Where I Love
DESCRIPTION: The girl laments that "I live not where I love." In flowery phrases she describes her fidelity. She hopes that she and her lover may be reunited/never part.
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding 11(39))
KEYWORDS: love separation
FOUND_IN: 
REFERENCES: (3 citations)
Chappell/Wooldridge I, p. 200, "I Live Not Where I Love" (1 fragment of text; the text and tune listed are not this piece)
cf. BBI, ZN1787, "Must the absence of my mistresse"; ZN3048, "You loyal Lovers that are distant"
DT,  NOTWHERE NOTWHER2
Roud #593
RECORDINGS:
Bodleian, Harding B 11(39), "I Live Not Where I Love" ("Come all you maids that live at a distance"), J. Pitts (London), 1819-1844; also Harding B 11(1638), "I Live Not Where I Love"
NOTES: On the basis of the ornate lines in the text ("All the world should be one religion, All living things should cease to die, If ever I prove false to my jewel Or any way my love deny"), it would seem likely that this piece began life as an art song. How far it made it into the traditional repertoire remains to be determined.
The most likely antecedent appears to be Martin Parker's 1740 piece, "A Paire of Turtle Doves." Whether this song is directly derived from Parker's piece, or has simply exchanged some lines, is hard to tell. - RBW
File: ChWI200
===
NAME: I Long to be Wedding: see The Old Maid's Song (File: R364)
===
NAME: I Love a Nobody: see I Don't Love Nobody (File: R782)
===
NAME: I Love Little Willie
DESCRIPTION: "I love Little Willie, I do, mama, I love Little Willie, But don't you tell Pa!  For he wouldn't like it, you know, mama." Similarly: "He wrote me a letter," "He gave me a ring," "And now we are married," "We fuss and we scratch."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: love courting marriage trick father mother
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
BrownIII 307, "I Love Little Willie, I Do, Mamma" (1 text plus 1 fragment, 4 excerpts, and mention of 3 more)
Randolph 382, "I Love Little Willie" (3 texts, 2 tunes)
MHenry-Appalachians, p. 23, "I Love Little Willie" (1 text)
Lomax-ABFS, p. 327, "I Love Little Willie" (1 text, 1 tune)
Roud #3538
SAME_TUNE:
I Love My Union (Greenway-AFP, p. 128)
File: R382
===
NAME: I Love Little Willie, I Do, Mamma: see I Love Little Willie (File: R382)
===
NAME: I Love My Love (I) (As I Cam' Owre Yon High High Hill)
DESCRIPTION: The singer meets a pretty girl, asks who her father is, asks where she lives, asks if she would marry. She is not overly enthusiastic. He bids farewell and hopes she will be kinder when he returns. In the chorus, he admits "But I love her yet...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting rejection love floatingverses
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 129, "As I Cam' Owre Yon High High Hill" (1 text)
Roud #5548
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17] (floating lyrics)
cf. "Trooper and Maid" [Child 299] (floating lyrics)
NOTES: So much of this piece is shared with "Seventeen Come Sunday" and "Trooper and Maid" (which themselves cross-fertilize) that it cannot be regarded as an independent song. But this ends with the woman rejecting the man, and also has that interesting chorus: But I love my love, and I love my love, And I love my love most dearly; My whole delight's in her bonnie face, And I long to have her near me." So we split. - RBW
File: Ord129
===
NAME: I Love my Love (II)
DESCRIPTION: "All my friends fell out with me/Because I kept my love's company." The singer must leave to go over the mountain because his fortune is low. "When I have gold she has her part/And when I have none she has my heart... And upon my honor I love her still."
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
LONG_DESCRIPTION: Singer says "All my friends fell out with me/Because I kept my love's company." He must leave to go over the mountain because his fortune is low. "When I have gold she has her part/And when I have none she has my heart/And she gained it too with a free good will/And upon my honor I love her still." "The winter's past and summer's come/The trees are budding one by one/And when my true love chooses to stay/I'll stay with her till the break of day"
KEYWORDS: poverty courting love sex parting travel lover
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 190, "I Love my Love" (1 text, 1 tune)
Roud #3612
NOTES: It's hard to distinguish this from the plethora of songs with similar themes. The verses "All my friends fell out with me..." and "Over the mountain I must go/Because my fortune is so low/With an aching heart and a troubled mind/For leaving my true love behind" are good delineators.
Jean Ritchie used most of the lyrics for her song "One I Love," changing the sex of the singer and adding the chorus "One I love; two, he loves/Three, he's true to me" - PJS
File: ShAp190
===
NAME: I Love My Love with an A
DESCRIPTION: "I love my love with an A, because he's A(greeable), I hate him because he's A---, He took me to the sign of the A---, And treated me with A---, His name is A---, and he lives in A---." Similarly through the rest of the letters of the alphabet.
AUTHOR: unknown
EARLIEST_DATE: 1871 (Through the Looking Glass)
KEYWORDS: love wordplay playparty nonballad
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #667, p. 264, "(I love my love with an A, because he's Agreeable)"
NOTES: This probably isn't a song, since it's based on alliteration (meaning that the meter can suffer). But it is certainly ancient, and well-enough known that Lewis Carroll used it in the chapter "The Lion and the Unicorn" (itself named for a folk rhyme) in _Through the Looking Glass_. Alice uses the letter "H" and describes the White King's messenger Haigha.
Martin Gardner, in _The Annotated Alice_ (pp. 279-280) refers the business back to Halliwell -- and notes a likely hidden wordplay, in that Alice was actually doing the "A" verse, because Haigha would probably have dropped the "H" in his name (i.e. it would be pronounced "ay-yore. Any resemblance to A. A. Milne is probably coincidence). - RBW
File: BGMG667
===
NAME: I Love My Sailor Boy
DESCRIPTION: The singer overhears a girl declare, "Let my friends say what they will, I love my sailor boy." She praises his appearance and virtues. Her mother calls her foolish and bids her wed a "steady farmer's son." The girl disdains such a lover
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: love sailor mother farming floatingverses
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Dean, pp. 84-85, "I Love My Sailor Boy" (1 text)
Rickaby (notes to #10, "The Shanty-boy and the Farmer's Son"), "I Love My Sailor Boy" (1 text)
ST Rick203 (Partial)
Roud #9603
CROSS_REFERENCES:
cf. "The Farmer and the Shanty Boy" (theme)
cf. "Adieu Sweet Lovely Nancy" (lyrics)
NOTES: This song is one of those items where every line has parallels elsewhere (especially in "Adieu Sweet Lovely Nancy," but the parallels are truly to numerous to list). I'm not really sure it exists on its own. But when in doubt, we split. - RBW
File: Rick203
===
NAME: I Love My Sweetheart the Best
DESCRIPTION: "The sun was sinking slowly, Sinking in the west; I love all those pretty boys, But I love my sweetheart the best."  The girl regrets ignoring mother's advice; boys have led her astray. She points out that mother is wise and a friend; men are deceivers
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: love mother betrayal
FOUND_IN: US
REFERENCES: (0 citations)
ST RcILMSTB (Full)
Roud #13150
RECORDINGS:
Kelly Harrell, "I Love My Sweetheart the Best" (Victor 20867, 1927; on KHarrell02)
NOTES: I don't know Harrell's source for this -- but so much of his material is traditional that I have to think this is another traditional song. - RBW
File: RcILMSTB
===
NAME: I Love Old Ireland Still
DESCRIPTION: The singer wants to see "old Ireland once more free." Ireland would prosper if allowed "the wealth that lies beneath her soil." "Let friends all turn against me, let foes say what they will, My heart is with my country, I love old Ireland still."
AUTHOR: probably J.H. Woodhouse (per broadside Bodleian Harding B 11(4009)
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 131, "I Love Old Ireland Still" (1 text)
BROADSIDES:
Bodleian, Harding B 11(4009), "I Love Old Ireland Still", Howard & Co (London), n.d. 
NOTES: Broadside Bodleian, Harding B 11(4009): "Written, composed, and sung with tremendous success by J.H. Woodhouse." - BS
File: OCon131
===
NAME: I Love Sixpence
DESCRIPTION: "I love sixpence," spend a penny, lend a penny, and take fourpence home to the wife. The singer repeats the process with fourpence and twopence. With nothing left he says "I have nothing, I spend nothing, I love nothing better than my wife"
AUTHOR: unknown
EARLIEST_DATE: 1810 (Gammar Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: poverty humorous nonballad wife
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 480, "I love sixpence, jolly little sixpence" (1 text)
Baring-Gould-MotherGoose #113, pp. 93-95, "(I love sixpence, a jolly, jolly sixpence)"
Roud #1116
ALTERNATE_TITLES:
The Jolly Tester
File: OO2480
===
NAME: I Love the Blue Mountains
DESCRIPTION: Halyard shanty: "I love the blue mountains of Tennessee, that's the place for you and me." Singer is a former slave who was set free (in 1863), he's going back to Tennessee to get his wife and child (pickanniny) and then will quit sailing.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty slave return family home
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 143-144, "I Love the Blue Mountains" (1 text, 1 tune)
Roud #9147
NOTES: Harlow apparently attributed this to Black sailors. It strikes me as a little too "still longing for the old plantation"-ish for me to trust that claim without more data. - RBW
File: Harl143
===
NAME: I Love to Tell the Story
DESCRIPTION: "I love to tell the story Of unseen things above, Of Jesus and his glory, Of Jesus and his love.... I love to tell the story, 'Twill be my theme in glory." The singer says repeatedly how it is "pleasant to repeat" the inspiration supplied by Jesus
AUTHOR: Words: [Arabella] Katherine Hankey (1834-1911) / Music: William Gustavus Fisher (1835-1912)
EARLIEST_DATE: 1869 (source: Johnson)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 186-187, "I Love to Tell the Story" (1 text, 1 tune)
Roud #17488
File: BdILtTtS
===
NAME: I Love You And I Can't Help It
DESCRIPTION: "I love you and I can't help it, fol dol day, fol dol day (x2)" "Oh my love you're too hard-hearted." "Oh my love I will call you honey." "If you do I will call you beeswax."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: dialog courting rejection humorous
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 363, "I'm Going Away to Texas" (3 texts, 1 tune, but only the "B" text goes here; "A" is the true "I'm Going Away to Texas" and "C" is a "Quaker's Wooing" type)
Roud #6691
NOTES: This may, as Randolph suggests, be a form of one or another of the courting-and-rejection songs -- but the verses which survive look independent to me. - RBW
File: R363B
===
NAME: I Love You Well: see My Dearest Dear (File: SKE40)
===
NAME: I Love-ed a Lass
DESCRIPTION: "I love-ed a lass, She prove-ed unkind, I'll sing you as arkard as ever I can, and I'll sing you as arkard as ever I can." "Her beautiful looks so enravished my mind, I'll sing you as arkard...." The rest is mostly nonsense verses about animal behavior
AUTHOR: unknown
EARLIEST_DATE: 1930 (Henry, collected from Samuel Harmon)
KEYWORDS: love humorous animal
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 20-22, "I Love-ed A Lass" (1 text)
Roud #4197
NOTES: Looking at this, I have a very strong feeling that it's based on "Way Up on Clinch Mountain" or "Drunkard's Hiccups," with a lot of nonsense and floating material thrown at it. But with only one version known, and no access to the tune, I can't prove it. - RBW
File: MHAp020
===
NAME: I Loved a Lass: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: I Loved You Better Than You Knew
DESCRIPTION: "Our hands are clasped at last forever, Perhaps we'll never meet again, I loved you as I could no other, This parting fills my heart with pain." The singer rehearses all that she will suffer, demonstrating the theme "I loved you better than you knew."
AUTHOR: Johnny Carroll ((?)
EARLIEST_DATE: 1893 (copyright)
KEYWORDS: love farewell betrayal rambling
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 738, "I Loved You Better Than You Knew" (1 text); also 755, "The Broken Heart" (the "A" text includes a stanza from this piece)
Randolph/Cohen, pp. 493-495, "The Broken Heart" (1 text, 1 tune -- Randolph's 755A)
Roud #6434
RECORDINGS:
The Carter Family, "I Loved You Better Than You Knew" (Victor 23835, 1933)
File: R738
===
NAME: I Married Me a Wife (I): see The Holly Twig [Laws Q6] (File: LQ06)
===
NAME: I May Be Gone: see Oh, Lord, How Long (File: R615)
===
NAME: I Mean to Go to Heaven Anyhow
DESCRIPTION: "I mean to go to heaven anyhow... Jesus died, oh, he died on the cross, To set every sinner free." "You told mother when she was living... You would treat her chilluns good... But... you've driven us from your door."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: orphan hardtimes mother death Jesus religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 592, "I Mean to Go to Heaven Anyhow" (1 text)
Roud #11905
File: Br3592
===
NAME: I Measure My Love to Show You: see Go In and Out the Window (File: R538)
===
NAME: I Met a Handsome Lady
DESCRIPTION: Singer meets a lady who invites him into her parlor and says nice things; he says she can send for the preacher, he'll be ready and have his shoes greased. The preacher says she is too young; all sit down to a supper of chicken and underdone turkey
AUTHOR: Unknown; some verses added by H. N. Dickens
EARLIEST_DATE: 1957 (recording by H. N. Dickens)
KEYWORDS: age courting marriage wedding food party bird chickens clergy lover
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #12644
RECORDINGS:
H. N. Dickens, "I Met a Handsome Lady" (on Stonemans01)
CROSS_REFERENCES:
cf. "Cindy" (lyrics)
cf. "Pig at Home in the Pen" (lyrics)
cf. "Roving Gambler" (lyrics)
NOTES: A most disjointed song, and I can't tell whether it was used as a dance tune or not (but I suspect not). - PJS
File: RcIMAHaL
===
NAME: I Met a Possum in the Road
DESCRIPTION: "I met a possum in the road, 'Bre'r Possum, whar you gwine?' 'I bless my soul and thank my stars To sunt some muscadine.'" "I met a possum in the road, and 'shamed he looked to be. He stuck his tail between his legs And gave the road to me."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal nonballad
FOUND_IN: US(Ap,So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 177, (no title) (1 fragments, perhaps floating or not the same song)
File: ScNF177A
===
NAME: I Met Her in the Garden Where the Praties Grow: see Garden Where the Praties Grow (File: San463)
===
NAME: I Must And Will Get Married (The Fit)
DESCRIPTION: Mother and daughter are talking. The daughter says, "I must and will get married; I'm in the notion now" (or "...the fit comes on me now"). Mother asks who she will marry; she names the (miller Sam). If he won't agree, she'll find another
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp Collection)
KEYWORDS: marriage mother loneliness
FOUND_IN: US(Ap,SE)
REFERENCES: (3 citations)
SharpAp 128, "I Must and I Will Get Married" (1 text, 1 tune)
Sharp/Karpeles-80E 53, "I Must And Will Get Married" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 27-28, "The Fit's Upon Me Now" (1 tune, which may be this piece; no text is provided)
Roud #441
CROSS_REFERENCES:
cf. "Lolly-Too-Dum" (theme)
ALTERNATE_TITLES:
The Fit Comes On Me Now
NOTES: This song is thematically  identical to "Lolly-Too-Dum," but the stanza form is different enough that I have separated them. - RBW
File: SKE53
===
NAME: I Must See My Mother: see Ten Thousand Miles Away (On the Banks of Lonely River) (File: R697)
===
NAME: I Never Shall Forget: see The Day Columbus Landed Here (File: FJ178)
===
NAME: I Never Will Marry [Laws K17]
DESCRIPTION: The singer meets a fair woman by the seashore. She (is reading a letter which) reveals that her lover is dead. The singer asks her to marry him. She vows she never will marry, and ensures it by drowning herself 
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden)
KEYWORDS: love death suicide
FOUND_IN: Britain US(SE,So)
REFERENCES: (8 citations)
Laws K17, "Down by the Sea Shore"
Belden, pp. 167-168, "The Lover's Lament for her Sailor" (2 texts)
Randolph 84, "Down by the Sea-Shore" (2 texts plus 1 fragment and 1 excerpt, 2 tunes)
McNeil-SFB1, pp.130-131, "The Maiden's Lament" (1 text, 1 tune)
Lomax-FSNA 114, "I Never Will Marry" (1 text, 1 tune)
PSeeger-AFB, p. 29, "I Never Will Marry" (1 text, 1 tune)
Silber-FSWB, p. 181, "I Never Will Marry" (1 text)
DT 405, CONSTLOV NEVMARRY* (FORSAKMM)
Roud #466
RECORDINGS:
Carter Family, "I Never Will Marry" (Montgomery Ward M-7356, c. 1935; Bluebird B-8350, 1940)
Texas Gladden w. Hobart Smith, "I'm Never to Marry" (Disc 6080, 1940s)
Pete Seeger, "I Never Will Marry" (on HootenannyCarnegie) (on PeteSeeger27)
CROSS_REFERENCES:
cf. "Chowan River" (theme)
ALTERNATE_TITLES:
The Shells of the Ocean
File: LK17
===
NAME: I Never Will Marry a Man Who Is Rich: see I'll Not Marry at All (File: E072)
===
NAME: I Never Will Turn Back Any More
DESCRIPTION: "When I was a boy I had a little mule That I always rode to Sunday School. Lord, I never will turn back any more." Humorous stanzas of religious life: The mule "got in an awful way"; the singer meets Satan in a meadow or runs into a hornet's nest
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: religious humorous floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 345, "I Never Will Turn Back Any More" (1 text)
Roud #11739
CROSS_REFERENCES:
cf. "Chased Old Satan Through the Door" (floating verses)
NOTES: This reads like a humorous take on a church hymn; several of the verses float. It looks a lot like "Chased Old Satan Through the Door," but that seems to be built on a different hymn. - RBW
File: Br3345
===
NAME: I Often Think of Writing Home
DESCRIPTION: Singer, a California miner, often thinks of writing to his family, but seldom does; he's half a mind to tell them he's coming home. "For it keeps a man a-hunting round to keep up with the times And pen and ink is very scarce for people in the mines...."
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: homesickness loneliness poverty home separation travel mining hardtimes nonballad
HISTORICAL_REFERENCES: 1848 - gold found in Sutter's Mill, California. 
1849 - multitudes of easterners emigrate west, hoping to "make their pile" 
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "I Often Think of Writing Home" (on LEnglish02)
CROSS_REFERENCES:
cf. "My Irish Molly-O" (tune)
File: RcIOTOWH
===
NAME: I Once Did Know a Farmer: see Treat My Daughter Kindly (The Little Farm) (File: R668)
===
NAME: I Once Had a Granny
DESCRIPTION: "I once had a granny And songs she had many And there ne'er will be any Shall sing them so well." She sang as she baked "of lovers who parted ... Of soldiers and sailors Of tinkers and tailors ...." Before she died she bade the singer not to cry.
AUTHOR: Hugh Quinn (1884-1956) (source: Hammond-Belfast)
EARLIEST_DATE: 1952 (_Rann Magazine_ Summer 1952, according Roud)
KEYWORDS: music nonballad family
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hammond-Belfast, p. 17, "I Once Had a Granny" (1 text, 1 tune)
Roud #5109
File: Hamm017
===
NAME: I Once Had a True Love
DESCRIPTION: Singer bids adieu to Molly whose parents slight him for his "want of gear" He dreams she comes to him and says "it will not be long love, till our wedding day" Floating lines. But she is not here. "I'll think of you Molly when I am alone"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Tunney-StoneFiddle)
KEYWORDS: love rejection dream floatingverses nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 153, "I Once Had a True Love" (1 text)
CROSS_REFERENCES:
cf. "If I Were a Fisher" (floating verses)
cf. "She Moved Through the Fair" (floating verses)
NOTES: The "floating lines" include "if I was a fisher ... and my love was a salmon" and "if I was a blackbird and had wings to fly"; there are also lines that are more explicit than most floaters I have seen: "In a grove of green laurels I'd lay my love down And with my strong wings I would her surround" and "Since the notion has took me to make my own will Sure my own rod beats sorest and does hurt me still." 
Tunney-StoneFiddle notes Tunney's hearing this song in 1960. He makes it "the original traditional song" behind Padraic Collum's "She Moved Through the Fair." Also see his comment on "My Young Love Said to Me" at "She Moved Through the Fair." - BS
File: TSF153
===
NAME: I Once Loved a Girl in Kilkenny: see Eileen, The Flower of Kilkenny (File: GrMa76)
===
NAME: I Once Loved a Lass: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: I Onct Was Young
DESCRIPTION: "I onct was young but now I'm old, Am blind, but yet I have a soul, That soul to save... Or else sink down to endless woe." "My threescore years is at an end." "I have three sons before me gone... By faith through prayer we'll win the day."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: injury death religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-SongCatcher, pp. 40-41, (no title) (1 text)
ST ScaSC040 (Partial)
Roud #8814
NOTES: Reportedly composed by the uncle of Grandma Bell on his deathbed. There are quite a few hints of older songs, though; I suspect he adapted rather than wrote. And, yes, that's "onct" in the title. - RBW
File: ScaSC040
===
NAME: I Picked My Banjo Too
DESCRIPTION: "Come all you sons of freedom, Come listen unto me...." "I used to be a rebel, I wandered from the Lord...." "The conflict between two parties, the gray coats and the blue, I volunteered for freedom, And picked my banjo too." But he then turns to Jesus
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: religious music freedom soldier slave
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 594, "I Picked My Banjo Too" (1 text)
Thomas-Makin', pp. 175-177, (no title listed, but perhaps to be called "Rufus Mitchell") (1 text)
Roud #11904
CROSS_REFERENCES:
cf. "The Southern Wagon (Confederate)" (lyrics, themes)
NOTES: I have to suspect that this was composed in imitation of "The Southern Wagon," but I can't prove it.
It also shows signs of conflation: On the one hand, a slave who joins the Union armies (common and natural enough), on the other a banjo-picking sinner brought back to Christianity (and induced to give up the banjo). The problem with *that* is that almost all slaves were Christian -- and played the banjo anyway.
Frankly, the result looks like a modern banjo joke. And I'll also say that, instead of burning his banjo, the singer should have bashed that alleged preacher over the head with it. If he had to ruin the instrument, at least do something useful with it along the way. - RBW
File: Br3594
===
NAME: I Put My Little Hand In: see Looby Lou (File: R554)
===
NAME: I Reckon You Know What I Mean: see The Trooper Watering His Nag (File: RL044)
===
NAME: I Ride an Old Paint
DESCRIPTION: "I ride an old paint, I lead an old Dan/dam... Ride around, little dogies, ride around 'em slow...." Verses on various topics: The cowboy's travels, the strayed children of Old Bill Jones, the cowboy's hopes for his funeral
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: cowboy horse rambling funeral children
FOUND_IN: US(SW)
REFERENCES: (8 citations)
Larkin, pp. 33-35, "I Ride an Old Paint" (1 text, 1 tune)
Lomax-FSUSA 63(B), "Old Paint" (1 text, 1 tune)
Sandburg, pp. 12-13, "I Ride an Old Paint" (1 text, 1 tune)
Scott-BoA, pp. 260-261, "I Ride an Old Paint" (1 text, 1 tune)
Botkin-AmFolklr, pp. 857-858, "I Ride an Old Paint" (1 text, 1 tune)
PSeeger-AFB, p. 25, "I Ride An Old Paint" (1 text, 1 tune)
Silber-FSWB, p. 106, "I Ride An Old Paint" (1 text)
DT, RIDEPNT*
Roud #915
RECORDINGS:
Almanac Singers, "I Ride an Old Paint" (General 5020B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Harry Jackson, "I Ride an Old Paint" (on HJackson1)
Tex Ritter, "A-Ridin' Old Paint" (Conqueror 8144, 1933; on BackSaddle)
Pete Seeger, "I Ride an Old Paint" (on PeteSeeger17)
CROSS_REFERENCES:
cf. "Goodbye, Old Paint"
File: LxU063B
===
NAME: I Rock from Selma
DESCRIPTION: "I rock from Selma, ting tang, I'm a Georgia ruler, ting tang, I'm a Mobile gentelman, Susie-annah, Loan me de goar to drink water!" "Den all back-shuffle and clap yo' hands." "Come shuffle up, ladies, ting tang, Oh Miss Williams, ting tang."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: dancing nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 114, (no title) (1 short text)
NOTES: This sounds like it's made up of floating verses -- but it isn't; none of the lyrics are familiar. So I guess it gets its own entry. - RBW
File: ScaNF114
===
NAME: I Saw a Man at the Close of Day: see Drunkard's Doom (I), The (File: R306)
===
NAME: I Saw a Ship a-Sailing: see Ship a-Sailing, A (File: OBB104)
===
NAME: I Saw the Light from Heaven (Dry Bones (I))
DESCRIPTION: "Enoch lived to be Three hundred and sixty-five And the Lord came down And took him up to heaven alive. I saw, I saw, I saw the light from heaven come shining all around." Other assorted Bible stories, such as the dry bones in the valley
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Bascom Lamar Lunsford)
KEYWORDS: religious Bible
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Bascom Lamar Lunsford, "Dry Bones" (Brunswick 231, 1928; Brunswick 314, 1929; on AAFM2, BLLunsford01, Babylon)
NOTES: Among the incidents outlined here:
* Enoch's disappearance at age 365: Gen. 5:21-24
* Paul (and Silas) in prison during an earthquake: Acts 16:25-26
* Moses and the Burning Bush: Exodus 3:2ff.
* Dry bones walking: Ezek. 37:1-10
Other incidents, such as Eve's account of "Satan a-tempting me," are not directly Biblical (e.g. in Gen. 3:13, Eve blamed the Serpent for her behavior, but Satan is not named). - RBW
File: RcISTLFH
===
NAME: I Saw the Pale Moon Shining on Mother's White Tombstone
DESCRIPTION: "I am a little orphan, My mother she is dead, My father is a drunkard and won't give me no bread." "I saw the pale moon shining on mother's white tombstone, The roses round it twining it's just like me." The child, with "no mother now," tells of her grief
AUTHOR: unknown
EARLIEST_DATE: 1964 (recording, Betty Garland)
KEYWORDS: mother children orphan burial mourning grief
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Betty Garland, "I Saw the Pale Moon Shining on Mother's White Tombstone" (on BGarland01)
CROSS_REFERENCES:
cf. "Row Us Over the Tide" (subject)
cf. "Orphan's Lament (Two Little Children, Left Jim and I Alone)" (subject)
File: RcISPMSM
===
NAME: I Saw Three Ships
DESCRIPTION: (While sitting on a sunny bank,) the singer sees three ships arrive on Christmas. In the ship are (pretty girls) or Mary, (Joseph), and/or (Jesus). (They/all) (sing/whistle/rejoice) as they sail on to Bethlehem
AUTHOR: unknown
EARLIEST_DATE: 1666 (Forbes's Cantus)
KEYWORDS: religious Jesus nonballad ship
FOUND_IN: Britain(England(Lond),Wales) US(Ap,MW,SE)
REFERENCES: (11 citations)
OBB 104, "I Saw Three Ships" (1 text)
OBC 3, "Sunny Bank"; 18, "I Saw Three Ships" (2 texts, 2 tunes)
Combs/Wilgus 315, pp. 141-142, "Three Ships Came Sailing In" (1 text)
BrownII 53, "I Saw Three Ships Come Sailing In" (1 fragment)
Ritchie-Southern, p. 43, "I Saw Three Ships" (1 text, 1 tune)
Gardner/Chickering 152, "As I Sat on the Sunny Bank" (1 text)
Opie-Oxford2 471, "I saw three ships come sailing by" (2 texts)
Baring-Gould-MotherGoose #331, pp. 180-181, "(I saw three ships come sailing by)"
Silber-FSWB, p. 379, "I Saw Three Ships Come Sailing In" (1 text)
DT, ISAW3SHP*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #35, "I Saw Three Ships Come Sailing In" (1 text)
ST OBB104 (Full)
Roud #700
BROADSIDES:
Bodleian, Douce adds. 137(22), "The Sunny Bank," T. Bloomer (Birmingham), 1821-1827; also Harding B 7(38), Harding B 7(30), Harding B 7(37), Harding B 7(35), "As I Sat on a Sunny Bank" ("As I sat on a sunny bank")[some have no title]; Harding B 7(16), "The Sunny Bank"
ALTERNATE_TITLES:
As I Sat Under a Sycamore Tree
NOTES: It probably need not be pointed out that there is no Biblical basis for this story, and that Bethlehem is nowhere near the ocean nor any body of water large enough for any kind of ship.
This makes it worthwhile to ask, Which version is older? The "Christmas" version is the one now widely sung, and the Combs version (the only one I think that's traditional in America) is a religious text -- but two of Gomme's three versions are secular.  On the other hand, several texts refer to "Our Savior Christ and His Lady." This sounds very Catholic -- and hence probably old -- to me.
Ian Bradley, in the _Penguin Book of Carols_, raises the question of why three ships are needed to bring two passengers -- in his version, Jesus and Mary. This is logical, but the likely answer is that the original included Joseph as well, but he was later written out or accidentally dropped. Bradley, though, has an explanation: That three ships sailed in because they were bearing the relics of the three Magi, or perhaps the Magi themselves. Of course, the Bible nowhere says that there were three Magi.
Personally, I'd guess that three is simply an auspicious number. Sure, one ship could carry Jesus and his mother, but three ships gives him an escort -- with the other two ships representing the other two persons of the trinity. - RBW
Also see Calennig, "Sandy Banks" (on Callenig, "A Gower Garland," Wild Goose WGS 299 CD (2000)). The notes have it noted in Wales by Rev J.D. Davies in 1877. Just two ships here. - BS
File: OBB104
===
NAME: I Saw Three Ships Come Sailing By: see I Saw Three Ships (File: OBB104)
===
NAME: I Saw Three Ships Come Sailing In: see I Saw Three Ships (File: OBB104)
===
NAME: I See the Moon
DESCRIPTION: "I see the moon, the moon sees me, God bless the (moon/sailors) and God bless me."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: nonballad religious
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Opie-Oxford2 356, "I see the moon" (1 text)
Baring-Gould-MotherGoose #425, p. 202, "(I see the moon, and the moon sees me)"
ADDITIONAL: Walter de la Mare, _Come Hither_, third edition, 1928, notes to #444 ("I see the moon") (1 short text)
NOTES: I believe I learned this, or the first line of it at least, somewhere in my youth, with a tune similar to the "Fiddle-I-Fee" versions of "I Had a Little Rooster." I know of no folk recordings, but that seems to imply some sort of tradition somewhere. - RBW
File: BGMG425
===
NAME: I Sent a Letter to My Love: see Atisket, Atasket (I Sent a Letter to My Love) (File: BAF806A)
===
NAME: I Sent My Brown Jug Downtown: see Brown Jug, The (Bounce Around) (File: R534)
===
NAME: I Sent My Love a Letter: see Down in the Valley; also Green Grows the Laurel (Green Grow the Lilacs) (File: R772)
===
NAME: I Shall Not Be Blue: see We Shall Not Be Moved (File: SBoA344)
===
NAME: I Shall Not Be Moved
DESCRIPTION: "I shall not, I shall not be moved/Just like a tree that's planted by the water/I shall not be moved". Other verses substitute "I'm sanctified and holy, I shall not be moved..." "I'm on my way to heaven..." etc..
AUTHOR: Alfred H. Ackley
EARLIEST_DATE: 1906 (Ackley, "Hymns for His Praise No. 2")
KEYWORDS: virtue floatingverses nonballad religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 596, "I Shall Not Be Blue" (2 texts)
Roud #9134
RECORDINGS:
A. P. Carter Family, "I Shall Not Be Moved" (Acme DF-103, n.d. but prob. early 1950s)
Rev. Edward Clayborn, "I Shall Not Be Moved" (Vocalion 1243, 1929; rec. 1928)
Davis & Nelson, "I Shall Not Be Moved" (QRS 9023, c. 1929)
Jimmie Dickens, "I Shall Not Be Moved" (Columbia 21068, 1953; rec. 1952)
Dixie Reelers, "I Shall Not Be Moved" (Montgomery Ward M-7100, 1937; Bluebird B-7958, 1938; rec. 1936)
Folkmasters, "I Shall Not Be Moved" (on Fmst01)
Roosevelt Graves, "I Shall Not Be Moved" (Paramount 12974, 1930; rec. 1929; on StuffDreams1)
George Herod, "I Shall Not Be Moved" (on MuSouth07)
Harmonizing Four, "I Shall Not Be Moved" (Gotham G772, rec. early 1950s)
Harvesters, "I Shall Not Be Moved" (Columbia 41074, 1957)
I. C. Glee Club, "I Shall Not Be Moved" (OKeh 8872, 1931; rec. 1930)
Kentucky Holiness Singers, "I Will Not Be Removed" (Vocalion 5439; rec. 1930)
Frank & James McCravy, "I Shall Not Be Moved" (Brunswick 196, 1928; Brunswick 3784, 1928; Oriole 8103, c. 1932; rec. 1927) (Banner 32308, 1931)
Charley Patton, "I Shall Not Be Moved" (Paramount 12986, 1930; rec. 1929)
Rev. D. C. Rice & congregation "I Shall Not Be Removed" (Vocalion 1675, 1932; rec. 1929)
Joe & Emma Taggart, "I Will Not Be Removed" (Vocalion 1062, 1926)
Taskiana Four, "I Shall Not Be Moved" (Victor 20183, 1926)
Utica Jubilee Singers, "I Shall Not Be Moved" Victor 24113, 1932)
CROSS_REFERENCES:
cf. "We Shall Not Be Moved"
NOTES: I include this hymn, common in African-American tradition, primarily because it formed the basis for the labor/civil rights anthem, "We Shall Not Be Moved." For the story of that song, see its entry. - PJS
File: RcISNBM
===
NAME: I Shot My Poor Teacher (With a Big Rubber Band)
DESCRIPTION: "On top of (something), All covered with (something), I shot my poor teacher With a (big) rubber band. I shot her with glory, I shot her with pride. I hardly could miss her; she's forty feet wide." The student describes harassing, killing, burying teacher
AUTHOR: unknown
EARLIEST_DATE: 1975
KEYWORDS: humorous homicide abuse burial parody derivative
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 93, "I Shot My Poor Teacher" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "On Top of Old Smokey" (tune)
NOTES: The proof that this is a folk song is that I've learned at least two versions in my life. It's just that few adults will admit to knowing it. - RBW
File: PHCFS093
===
NAME: I Thank You, Ma'am, Says Dan: see Thank You, Ma'am, Says Dan (File: HHH184)
===
NAME: I Think By This Time He's Forgot Her: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: I Thought to the Bottom We Would Go
DESCRIPTION: The singer recalls a voyage "with the skipper Of a god-damned Yankee clipper" in which "I thought to the bottom we would go."  Leaving port with a large cargo of supplies and a few passengers (half of them whores), the crew narrowly averts disaster
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: ship storm hardtimes whore
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 97-98, "I Thought to the Bottom We Would Go" (1 text, 1 tune)
NOTES: I feel quite sure that this is a fragment of something else -- but the surviving portion is so damaged that I cannot tell what. - RBW
File: MCB097
===
NAME: I Tickled Nancy
DESCRIPTION: "I'm living in the city, but I like the country life." The singer recalls his happy past: "I'd tickle Nancy, and Nancy'd tickle me, Before we get married, some pleasure we'd see."
AUTHOR: unknown (but probably patched up by Uncle Dave Macon)
EARLIEST_DATE: 1935 (recorded by Uncle Dave Macon")
KEYWORDS: courting
FOUND_IN: US
REFERENCES: (0 citations)
Roud #18323
RECORDINGS:
Uncle Dave Macon, "I'll Tickle Nancy" (1935)
CROSS_REFERENCES:
cf. "She Tickled Me" (theme)
NOTES: This is similar enough to "She Tickled me" that I considered lumping them. But the divergences are also large, and I can't find a connecting link. - RBW
File: RcITckNa
===
NAME: I Told 'em Not to Grieve After Me: see Don't You Grieve After Me (I) (File: R257)
===
NAME: I Told Him Not to Grieve After Me: see Don't You Grieve After Me (I) (File: R257)
===
NAME: I Told Them That I Saw You
DESCRIPTION: The singer and girl of "Just Tell Them That You Saw Me" meet again. He tells her that her family "wants her to come home. Their hearts are breaking for you while far away to roam." She breaks down as she thinks of her aged mother and her childhood
AUTHOR: George M. Cohen
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: mother children separation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 125, "I Told Them That I Saw You" (1 text)
Roud #9599
CROSS_REFERENCES:
cf. "Just Tell Them That You Saw Me" (characters)
NOTES: This is a direct sequel to Paul Dresser's "Just Tell Them That You Saw Me," though with even less place in tradition. - RBW
File: Dean125
===
NAME: I Truly Understand You Love Another Man
DESCRIPTION: Floating verses; "I wish to the lord I'd never been born," "Who's going to shoe your foot," "I'll never listen to what no other woman says...." Chorus: "I truly understand that you love another man/And your heart shall no longer be mine."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, "Shortbuckle" Roark and family)
KEYWORDS: love floatingverses nonballad rejection
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, pp. 24-25, "I Truly Understand" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 125-126, "I Truly Understand That You Love Some Other Man" (1 text, filed under Child #76 along with a "Pretty Little Foot" fragment and a text of "New River Train/Honey Babe)
ST CSW025 (Full)
Roud #49
RECORDINGS:
New Lost City Ramblers, "I Truly Understand You Love Another Man" (on NLCR01, NLCRCD1)
Shortbuckle Roark and Family, "I Truly Understand You Love Another Man" (Victor V-40023, 1929; rec. 1928; on GoingDown, KMM)
CROSS_REFERENCES:
cf. "Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove)" (floating lyrics)
cf. "Long Lonesome Road" (floating lyrics)
File: CSW025
===
NAME: I Tuck Me Some Corn to the County Seat
DESCRIPTION: "I tuck me some corn to the county seat, Three bushel of corn, three bushel of wheat. The miller tuck fur his millin'-turn, Three bushel of corn, three bushel of wheat."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: miller commerce nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 179, "I Tuck Me Some Corn to the County Seat" (1 text)
Roud #6583
File: BrII179
===
NAME: I Used to Have a Father
DESCRIPTION: "I used to have a father who sat and talked to me, But now I have no father -- what pleasure do I see? I looked out of the window to hear the organ play And there I saw my father as in his grave he lay."
AUTHOR: unknown
EARLIEST_DATE: 1932 (JAFL 45, from Harold Greene)
KEYWORDS: death father music
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 247, "I Used to Have a Father" (1 short text)
Roud #4194
File: MHAp247
===
NAME: I Used to Work in Chicago
DESCRIPTION: The singer works in a succession of stores, asking female customers their desires, mistakenly fulfilling them and getting fired.
AUTHOR: unknown
EARLIEST_DATE: 1946 (recording, Three Bits of Rhythm)
KEYWORDS: bawdy humorous
FOUND_IN: Australia Britain(England) US(Ro,SW)
REFERENCES: (2 citations)
Cray, pp. 245-251, "I Used to Work in Chicago" (3 texts, 1 tune)
DT, CHCAGO*
Roud #4837
RECORDINGS:
Pearl Trio [Larry Vincent], "I Used to Work in Chicago" (Pearl 53-A, 1947)
Three Bits of Rhythm, "I Used to Work in Chicago" (Modern Music MM118, 1946)
CROSS_REFERENCES:
cf. "Haben Aboo an a Banner"
cf. "The Jolly Tradesmen"
cf. "My Husband's a Mason" (theme)
NOTES: Oscar Brand has claimed a copyright of some of the verses of this song current in oral tradition. - EC
Larry Vincent claimed to have written the basic song, and it certainly has his, er, style. But the Three Bits of Rhythm record predates his, and they claim authorship credit themselves. Who knows? -PJS
File: EM245
===
NAME: I Walk the Road Again
DESCRIPTION: The singer is "a poor unlucky chap" and "very fond of rum." He has rambled far and wide, taking odd jobs here and there. Whenever things go bad, "I got up and hoisted my turkey and I walked the road again." (Now he hopes to find a job and settle down.)
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: rambling work drink unemployment
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 178, "I Walk the Road Again" (1 text, 1 tune)
ST FSC178 (Partial)
Roud #4602
CROSS_REFERENCES:
cf. "From Ogemaw" (floating lyrics)
cf. "The Feeing Time (II)" (floating lyrics)
ALTERNATE_TITLES:
I'll Hit the Road Again, Boys
NOTES: Cazden, early in his career, attributed this to the father of his informant George Edwards (who probably did adapt the text somewhat), but later retracted the claim. - RBW
File: FSC178
===
NAME: I Wandered by the Brookside
DESCRIPTION: Walking by the mill at night the only sound the singer hears is her heart beating. She waits to hear one footstep or word. Finally "a touch came from behind ... the beating of our own two hearts Was all the sound I heard"
AUTHOR: words: R.M. Milnes/music: A.B. Clark ?
EARLIEST_DATE: 1848 (broadside, LOCSheet sm1848 440340)
KEYWORDS: courting love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 35, "As I Wandered by the Brookside" (1 text, 1 tune)
Roud #2418
BROADSIDES:
Bodleian, Harding B 11(405), "As I Wandered by the Brookside," J. Cadman (Manchester), 1850-1855; also Firth b.27(524), Harding B 11(3526), "As I Wandered by the Brookside"; Harding B 11(3162), "I Wandered by the Brook Side"
LOCSheet, sm1848 440340, "I Wandered by the Brookside," Wm. Hall and Son (New York), 1848; also sm1848 440400, sm1875 08167, sm1880 15884, "I Wandered by the Brookside" (tune)
LOCSinging, as106450, "I Wandered by the Brookside," J. Andrews (New York), 1853-1859; also as106440, "I Wandered by the Brookside"
NOTES: Broadside LOCSinging as113120: 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: CrMa035
===
NAME: I Wanna Play Piano in a Whorehouse
DESCRIPTION: The singer tells us of his preferred profession, noting that "carnal copulation is here to stay."
AUTHOR: unknown
EARLIEST_DATE: 1986
KEYWORDS: work music bawdy whore
FOUND_IN: US
REFERENCES: (2 citations)
Cray, pp. 251-252, "I Wanna Play Piano in a Whorehouse" (1 text, 1 tune)
DT, PLAYPIAN*
File: EM251
===
NAME: I Want a Nice Little Fellow
DESCRIPTION: The singer hopes for a rich, pleasant husband so she won't spend her whole life working. Johnny promises her wealth, but mother notes that her husband made the same promise and broke it. The girl promises to return if Johnny breaks his promise
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: courting love money hardtimes mother children father betrayal abuse technology drink
FOUND_IN: US
REFERENCES: (0 citations)
Roud #13154
RECORDINGS:
Kelly Harrell, "I Want a Nice Little Fellow" (Victor 20867, 1927; on KHarrell02)
NOTES: The reference to automobiles implies that this song is not much older than Harrell's recording. It also has a sort of a prohibitionist undertone. But it feels traditional. While I suspect it of being a composed song, I don't think Harrell learned it from sheet music. - RBW
File: RcIWANLF
===
NAME: I Want to Be a Cowboy
DESCRIPTION: "I want to be a cowboy and with the cowboys stand, Big spurs on my bootheels and a lasso in my hand." The singer desires life on the range, hopes to get drunk in Cheyenne, and expects to "rope the slant old heathen and yank them straight to hell."
AUTHOR: unknown
EARLIEST_DATE: 1922
KEYWORDS: cowboy drink
FOUND_IN: US(Ro)
REFERENCES: (1 citation)
LPound-ABS, 79, pp. 173-174, "I Want to Be a Cowboy" (1 text)
Roud #4977
File: LPnd173
===
NAME: I Want to Go to Baltimore
DESCRIPTION: "I want to go to Baltimore, I want to go to France, I want to go to Baltimore To see the ladies dance."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: playparty travel dancing nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 101, "I Want to Go to Baltimore" (1 fragment)
NOTES: Clearly a fragment of something, but it's not clear what. - RBW
File: Br3101
===
NAME: I Want to Go to Morrow
DESCRIPTION: Singer sets out for the town of Morrow. He tries to buy a ticket to Morrow "and return tomorrow night." The agent says he should have gone to Morrow yesterday and back today, for "the train that goes to Morrow is a mile upon its way."
AUTHOR: Lew Sully
EARLIEST_DATE: 1898 (sheet music published)
KEYWORDS: questions train travel railroading humorous nonsense paradox
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Dean, pp. 32-33, "To Morrow' (1 text)
DT, MORROW1
Roud #9554
RECORDINGS:
Dan W. Quinn, "I Want to Go to Morrow" (Improved Berliner 438, c. 1900; Victor [Monarch] 12, 1900)
Bert Shepard, "I Want to Go to Morrow" (Victor 899, 1901)
Harry Spencer, "How I Got to Morrow" (Columbia 855, 1902)
CROSS_REFERENCES:
cf. "Yuba Dam" (subject, such as it is, and general atmosphere)
NOTES: Morrow, Ohio, said to be the subject of this song, is a small town just northeast of Cincinnati. - RBW
That may be, but according to the WPA guide for Kansas, the town of Morrowville "was named for its founder, Cal Morrow, State Senator (...). Until 1896 the town was called Morrow, but its name was changed to Morrowville after the railroad company had complained that its ticket agents were confused when travelers asked for 'a ticket to Morrow (tomorrow).'" Perfect timing for Lew Sully's song, published two years later. - PJS
You have me there. The only counterargument is, Why would enough people want to go to Morrow, Kansas for it to be a problem? - RBW
And, to be fair, the song does say, "There is a town called Morrow in the state of O-hi-o". Did the same thing happen twice? - PJS
File: DTmorrow
===
NAME: I Want to See Jesus (Bathe in the River)
DESCRIPTION: "I want to see Jesus in the morning -- Bathe in the river. I want to go to heaven -- Bathe in the river. Oh, chillun, get on board, Oh, chillun, get on board; Oh, Jesus is aboard, Oh, chillun, get aboard; Oh, preacher get on board."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Henry, from "the singing of Negroes at Skyland, Virginia")
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 192, "I Want to See Jesus" (1 text)
CROSS_REFERENCES:
cf. "Get On Board, Little Children" (lyrics)
NOTES: This looks a lot like "Get On Board, Little Children," but with no tune, seemingly only the one text, and several lines quite unique, I think I have to keep them separate.
Henry records the second line as "Bathe in the River" (note the capitalization), implying the River Jordan and the washing away of sins. This is probably a correct interpretation, but I have avoided this usage since we do not know what the singers meant with certainty. - RBW
File: MHAp192
===
NAME: I Want to See My Wife
DESCRIPTION: The worker (on the rail line?) expresses his loneliness and frustration: "I want to see my wife and children, Bim!... Captain Walker, where in the world did you come from?... Captain, send me a cool drink of water...."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: work worker hardtimes loneliness separation
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 94-95, (no title) (2 texts, probably partial, 1 tune)
File: CNFM094
===
NAME: I Want You All to Be There
DESCRIPTION: "When I get on the mountain top, I want you all to be there, And hear my wings go flippety-flop, I want you all to be there."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 455, "When I Get on Yonder Hill" (2 texts, but only the "B" fragment goes here)
Roud #(911)
NOTES: Randolph, for no reason I can see, classifies this with "When I Get On Yonder Hill," a fragment of "Shule Agra." To me it looks like a fragment of a southern hymn, which was also the understanding of the informant. - RBW
File: R455
===
NAME: I Wanter Jine de Ban: see I Hope I'll Join the Band (Soon in the Morning) (File: R266)
===
NAME: I Was Born About Four Thousand Years Ago: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: I Was Born About Ten Thousand Years Ago (Bragging Song)
DESCRIPTION: "I was born about ten thousand years ago, And there's nothing in this world that I don't know." The singer boasts of his past accomplishments, e.g. watching Adam and Eve eat the apple (and eating the core); teaching Solomon to read....
AUTHOR: unknown
EARLIEST_DATE: 1913
KEYWORDS: humorous bragging lie Bible
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (10 citations)
Randolph 410, "I Was Born About Four Thousand Years Ago" (3 texts, 2 tunes)
BrownIII 426, "I Was Born About Ten Thousand Years Ago" (2 texts plus a fragment and mention of 2 more)
Gardner/Chickering 187, "The Historian" (1 text, 1 tune)
Sandburg, pp. 330-331, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-FSUSA 10, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-ABFS, pp. 346-350, "The Highly Educated Man" (1 text, 1 tune)
Rorrer, p. 69, "I'm the Man That Rode the Mule 'Round the World" (1 text, with a a final verse, and probably an extended introductory verse, by Charlie Poole)
Pankake-PHCFSB, p. 170, "I Was Born About Ten Thousand Years Ago" (1 text)
Silber-FSWB, p. 26, "I Was Born About Ten Thousand Years Ago" (1 text)
DT, (JUSTFACT) (BORN10K)
Roud #3127
RECORDINGS:
Clarence Ashley & Tex Isley, "I'm The Man That Rode the Mule Around the World" (on Ashley01)
Fiddlin' John Carson, "When Abraham and Isaac Rushed the Can" (OKeh 40181, 1924)
Cramer Brothers, "I Was Born Four Thousand Years Ago" (Broadway 757, c. 1927 [as "I Was Born 4000 Years Ago"]; Broadway 8059, c. 1932; rec. 1927)
Crockett's Kentucky Mountaineers "I Was Born 10,000 Years Ago" (Crown 3101, 1931)
Vernon Dalhart, "I'm the Man That Rode the Mule Around the World" (CYL: Edison 5278, n.d.)
Otto Gray & his Oklahoma Cowboys, "4000 Years Ago" (Vocalion 5479, rec. 1931)
Georgia Organ Grinders, "Four Thousand Years Ago" (Columbia 15445-D, 1929)
Kelly Harrell, "I Was Born About 10,000 Years Ago" (OKeh 40486, 1925; on KHarrell01)
Bradley Kincaid, "Four Thousand Years Ago" (Gennett 6761/Champion 15687 [as Dan Hughey]/Supertone 9362, 1929; Superior 2656, 1931; Champion 45057 [as Dan Hughey], c. 1935)
Uncle Dave Macon, "Man That Rode the Mule Around the World" (Vocalion 5356, 1929)
Lester McFarland & Robert Gardner, "I Was Born Four Thousand Years Ago" (Brunswick 110/Vocalion 5028, 1927; Supertone S-2033, 1930)
Charlie Poole and the North Carolina Ramblers, "I'm the Man That Rode the Mule 'Round the World" (Columbia 15043-D, 1925, with an extended introductory verse by Poole; on CPoole04)
Pete Seeger, "I Was Born 10,000 Years Ago" (on PeteSeeger11)
Smoky Mountain Twins, "I Was Born 4000 Years Ago" (Conqueror 7065, 1928)
Dock Walsh, "Educated Man" (Columbia 15057-D, 1925)
CROSS_REFERENCES:
cf. "The Day Columbus Landed Here"
cf. "Sara Jane" (lyrics of some versions)
NOTES: It need hardly be stated that there is very little truth in this song (even if one accepts the Bible as literally true). I won't state examples; they would just bore you.
I do suspect that the "Ten Thousand Years" title is original, and "four thousand years" is a later correction by those who thought the braggart couldn't have been born before 4004 BCE. - RBW
Not to be confused with the bawdy "Three Thousand Years Ago". -PJS
The verse "She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Mary Ann"  (sung as part of this song, e.g., by Charlie Poole) is also associated with "Hungry Hash House," and that's where I've listed it when it occurs on its own. It's not clear that it belongs there, but for the moment I'm listing that song with this one because it fits better metrically. - RBW
File: R410
===
NAME: I Was Born in Killarney: see I Wish They'd Do It Now (File: Gil111)
===
NAME: I Was Born in Pennsylvania: see Young Companions [Laws E15] (File: LE15)
===
NAME: I Was Born on the River
DESCRIPTION: "I was born on the river, and the river is my home, As long as I can carry a chain, I won't leave the river alone." The singer asks the Captain for money, describes how the Captain bosses the gang, and advises against gambling
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work river boss gambling money hardtimes poverty
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 33-35, "I Wuz Borned on the Rivuh" (1 text, 1 tune); p. 118, "Woman, Woman, I See Yo' Man" (1 text, 1 tune)
Roud #10007
NOTES: The Wheeler text "Woman, Woman, I See Yo' Man" differs in from from "I Was Born on the River," but half its verses are found in the longer song. As is often the case in Wheeler's material, there is no good way to classify the result. I combine because, if I didn't, I'd have to list every piece in Wheeler separately.
File: MWHee033
===
NAME: I Was Despised Because I Was Poor: see I'm Despised for Being Poor (File: Beld195)
===
NAME: I Was Drunk Last Night
DESCRIPTION: "I was drunk last night, my darlin', And drunk the night before, But if ever I get sober, I'll never get drunk any more. Beautiful light o'er the sea...." "An' now I'll gather the roses To twine in my long braided hair...."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: drink courting nonballad religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 407, "I Was Drunk Last Night" (1 text, 1 tune)
Roud #7681
RECORDINGS:
Red Patterson's Log Rollers, "I'll Never Get Drunk Any More" (Victor 20936, 1927)
Riley Puckett, "I'll Never Get Drunk Anymore" (Columbia 15063, 1926)
CROSS_REFERENCES:
cf. "Drunk Last Night" (initial line)
NOTES: This song is, in a way, impressive: In the space of twelve lines, it manages to invoke three songs: a "Never Get Drunk Any More" piece, the hymn "Beautiful Light," and something similar to "Wildwood Flower." Now all it needs is a stanza of a murder ballad to include every song-type known to humanity. - RBW
Not quite; it doesn't mention trains, trucks, prison, or mama. -PJS
"Trucks"? What do you think this is? A Nashville Nonsense Index? :-) - RBW
File: R407
===
NAME: I Was Just Sixteen
DESCRIPTION: "I was just sixteen when I first started roving" the sinful world. He meets and leaves a pretty girl. They agreed to be true but she thinks "on the vows she broke." She commits suicide.  At her funeral a letter arrives; "Willie fell from the yardarm"
AUTHOR: unknown
EARLIEST_DATE: 1921 (Greenleaf/Mansfield)
KEYWORDS: courting love parting death funeral suicide lover mistress mother sailor separation
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 102, "I Was Just Sixteen" (1 text)
Peacock, pp. 720-721, "The Spanish Main" (1 text, 1 tune)
Karpeles-Newfoundland 40, "The Spanish Main" (1 text, 1 tune)
Roud #17721
File: GrMa102
===
NAME: I Was Once a Sailor
DESCRIPTION: "Yes, I was once a sailor boy, I plowed the restless sea. I saw the sky look fair and glad And I felt proud and free." The sailor recalls his travels, but notes he made little profit. He now has a small farm and thinks his life is sweet
AUTHOR: unknown
EARLIEST_DATE: 1843 (Journal from the Florida)
KEYWORDS: sailor travel farming home
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 66-67, "I Was Once a Sailor" (1 text)
Roud #2021
NOTES: Huntington thinks this might be related to "The Faithful Sailor Boy" [Laws K13]. I don't see any signs of kinship. - RBW
File: SWMS067
===
NAME: I Was Once in a Dark and Lonesome Valley
DESCRIPTION: "I was once in a dark and lonesome valley, And Satan led with trouble on de way. But de devil tryin' hard to stop me, And dey laugh at me whatever dey hears me say." "Here's a light, chillun (x2), Here's a light where de angels led before us."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Devil
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 599, "I Was Once in a Dark and Lonesome Valley" (1 short text)
Roud #11909
File: Br3599
===
NAME: I Was Sitting on a Stile: see I'm Sitting on the Stile, Mary (The Irish Emigrant II) (File: Pea462)
===
NAME: I Was the Boy for Bewitching Them
DESCRIPTION: Mothers warn their daughters to beware of the singer, irresistable Teddy. He had few rivals and, when Pat Mooney just met his Shelah, Teddy "twigged" him. "Beauties no matter how cruel ... Melted like mud in a frost"
AUTHOR: unknown
EARLIEST_DATE: c.1809 (Croker-PopularSongs); c.1815 (broadside, Bodleian Firth b.26(452))
KEYWORDS: bragging rake
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, p. 122, "I Was the Boy for Bewitching Them" (1 fragment)
BROADSIDES:
Bodleian, Firth b.26(452), "I Was the Boy for Bewitching Them" ("I was the boy for bewitching 'em"), Todd and Son (Easingwold), c.1815; also Harding B 25(931), "I Was the Boy for Bewitching 'em "; Harding B 17(143a), "I Was the Boy, &c"; Harding B 28(128), "I Am the Boy for Bewitching Them"
NOTES: Croker-PopularSongs has a fragment not in the broadsides but which "was a favourite some thirty years ago [c.1809]." The tone fits the broadsides but the words parallel "My God, How the Money Rolls In":
My father he married a Quaker,
My aunt she made hay with a fork;
And my uncle's a great grand brogue-maker
In the beautiful city called Cork
Croker-PopularSongs is a fragment; broadside Bodleian Firth b.26(452) is the basis for the description. The Croker fragment is quoted again in Croker-PopularSongs by a Mr Windle "borrowing the words of an old song." (p. 162)
A note, _Preliminary Finding List for Early Irish Tunes_, at The Wrapper Band site says "I was the boy for bewitching 'em [Said to be from play, Matrimony, c 1804. Music by P. M. King. Song attributed to Kenny in US1 [The Universal Songster or Museum of Mirth, Vol. I,1825], p. 180]; CIR 49 [1808. Crosby's Irish Musical Repository]: The Boy for bewitching them; HIA 7 [One Hundred Irish Airs. New York: Pub. by P. M. Haverty]" _Matrimony_ opened Nov 20, 1804, at Drury Lane "by James Kenny (librettist) and M.P. King (composer)," according to William J Burling [Version 1.2 copyright 3/7/2003] at Missouri State University site. - BS
File: CrPS122
===
NAME: I Went Down to My Girl's House Last Night
DESCRIPTION: "I went down to my girl's house last night, She met me at the door. She knocked me in the head with a rolling pin And I ain't been back no more."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: courting abuse abandonment floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 451, "I Went Down to My Gul's House Last Night" (1 fragment)
Roud #11785
NOTES: Obviously this is a floating fragment. It's not clear what it's floated free of. - RBW
File: Br3451
===
NAME: I Went Down to My Gul's House Last Night: see I Went Down to My Girl's House Last Night (File: Br3451)
===
NAME: I Went Down to New Orleans (I)
DESCRIPTION: Discovered in bed with the daughter of the landlord and landlady, the rover has sex with the mother too, and violates the father with a brace of pistols.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous landlord seduction sex
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Cray, pp. 105-106, "I Went Down to New Orleans" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "O'Reilly's Daughter"
File: EM105
===
NAME: I Went Down to New Orleans (II): see He's Got the Money Too (File: R299)
===
NAME: I Went Down to the Depot: see Jesse James (I) [Laws E1] (File: LE01)
===
NAME: I Went Down to the Lowground: see BrownIII 187, "I Went Down to the Lowground" (1 text) (File: Br3187)
===
NAME: I Went Home One Night: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: I Went Out A-Hunting, Sir: see The Sally Buck (File: SKE70)
===
NAME: I Went to Atlanta
DESCRIPTION: "I went to Atlanta, Never been there befo'; White folks eat de apple, Nigger wait fo' co'." The singer finds similar unfairness when visiting Charleston, Raleigh, etc. Chorus: "Cath dat Suth'n, Grab dat train, Won't come back no mo'."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: travel hardtimes Black(s) discrimination
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, p. 106, "I Went to Atlanta" (1 text)
File: Grnw106
===
NAME: I Went to Cincinnati: see Turkey in the Straw (File: R274)
===
NAME: I Went to My Sweetheart's House
DESCRIPTION: Stanzas of the form "I went to my sweetheart's house, I never was thar before, They sot me in the corner as still as a mouse, An' I ain't gwine thar no mo', mo', mo, An' I ain't gwine that no mo', my love, An' I ain't gwine that no mo'." Verses float
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: floatingverses home animal courting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 166-167, "I Went to My Sweetheart's House" (1 text)
ST ScaNF166 (Partial)
CROSS_REFERENCES:
cf. "Raccoon" (floating lyrics)
NOTES: I thought seriously about filing this with "Raccoon"; they have that many stanzas in common. But some have floated in from other places, and the form is different, so I'm separating them. - RBW
File: ScaNF166
===
NAME: I Went to the Fair at Bonlaghy
DESCRIPTION: "I went to the fair at Bellaghy, I bought a wee swad of a pig, I got it up in my arms And danced 'The Swaggering Jig." In all contexts, man, pig, poorhouse inmates, passersby, flowers, whistle and/or dance the jig.
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: animal humorous commerce dancing
FOUND_IN: Ireland US(MW)
REFERENCES: (2 citations)
SHenry H758, p. 23, "Bellaghy Fair" (1 text, 1 tune)
Eddy 151, "I Went to the Fair at Bonlaghy" (1 fragment, 1 tune)
ST E151 (Partial)
Roud #5349
File: E151
===
NAME: I Went to the Hop-Joint: see The Hop-Joint (File: ScaNF090)
===
NAME: I Went to the Woods
DESCRIPTION: "Shure I went to the woods where I heard a big drum. 'By the holy Saint Patrick,' says I, 'that's a drum.'" The Irishman complains about the land where he lives: Cold weather, girls always chewing gum, the dreadful smell of fermented cabbage
AUTHOR: unknown
EARLIEST_DATE: 1958 (Fowke)
KEYWORDS: food hardtimes
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke-Lumbering #51, "I Went to the Woods" (1 text, 1 tune)
Roud #4563
NOTES: Fowke describes this song as "somewhat indelicate." This refers primarily to the first verse, which on its face is about a woodpecker drilling for food, but which Fowke considers to have a secondary meaning.
Personally, I suspect the song is composite; the first verse is, well, either about a bird or about something that is describes as one but isn't -- but the rest is a straightforward gripe about a the place the Irishman lives. - RBW
File: FowL51
===
NAME: I Went Up on the Mountain Top: see Liza Jane (File: San132)
===
NAME: I Whipped My Horse
DESCRIPTION: "I whipped my horse till I cut the blood (x3) And then I made him tread the mud." "I fed my horse in a poplar trough (x3) And there he caught the whooping cough." "Now my old horse is dead and gone (x3) But he left his jaw-bones ploughing the corn."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection)
KEYWORDS: animal nonsense nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
SharpAp 219, "I Whipped My Horse" (1 text, 1 tune)
Sharp/Karpeles-80E 71, "I Whipped My Horse" (1 text, 1 tune)
Roud #3267
CROSS_REFERENCES:
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)"
cf. "Ox Driving Song" (floating lyrics)
File: SKE71
===
NAME: I Will Give My Love an Apple: see I Gave My Love a Cherry
 (File: R123)
===
NAME: I Will Give You a Red Dress: see The Keys of Canterbury (File: R354)
===
NAME: I Will Love Thee Always: see Out In the Moonlight (I Will Love Thee Always) (File: R803)
===
NAME: I Will Put My Ship In Order
DESCRIPTION: The singer puts his ship in order to sail to his true love. He arrives wet and tired, knocks at her window, and asks her to let him in. She delays (perhaps her parents are watching), and he leaves before she comes. She laments his departure
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: ship love reunion separation nightvisit betrayal
FOUND_IN: Britain(England(North),Scotland)
REFERENCES: (3 citations)
Stokoe/Reay, pp.  35-36, "I Drew My Ship into the Harbour" (1 text, 1 tune, with a "ripest apples" floating verse)
Ord, pp. 318-319, "I Will Set My Ship in Order" (1 text)
DT, SHIPORDR* SHIPORD2*
Roud #402
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4] (plot)
cf. "Rise Up Quickly and Let Me In (The Ghostly Lover)" (lyrics, theme)
NOTES: This song is about 80% identical with the piece I've titled "Rise Up Quickly and Let Me In (The Ghostly Lover)"; the only differences are in the first verse (about the ship) and the ending (in this, the lover leaves; in the other, the girl arrives in time to admit him). Fragments could file with either song.
Some, including Roud, have identified this song with "The Drowsy Sleeper," and there is some justice to this; there may be cross-influence. Indeed, for a time I listed this as an alternate title of "Drowsy Sleeper." But we are splitters, and so the two are now separate. I think that's the proper decision anyway.
The last few verses of this song bear a resemblance to Song of Solomon 5:2-6, but that may be coincidence. - RBW
File: Ord318
===
NAME: I Will Sail the Salt Seas Over
DESCRIPTION: "I will sail the salt seas over And the Shannon after me, For your equal in Loch Ray love Is rare to be seen. I would rather than a horse And a bridle for to steer That I ne'er mentioned the name of Loch Ray la she sheer"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 102, "I Will Sail the Salt Seas Over" (1 fragment, 1 tune)
Roud #2776
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
Creighton-SNewBrunswick: "The spelling of the last line ["Loch Ray la she sheer"] may be incorrect." - BS
File: CrSNB102.
===
NAME: I Will Set My Ship In Order: see I Will Put My Ship In Order (File: Ord318)
===
NAME: I Will Take You Back Again, Kathleen: see I'll Take You Home Again, Kathleen (File: RJ19083)
===
NAME: I Will Tell You My Troubles
DESCRIPTION: "I will tell you of my troubles, my ups and downs through life...." The singer complains about the life of a cowboy. Life is hard and lonely, and there is too much to do; the cows wander off even during the monotonous meals
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work cowboy
FOUND_IN: US(So)
REFERENCES: (1 citation)
Fife-Cowboy/West 25, "The Little Old Sod Shanty" (7 texts, 2 tunes, with the "G" text going here)
Roud #11208
CROSS_REFERENCES:
cf. "The Little Old Log Cabin in the Lane" (tune) and references there
File: FCW025G
===
NAME: I Will Tell You of a Fellow: see Common Bill (File: R119)
===
NAME: I Wish I Had Someone to Call My Own
DESCRIPTION: "I wish I had someone to call my own; I wish I had someone to take my care." The singer lists all that he's tired of: coffee, tea, living, eating, sleeping, plus, "I"m so tired of livin' I don't know what to do; You're tired of me, an' I'm tired of you."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: hardtimes nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 279, "I Wish I Had Someone to Call My Own" (1 text)
NOTES: Get help. - RBW
File: ScaNF279
===
NAME: I Wish I Had Someone to Love Me: see Meet Me Tonight in the Moonlight (File: R746)
===
NAME: I wish I was a Child again: see Died for Love (I); also The Butcher Boy [Laws P24] (File: McST055)
===
NAME: I Wish I Was a Little Bird (Nobody Cares for Me)
DESCRIPTION: "I wish I was a little bird, I'd fly up in a tree, I'd sit and sing my little sad song (spoken:) But I can't stay here by myself." "I wish I was a little fish, I'd swim way down in the sea, I'd sit and sing my little sad song,  But I can't stay here..."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: loneliness nonballad animal bird
FOUND_IN: US(MA,So)
REFERENCES: (3 citations)
Belden, p. 489, "I Wish I Was a Little Bird" (1 text)
Sandburg, p. 338, "I Wish I Was a Little Bird" (1 text, 1 tune)
Randolph 722, "Nobody Cares for Me" (1 short text, 1 tune)
Roud #6357
CROSS_REFERENCES:
cf. "I Have No Loving Mother Now (Oh, See My Father Layin' There)" (lyrics)
File: San338
===
NAME: I Wish I Was a Little Sparrow: see Fair and Tender Ladies (File: R073)
===
NAME: I Wish I Was a Mole in the Ground
DESCRIPTION: "I wish I (was/were) a mole in the ground (x2), If I was a mole in the ground, I'd root that mountain down...." The singer complains of Kempy's expensive  tastes and his troubles with drink and/or the law. He may wish to be other things.
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: animal money hardtimes floatingverses dancetune
FOUND_IN: US(SE,So)
REFERENCES: (6 citations)
BrownIII 173, "Mole In the Ground" (1 text)
Botkin-AmFolklr, pp. 900-901, "I Wish I Wuz a Mole in the Ground" (1 text, 1 tune)
Courlander-NFM, p. 144, "(I Wish I Was a Mole in the Ground)" (1 text)
Lomax-ABFS, pp. 152-153, "I Wish I Was a Mole in the Ground" (1 text, 1 tune)
Silber-FSWB, p. 394, "Mole In The Ground" (1 text)
DT, WISHMOLE*
Roud #4957
RECORDINGS:
Green Bailey, "I Wish I Were A Mole In The Ground" (Conqueror 7255 [as Amos Baker], 1929; rec. 1928; on KMM)
Frank Bode, "Tempy" (on FBode1)
Chancey Bros., "I Wish I Was a Mole in the Ground" (on FolkVisions2)
Eugene Jemison, "Girls, Quit Your Rowdy Ways" (on Jem01)
Bascom Lamar Lunsford, "I Wish I Was a Mole in the Ground" (OKeh 40155, 1924); (Brunswick 219B, 1928; on AAFM3, BLLunsford01); (BLLunsford02, FMUSA)
Pete Seeger, "Mole in the Ground" (on PeteSeeger09, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "I Don't Like No Railroad Man" (floating lyrics)
cf. "My Last Gold Dollar" (floating lyrics)
cf. "New River Train" (tune, floating lyrics)
cf. "Oh, Honey, Where You Been So Long?" (lyrics)
File: BAF900
===
NAME: I Wish I Was at Home
DESCRIPTION: "I'm marchin' down to Washington With a heavy load an' a rusty gun, An' I wish I was at home (x2). They carried me down to the navy yard, An' round me they placed a mounted guard, An' I wish I was at home (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Randolph)
KEYWORDS: home homesickness soldier
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 240, "I Wish I Was at Home" (1 text)
Roud #7710
File: R240
===
NAME: I Wish I Were a Single Girl Again
DESCRIPTION: "When I was single, marriage I did crave. Now I am married, it's trouble to my grave. Lord, I wish I was a single girl again!" The wife complains of hard work in the kitchen, of poverty, of poor clothes, hungry children, and a husband who steals her money
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: husband wife marriage poverty
FOUND_IN: US(Ap,SE)
REFERENCES: (13 citations)
Warner 126, "I Wish I Were a Single Girl Again"
Belden, p. 437, "When I Was Single" (1 text, with no letter designation; the lettered texts are all "I Wish I Were Single Again (I - Male)")
BrownIII 28, "I Wish I Was a Single Girl Again" (3 texts)
Scarborough-SongCatcher, pp. 320-321, "The Single Girl" (1 text plus a fragment of "I Wish I Were Single Again (I - Male)"; tune on p. 442)
Fuson, p. 188, "Oh, I Wish I Were Single Again" (1 text)
SharpAp 86, "The Single Girl" (5 texts, 5 tunes)
Scott-BoA, p. 171, "The Single Girl" (1 text, 1 tune)
Lomax-FSUSA 13(A), "When I Was Single (I)" (1 text, 1 tune)
Lomax-FSNA 84, "Single Girl" (1 text, 1 tune)
Lomax-ABFS, pp. 154-155, "When I Was Single" (1 text, 1 tune)
Darling-NAS, pp. 272-273, "Single Girl" (1 text)
Arnett, p. 59, "Single Girl" (1 text, 1 tune)
DT, SNGLGRL3*
Roud #436
RECORDINGS:
Anne, Judy, & Zeke Canova, "I Wish I Was a Single Girl Again" (Brunswick 264, 1928)
Cousin Emmy [Cynthia May Carver], "I Wish I Was a Single Girl, Again" (Decca 24215, 1947)
Vernon Dalhart & Co., "I Wish I Was a Single Girl Again" (Edison 51610, 1925)
Sid Harkreader, "I Wish I Was A Single Girl Again" (Vocalion 15035, 1925)
Kelly Harrell, "I Wish I Was a Single Girl Again" (Victor 19563, 1925; on KHarrell01) (Victor 20242, 1926; on KHarrell01)
Roscoe Holcomb, "I Wish I Were a Single Girl Again" [LP] or "Single Girl" [CD] (on MMOK, MMOKCD)
Lulu Belle & Scotty, "I Wish I Was a Single Girl Again" (Conqueror 9189, 1938; Vocalion 04772, 1939)
New Lost City Ramblers, "Single Girl" (on NLCR14)
Frank Proffitt, "Single Girl" (on FProffitt01)
Riley Puckett ,"I Wish I Was a Single Girl Again" (Bluebird B-8083, 1939)
Pete Seeger, "When I Was Single" (on PeteSeeger07, PeteSeeger07b)
Henry Whitter, "I Wish I Was a Single Girl Again" (OKeh 40375, 1925)
CROSS_REFERENCES:
cf. "I Wish I Were Single Again (II - Female)"
cf. "Single Girl, Married Girl"
cf. "Sorry the Day I Was Married"
cf. "When I Was Young (II)" (theme)
cf. "For Seven Long Years I've Been Married" (theme)
cf. "Married and Single Life" (subject)
NOTES: Roud lumps "I Wish I Were a Single Girl Again" and "Single Girl, Married Girl" (and perhaps others). Definitely a stretch, though the songs can easily cross-fertilize. - RBW
File: Wa126
===
NAME: I Wish I Were Single Again (I - Male)
DESCRIPTION: The singer recalls the happy days when he was single. He recalls marrying a wife, "the plague of my life." She died and was buried, so he went and married again, to find that he "wished for the old one again"
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: funeral marriage shrewishness wife
FOUND_IN: US(Ap,MW,SE,So) Canada(Mar) Britain(England,Scotland)
REFERENCES: (25 citations)
Randolph 365, "I Wish I Was Single Again" (4 texts, 1 tune)
Randolph/Cohen, pp. 329-331, "I Wish I Was Single Again" (1 text, 1 tune -- Randolph's 365A)
Eddy 69, "When I Was a Young Man" (2 texts, 2 tunes)
Kennedy 204, "I Wished To Be Single Again" (1 text, 1 tune)
BrownIII 19, "When I Was Single" (3 texts plus an excerpt and mention of 13 more, though most of the omitted texts are single stanzas)
Chappell-FSRA 75, "When I Was Single" (1 text)
Scarborough-SongCatcher, pp. 320-321, "The Single Girl" (1 text plus a fragment; the song is "I Wish I Were a Single Girl Again," but the fragment is this)
McNeil-SFB2, pp. 47-50, "I Wish I Was Single Again"; "I Wish I Were Single Again" (2 texts, 2 tunes)
Warner 127, "When I Was Single" (1 text, 1 tune)
Belden, pp. 437-439, "When I Was Single" (3 texts, plus a text of "I Wish I Were a Single Girl Again")
Fuson, pp. 85-86, "Oh Then" (1 text, in which the second wife apparently plans to hang the husband before she, like the first, falls sick)
Cambiaire, pp. 99-100, "When I Was Single" (1 text)
Shellans, pp. 20-21, "My First And Last Courtship" (1 text, 1 tune, in which the second wife tries to hang the singer and he shoots her after being rescued; Shellans thinks the singer may have made up this material.)
Sandburg, p. 47, "I Wish I Was Single Again" (1 text, 1 tune)
Creighton/Senior, pp. 215-217 , "When I Was Single" (1 text, 1 tune)
Mackenzie 143, "When I Was Single" (1 text, 1 tune)
Scott-BoA, pp. 169-171, "When I Was Single" (1 text, 1 tune)
Combs/Wilgus 177, pp. 181-182, "The Married Man" (1 text)
Lomax-FSUSA 13(B), "When I Was Single (II)" (1 text, 1 tune)
Lomax-ABFS, pp. 156-158, "When I Was Single" (1 text, 2 tunes)
LPound-ABS, 98, pp. 207-208, "I Wish I Was Single Again" (1 text)
Darling-NAS, pp. 274-275, "I Wish I Was Single Again" (1 text)
Pankake-PHCFSB, pp. 276-277, "I Wish I Was Single Again" (1 text, 1 tune)
Silber-FSWB, p. 172, "I Wish I Was Single Again" (1 text)
DT, WISHSNGL
Roud #437
RECORDINGS:
Foster & James, "When I Was Single My Pockets Would Jingle" (Gennett 6434/Supertone 9260, 1928) [also issued as by Jim Burke, possibly a pseudonym for Doc Roberts]
Frank Luther, "I Wish I Was Single Again" (Crown 3084, 1931)
Riley Puckett, "I Wish I Was Single Again" (Columbia 15036-D, 1925) (Bluebird B-8066, 1939)
Arthur Tanner, "When I Was Single My Pockets Would Jingle" (Silvertone 3515, 1926)
Welby Toomey, "I Wish I Was Single Again" (Gennett 3202, 1926)
Tom Watson, "I Wish I Was Single Again" (Silvertone 3263, 1926)
Henry Whitter, "I Wish I Was Single Again" (OKeh 40375, 1925) (OKeh 45045, 1926)
CROSS_REFERENCES:
cf. "When I Was Single (II)"
cf. "Poor Married Man" (theme)
cf. "Married and Single Life" (subject)
NOTES: Characterized by a stanza format something like this:
When I was single, oh then,
When I was single, oh then,
When I was single, my money would jingle;
I wish I was single again.
Laura Ingalls Wilder, in _By the Shores of Silver Lake_ (chapter 22) has a slightly different form, allegedly from 1880:
When I was young and single,
I could make the money jingle
And the world was well with me, O then!
The world went well with me then. - RBW
File: R365
===
NAME: I Wish I Were Single Again (II - Female)
DESCRIPTION: The wife complains of the troubles of matrimony. When first her husband courted her, all was kindness, but now it's nothing but work and care for the children and try to stay out of trouble. She says, "I hope I shall be hanged if I ever love again."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: fight husband marriage
FOUND_IN: US(MW,NE,So)
REFERENCES: (4 citations)
Eddy 70, "How I Wish I Was Single Again" (1 text, 1 tune)
Randolph 366, "A Married Woman's Lament" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 26-27, "A Married Woman's Lament" (1 text, 1 tune, with the unrelated "The Sorrow of Marriage" in an appendix"
DT, SNGLGRL2*
Roud #436
RECORDINGS:
Margaret MacArthur, "Single Again" (on MMacArthur01)
CROSS_REFERENCES:
cf. "I Wish I Were a Single Girl Again"
cf. "Single Girl, Married Girl"
cf. "When I Was Young (II)" (theme)
cf. "For Seven Long Years I've Been Married" (theme)
NOTES: Characterized by a stanza format something like this:
Once I was single and lived at my ease,
But now I am married with a husband to please,
Four young children to maintain;
Oh how I wish I were single again! - RBW
File: E070
===
NAME: I Wish I Were Where Ellen Lies: see Helen of Kirconnell (File: OBB152)
===
NAME: I Wish I Were Where Gadie Rins: see Where the Gadie Rins (I), (II), etc. (File: Ord347)
===
NAME: I Wish I Were Where Helen Lies: see Helen of Kirconnell (File: OBB152)
===
NAME: I Wish I Were Yon Red, Red Rose: see The Irish Girl (File: HHH711)
===
NAME: I Wish My Granny Saw Ye
DESCRIPTION: Country lad Johnny Raw comes to town, where the girls giggle, "I wish my granny saw ye." He buys a girl a wedding dress; she laughs at him. A girl asks him to carry her baby; he consents. She disappears, and he is left to care for the child
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: clothes trick courting baby
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 395-396, "I Wish My Granny Saw Ye" (1 text)
Roud #5614
CROSS_REFERENCES:
cf. "The Basket of Eggs" (plot) and references there
NOTES: Although the general theme of a country boy who falls prey to city tricks occurs throughout this song, I have to suspect it is at least somewhat composite, with the girl-and-baby theme translated bodily into a newer framework. - RBW
File: Ord395B
===
NAME: I Wish My Love
DESCRIPTION: Singer wishes his love were various objects: a cherry, a beeskep, an ewe, etc., so that he might make love to her. After some lovely metaphors, in the last verse he wishes she was a warm turd, and he was a "shitten flea," that he might light upon her
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: sex lyric nonballad scatological
FOUND_IN: Britain(England(North))
REFERENCES: (0 citations)
Roud #8738
RECORDINGS:
A. L. Lloyd, "I Wish My Love" (on Lloyd2) = "I Wish, I Wish" (on Lloyd 3) [same recording, changed title]
ALTERNATE_TITLES:
A Pitman's Love Song
NOTES: Lloyd notes, "Rather to my own surprise I find myself too prudish to sing [the last verse], though I'm impressed by its intensity," but he reprints it in his book "Folk Song in England." - PJS
File: RcIWML
===
NAME: I Wish My Love Was a Red Rose: see The Irish Girl (File: HHH711)
===
NAME: I Wish My Love Was In a Ditch
DESCRIPTION: "I wish my love was in a ditch, Without no clothing to her, With nettles up and down her back Because she was not truer." She had been involved with the singer and another; he claims her child was fathered by the other, and will not sleep with her
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love marriage infidelity pregnancy
FOUND_IN: US(NE)
REFERENCES: (1 citation)
BrownII 126, "I Wish My Love Was In a Ditch" (1 text)
ST BrII126 (Full)
Roud #6572
NOTES: The editors of Brown suspect this is Scottish, but can cite no other texts (Jamieson has a piece "I Wish My Love Was In a Mire," found also as #41 in _The Scot Musical Museum_, but the parallels are thematic rather than verbal). - RBW
File: BrII126
===
NAME: I Wish That Girl Was Mine
DESCRIPTION: "When I was a little boy, Just eighteen inches high, How I'd hug and kiss those girls To see their mammas cry." "Oh, I wish that girl was mine (x2), The only tune that I can play Is 'I wish that girl was mine.'" Of courting, banjos, and last regrets(?)
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: love courting music
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 298, "I Wish That Girl Was Mine" (1 text)
Roud #16859
CROSS_REFERENCES:
cf. "Troubled In My Mind" (theme, floating lyrics)
NOTES: This may be a variant of "Troubled In My Mind" or one of its relatives, but it has enough unique material (notably the first verse) that I tentatively separate it. - RBW
File: Br3298
===
NAME: I Wish That You Were Dead, Goodman
DESCRIPTION: "There's six eggs in the pan, goodman (x2), there's one for you and twa for me, And three for (our John Hielandman)." The woman complains, and concludes, "I wish ye were dead, wi' a stone at your head, and I'd run awa wi' John Hielandman"
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sharpe)
KEYWORDS: food love curse death
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (2 citations)
SHenry H531, p. 506-507, "I Wish That You Were Dead, Goodman" (1 text, 1 tune)
DT, EGGSMAN WISHDEAD
ST HHH531 (Full)
Roud #5884
ALTERNATE_TITLES:
There's a Herrin' in the Pan
NOTES: Murray Shoolbraid's notes in the Digital Tradition discuss possible bawdy connections of this song. Interestingly, though they are all extremely subtle, Gordeanna McCulloch has a text which seems to have cleaned them all up and converted them into a complaint against landlords. - RBW
File: HHH531
===
NAME: I Wish There Was No Prisons
DESCRIPTION: The singer says "I only steal my belly to fill." Prison work is hard and makes him ill. He saw a girl with twins in a perambulator. He kissed one baby while he stole a potato from the other. "I wish there were no prisons. I do. Don't you?"
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, George Spicer)
KEYWORDS: prison theft humorous nonballad baby
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1708
RECORDINGS:
George Spicer, "I Wish There Was No Prisons" (on Voice14)
File: RcIWTWNP
===
NAME: I Wish They'd Do It Now
DESCRIPTION: The singer recalls how, when he was a child, the girls would run to kiss him, cuddle him, bathe him, etc. Unfortunately, he is grown and their attentions have ceased; he remarks, "I've got itches in my britches and I wish they'd do it now."
AUTHOR: E. Freeman Dixey? (author cited in the sheet music)
EARLIEST_DATE: 1865 (sheet music for "Why Don't They Do It Now?" published)
KEYWORDS: courting youth loneliness humorous
FOUND_IN: Australia US(MW)
REFERENCES: (4 citations)
Dean, p. 81, "I Was Born in Killarney" (1 text)
Gilbert, pp. 111-112, ""Why Don't They Do So Now?" (1 text)
Meredith/Covell/Brown, pp. 186-189, "They were very very Good to Me" (1 text, 1 tune)
DT, DOITNOW*
Roud #1401
RECORDINGS:
Arthur Collins, "I Wish They'd Do It Now" (CYL: Edison 5412, c. 1898)
Steve Porter, "I Wish They'd Do It Now" (American Record Co. 031354, c. 1906)
Teddy Simmons, "I Wish They'd Do It Now" (CYL: Columbia 32895, c. 1906)
NOTES: [The original of this is] from "C.P. Hyland's I Wish They'd Do It Now Songster" published in [New York City] in 1869. It was an American song.  Not very good either, in the original, but the [folk] processed version was/is a gem. - MC
Those wishing to see something like the original version (as I understand it), with only minimal folk processing, are referred to the Meredith/Covell/Brown text. It is indeed rather less than inspired. - RBW
You think those words are insipid? You should see the ones from "Why Don't They Do It Now?" (1865) from which this song is clearly derived. Without seeing the words from the 1869 "I Wish They'd Do It Now Songster", I can't tell whether those were a folk-processing of "Why Don't They Do It Now?" or a parody, if the
distinction can even be drawn. - PJS
File: Gil111
===
NAME: I Wish, I Wish: see Died for Love (I); also The Butcher Boy [Laws P24] (File: McST055)
===
NAME: I Wished to be Single Again: see I Wish I Were Single Again (I - Male) (File: R365)
===
NAME: I Won't Be a Nun!
DESCRIPTION: "Now is it not a pity such a pretty girl as I Should be sent to a nunnery to pine away and die? But I won't be a nun... I'm so fond of pleasure that I cannot be a nun!" The girl is too fond of partying/men.The nuns couldn't handle a novice like her
AUTHOR: unknown
EARLIEST_DATE: 1893 (Songs of the People)
KEYWORDS: clergy party freedom
FOUND_IN: US(So) Britain
REFERENCES: (3 citations)
Belden, pp. 266-267, "I Won't Be a Nun" (1 text, 1 tune)
Randolph 400, "I Won't Be a Nun!" (1 text, 1 tune)
DT, WONTNUN*
Roud #7630
File: R400
===
NAME: I Won't Be My Father's Jack
DESCRIPTION: "I won't be my father's jack, I won't be my (mother's/father's) (Jill/Gill), I will be the fiddler's wife And have music when I will. T'other little tune, T'other little tune, Prithee, love, play me T'other little tune."
AUTHOR: unknown
EARLIEST_DATE: before 1767 (Newberry, _Mother Goose's Melody_)
KEYWORDS: music courting father mother nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 257, "I won't be my father's Jack" (1 text)
Baring-Gould-MotherGoose #40, p. 54, "(I won't  be my Father's Jack)"
NOTES: I've never met this as a genuine traditional song, as opposed to a nursery rhyme, but I heard it sung *somewhere* (the version in my head sounds like Peter Paul & Mary, I'm sorry to say), so I'm putting it in just in case. - RBW
File: BGMG040
===
NAME: I Won't Marry (I): see I'll Not Marry at All (File: E072)
===
NAME: I Wonder As I Wander
DESCRIPTION: "I wonder as I wander out under the sky How Jesus our savior did come for to die." Jesus comes for "poor ornery/ordinary people," is born to Mary in a "cow's stall," is celebrated in the skies; we are assured he could have had anything he wanted
AUTHOR: John Jacob Niles (?), based on at least one traditional stanza
EARLIEST_DATE: 1934 (sheet music); collected from tradition by 1940
KEYWORDS: religious Jesus childbirth poverty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 600, "I Wonder As I Wander" (1 text)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #36, "I Wonder As I Wander" (1 text)
Roud #15015
NOTES: I can't help but note an irony: In the entire Bible, Jesus really makes only one request *for himself*: "My father, if it is possible, take this cup from me" (Matt. 26:39, etc.)
The request was not granted. - RBW
File: Br3600
===
NAME: I Wonder Wha'll Be My Man?
DESCRIPTION: "A' kinds o' lads an' men I see, The youngest an' the auldest... I wonder wha'll be my man." The singer wonders about his work, where he is, how she will recognize him. She fears there might be none, and accuses him of keeping her waiting
AUTHOR: Edward Polin ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: courting oldmaid nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 262-263, "I Wonder Wha'll Be My Man" (1 text, 1 tune); pp. 264-265, "I Wonder Wha'll Be My Wife" (1 text, clearly a male adaption of the preceding; Roud #13096)
Roud #5571
File: FVS262
===
NAME: I Wonder Wha'll Be My Wife?: see references under I Wonder Wha'll Be My Man? (File: FVS262)
===
NAME: I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny)
DESCRIPTION: Woman sings, "I wonder what is keeping my true love tonight?" He sings that he hasn't got anyone else, but he no longer loves her; he can't truly love a woman with two sweethearts. She warns other girls to beware false young men
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: infidelity love warning lover
FOUND_IN: Ireland Scotland(Aber)
REFERENCES: (4 citations)
Kennedy 157, "Green Grass It Grows Bonny" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 87-88, "Green Grass It Grows Bonnie" (1 text, 1 tune)
Ord, p. 187, "The Rose and the Thyme" (1 text, with the plot of this song but introductory stanzas from "Green Grows the Laurel")
DT, KEEPLOVE
Roud #858
RECORDINGS:
McBride 38, "Green Grass it Grows Bonnie" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (lyrics)
NOTES: *She* should talk! - PJS
Oh, I don't know; they sound perfect for each other.
Interestingly, Ord's text (which seems to mash together this song and "Green Grows the Laurel") doesn't mention the bit about the girl having two sweethearts. Neither does the version in the Digital Tradition, which, however, does not list a source. - RBW
File: K157
===
NAME: I Wonder When I Shall Be Married
DESCRIPTION: "I wonder when I shall be married... For my beauty's beginning to (fail/fade)." The girl's parents would be happy to see her married; they offer a good dowry ("forty good shillings" and household furnishings) but there are as yet no takers
AUTHOR: unknown
EARLIEST_DATE: 1923 (Cox)
KEYWORDS: age loneliness marriage dowry beauty clothes nonballad family oldmaid
FOUND_IN: US(Ap)
REFERENCES: (4 citations)
JHCoxIIB, #16, pp. 157-158, "Old Maid's Song" (1 text, 1 tune)
MHenry-Appalachians, p. 27, "I Wonder When I Shall Be Married" (1 text)
Ritchie-Southern, p. 71, "I Wonder When I Shall Be Married" (1 text, 1 tune)
DT, WHENMARI
Roud #818
RECORDINGS:
Jean & Edna Ritchie, "I Wonder When I Shall Be Married" (on Ritchie03)
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
cf. "O Gin That I Were Mairrit" (theme, lyrics)
cf. "I Am Gaun to the Garret" (lyrics, theme)
NOTES: This probably began as a British broadside, "The Maiden's Sad Complaint for Want of a Husband," and has a sister in this Index known as "I Am Gaun to the Garret". Even the American versions are often still quite British (note the forty shilling dowry!). But British versions often end with her finding a husband, so I'm listing this as a separate song.
Note that Cox's text is from Kentucky, not West Virginia -- and almost identical to the well-known Ritchie Family version. - RBW
File: CoxII16
===
NAME: I Wonder Where's the Gambler [Laws H22]
DESCRIPTION: The gambler spends all night at cards. In pain, he has to be helped home by friends. He is put to bed, and his mother asks the Lord to forgive him. The gambler says it is too late to pray. The chorus ends, "I wonder where he's gone" (i.e. Heaven or Hell)
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: gambling death farewell Hell
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
Laws H22, "I Wonder Where's the Gambler"
MHenry-Appalachians, pp. 96-97, "I Wonder Where's the Gambler" (1 text)
Cohen/Seeger/Wood, pp. 82-83, "The Gambler's Dying Words" (1 text, 1 tune)
SharpAp 152, "The Gambling Man" (2 texts, 2 tunes, but only the "A" text is this song; the "B" text is "Darling Corey")
DT 829, WHERGAMB
Roud #428
RECORDINGS:
Sid Harkreader, "The Gambler's Dying Words" (Broadway 8115, c. 1930)
Panhandle Pete [pseud. for Howard Nash], "The Gambler's Dying Words" (Decca 5599, 1938)
File: LH22
===
NAME: I Wondered and I Wondered
DESCRIPTION: "I wondered and I wondered All the days of my life, Where you're goin', Mr. Mooney, To get yourself a wife, Where you're goin', where you're goin' To get yourself a wife."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: nonballad wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 315, "I Wondered and I Wondered" (1 short text)
File: Br3315
===
NAME: I Would Not Be Alone: see The Song of the Southern Volunteers (File: SBoA221)
===
NAME: I Would Not Live Always
DESCRIPTION: The singer offers various reasons why "I would not live always:" "Since Jesus was laid there [in the tomb], I'll not fear its gloom." "Who would live always Away from his God?" The singer looks forward to the bliss of heaven
AUTHOR: unknown
EARLIEST_DATE: 1860 (Harmona Sacra)
KEYWORDS: religious death burial
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 630, "I Would Not Live Always" (1 text, 1 tune)
Roud #7558
File: R630
===
NAME: I Wouldn't Have an Old Man
DESCRIPTION: The singer refuses to have any part of an old man. She contrasts old and young men: The old are "slobbery," bony, have too many cows to milk, and hog the covers; young men are well-dressed and can keep a girl warm
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Frank Crumit)
KEYWORDS: nonballad age rejection youth marriage
FOUND_IN: US(MW,SE,So)
REFERENCES: (6 citations)
Eddy 135, "I Wouldn't Have an Old Man" (1 text)
Gardner/Chickering 174, "An Old Man and a Young Man" (1 text, 1 tune)
Randolph 401, "Stand Back, Old Man, Get Away" (1 text, 1 tune)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "M," "N," and "R" belong here)
Shellans, pp. 8-9, "Git Away, Old Man" (1 text, 1 tune)
DT, AWAOLDMN*
Roud #3719
RECORDINGS:
Frank Crumit, "Get Away, Old Man, Get Away" (Victor 20137-B, 1926)
Vernon Dalhart, "Get Away Old Man, Get Away" (Brunswick 123, 1927) (Pathe 32254, 1927) (Columbia 969-D, 1927) (Supertone 9228, 1928) (CYL: Edison [BA] 5321, n.d.)
Durium Dance Band w. Carson Robison & his Pioneers, "Get Away Old Man" (Durium [UK] EN-25, 1932)
Arthur Fields, "Get Away Old Man"  (Broadway 8049, rec. 1927)
Mack Brothers, "Get Away, Old Man, Get Away" (Decca 5073, 1935)
Charlie Newman, "Get Away Old Man, Get Away" (OKeh 45095, 1927)
Chubby Parker, "Get Away Old Maids, Get Away" (Conqueror 7888, 1931; Montgomery Ward M-4945, 1936; on CrowTold02)
CROSS_REFERENCES:
cf. "Maids When You're Young Never Wed an Old Man"
cf. "Old Man Came Over the Moor, An (Old Gum Boots and Leggings)"
cf. "I Wouldn't Marry an Old Man"
NOTES: I suspect this may be a clean version of "I Wouldn't Marry an Old Man," but Ed Cray did not equate the two, and who am I to argue? (It is worth noting that Roud doesn't seem to consider this a song in its own right).
Paul Stamler points out that this song also exists in a version which complains about women, sung by Chubby Parker, and wonders if we shouldn't do something about the title. But the majority of versions complain about men; I suspect the Parker text of being a deliberate rewrite. - RBW
File: R401
===
NAME: I Wouldn't Marry: see I'll Not Marry at All (File: E072)
===
NAME: I Wouldn't Marry (II): see For item #17 in BrownIII, see I Wouldn't Marry an Old Maid AND I'll Not Marry at All AND I Wouldn't Have an Old Man AND I Wouldn't Marry an Old Maid (File: Br3017)
===
NAME: I Wouldn't Marry an Old Maid
DESCRIPTION: "I wouldn't marry an old maid, Tell you the reason why...." Various reasons are offered, e.g. "Her neck is so long and stringy, I fear she'll never die."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: courting oldmaid nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which ""B," part of "S," and the first stanza of "A" belong here)
File: Br3017
===
NAME: I Wouldn't Marry an Old Man
DESCRIPTION: The singer prefers a young to an old man for explicit sexual reasons.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy age marriage sex
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 334-335, "I Wouldn't Marry an Old Man" (2 texts, 1 tune)
CROSS_REFERENCES:
cf. "Maids When You're Young Never Wed an Old Man"
cf. "Old Man Came Over the Moor, An (Old Gum Boots and Leggings)"
cf. "I Wouldn't Have an Old Man"
NOTES: A male version, "I Wouldn't Marry an Old Maid," also exists. Necessarily, its verses differ from the female's; thus there may be two songs on the same theme with similar titles. Presumably the tunes will determine the question. In Randolph-Legman I, the melody for the female version given is more often associated with "No Balls at All." - EC
I suspect this may be a bawdy version of "I Wouldn't Have an Old Man," but Ed did not equate the two, and who am I to argue? - RBW
File: RL334
===
NAME: I Wrote My Love a Letter: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: I Wuz Borned on the Rivuh: see I Was Born on the River (File: MWHee033)
===
NAME: I Yield
DESCRIPTION: "Fathers, bear your cross, for it will only make you richer, For to enter into that bright kingdom, by and by. I yield, I yield, oh, how I love to yield, For to enter into that bright kingdom, by and by." Similarly with mothers, brothers, etc.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 219, "I Yield" (1 text)
ST Fus219 (Partial)
Roud #16374
File: Fus219
===
NAME: I-Yi-Yi-Yi (Limericks)
DESCRIPTION: Marked by verses in the form of limericks, always bawdy. Most deal with sexual machinery, either human or mechanical
AUTHOR: unknown
EARLIEST_DATE: 1959
KEYWORDS: bawdy technology
FOUND_IN: US(SW,So)
REFERENCES: (1 citation)
Cray, pp. 216-223, "I-Yi-Yi-Yi" (4 texts, 2 tunes)
Roud #10247
RECORDINGS:
Anonymous singers, "Limericks" (on Unexp1)
CROSS_REFERENCES:
cf. "Cielito Lindo" (tune) and references there
cf. "Waltz Me Around Again Willie" (lyrics)
NOTES: As will be seen from the cross-references, this piece has an assembled tune, and not all versions have the same melody. Nor are there any lyrics found consistently. It classifies as a single song more or less by default. - RBW
File: EM216
===
NAME: I'd Rather Be Dead
DESCRIPTION: "I rather be dead an' laid in de dirt Than to see my gal with her feelin's hurt." "I rather be dead an' laid in de sand Than to see my gal with another man." "I rather be dead an' laid in de ground Than to see my gal in anoder weddin' gown."
AUTHOR: unknown
EARLIEST_DATE: 1916 (White)
KEYWORDS: death jealousy burial
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 443, "I'd Rather Be Dead" (1 text)
Roud #11780
NOTES: I suspect this is a fragment of something longer, in which the singer explains the reason for his jealousy. But I can't say what the longer piece is. - RBW
File: Br3443
===
NAME: I'll Be All Right
DESCRIPTION: "I'll be all right, I'll be all right, I'll be all right someday/Deep in my heart, I do believe, I'll be all right some day". Similarly, "I'll be like Him...", "I'll overcome"
AUTHOR: Unknown, perhaps adapted from a song by Charles Tindley
EARLIEST_DATE: 1961 (recording, Rev. Gary Davis)
KEYWORDS: nonballad religious
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Rev. Gary Davis, "I'll Be All Right Someday" (on GaryDavis02)
CROSS_REFERENCES:
cf. "We Shall Overcome" (tune, structure, lyrics)
ALTERNATE_TITLES:
I Will Be All Right
NOTES: Obviously, this song is a near-twin of "We Shall Overcome," and until recently I would have said that the latter was a minimal adaptation of this song. But the recent discovery that "We Will Overcome" was being sung as early as 1908, and in the context of a labor struggle at that, makes the question of ancestry more ambiguous. So I'll leave it up in the air, and simply give this song its own entry, separate from "We Shall Overcome," because of the drastically different social circumstances under which it is sung. - PJS
File: RcIBeAlR
===
NAME: I'll Be All Smiles Tonight
DESCRIPTION: The singer is carefully dressing and bedecking herself with flowers for a wedding -- the wedding of her false true love to another girl. She intends to put on a fine face: "Though my heart will break tomorrow, I'll be all smiles tonight."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Luther B. Clarke)
KEYWORDS: love wedding infidelity clothes
FOUND_IN: US(SE,So) Australia
REFERENCES: (3 citations)
Randolph 812, "I'll Be All Smiles Tonight" (2 texts)
Meredith/Covell/Brown, pp. 32-34, 40-41, 174-175, "I'll Be All Smiles Tonight" (2 texts plus a fragment, 3 tunes)
cf. Gardner/Chickering, p. 479, "I'll Be All Smiles Tonight" (source notes only)
Roud #3715
RECORDINGS:
Carter Family, "I'll Be All Smiles Tonight" (Bluebird B-5529, 1934; Montgomery Ward M-4497, c. 1934)
Luther B. Clarke [Blue Ridge Highballers], "I'll Be All Smiles To-night Love" (Columbia 15069-D, 1926)
Frank Jenkins & his Pilot Mountaineers [Oscar Jenkins, Frank Jenkins, Ernest V. Stoneman], "I Will Be All Smiles Tonight" (Conqueror, unissued, 1929)
Jenkins & Whitworth, "I'll Be All Smiles Tonight" (OKeh 45331, 1929)
Bradley Kincaid, "I Will Be All Smiles Tonight" (Supertone 9566, 1929)
Lester McFarland & Robert Gardner ("Mac & Bob"), "I'll Be All Smiles Tonight" (Brunswick 164, 1927)
Linda Parker & the Cumberland Ridge Runners, "I'll Be All Smiles Tonight" (Conqueror 8164, 1933)
Reed Children, "I'll Be All Smiles Tonight" (Columbia 15525-D, 1930; rec. 1928)
Kitty Wells, "I'll Be All Smiles Tonight" (RCA Victor 21-0333, 1950)
CROSS_REFERENCES:
cf. "This Night We Part Forever"
File: R812
===
NAME: I'll Be There, Mary Dear
DESCRIPTION: A soldier bids farewell to his sweetheart, giving her a golden leaf to remember him by. He loses an arm in battle, but friends tell him him one arm is enough to hold her. When he returns home, however, he finds her dead and buried; he is heartbroken
AUTHOR: Words: Andrew Sterling / Music: Harry von Tilzer (1872-1946)
EARLIEST_DATE: 1902 (sheet music)
KEYWORDS: soldier death separation return grief love promise army war
FOUND_IN: US
REFERENCES: (1 citation)
Rorrer, p. 84, "Goodbye Mary Dear" (1 text)
Roud #12394
RECORDINGS:
Richard Harold, "Mary Dear" (Columbia 15426-D, 1929; rec. 1928)
Roy Harvey and the North Carolina Ramblers, "I'll Be There, Mary Dear" (Brunswick 234/Aurora 22032, 1928)
Charlie Poole and the North Carolina Ramblers, "Goodbye, Mary Dear" (Columbis 14546-D, 1929)
NOTES: The similarity to "The Girl I Left in Sunny Tennessee" is obvious, but the words and tune are different, and there are plot elements here that aren't in that song, so I separate them. Meanwhile, I'd give long odds this dates from just after the Civil War. - PJS
It's easy to see why Paul thinks so (I would have guessed the same thing had I not seen a recent article by Lyle Lofgren about the piece), but in fact this -- like "The Girl I Left in Sunny Tennessee" -- dates from soon after the Spanish-American War. (Lofgren points out that there is a reference to the soldier taking a "transport" back home, strengthening the ties to 1898.)  Presumably the latter war re-inspired this sort of tear-jerker, even though the casualties were less than in the Civil War. Mostly because the war was shorter; the troops were often as ill-clothed, ill-fed, and ill-cared-for as they had been a third of a century earlier. - RBW
File: RcGoMaDe
===
NAME: I'll Be With You When the Roses Bloom Again
DESCRIPTION: The soldier must leave his sweetheart; as she pins a rose on his breast, he promises, "I'll be with you when the roses bloom again." He is killed in battle; and can only ask that the captain inform his sweetheart
AUTHOR: Will D. Cobb & Gus Edwards (sometimes listed as "Will Whitmore & Harry Hilliard")
EARLIEST_DATE: c. 1901 (sheet music)
KEYWORDS: soldier separation death flowers
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Fuson, p. 123, "When the Roses Bloom Again" (1 text)
Cambiaire, p. 96, "When the Wild Roses Bloom Again Beside the River " (1 text)
MHenry-Appalachians, pp. 138-139, "When the Roses Bloom Again beside the River" (1 text)
ST RcIBWYWt (Partial)
Roud #2871
RECORDINGS:
[Richard] Burnett & [Leonard] Rutherford, "I'll Be With You When the Roses Bloom Again" (Columbia 15122-D, 1927; rec. 1926; on BurnRuth01, KMM)
Cramer Boys [Carver Boys], "I'll Be With You When the Roses Bloom Again" (Broadway 8180, rec. 1929)
Cross & McCartt, "When the Roses Bloom Again" (Columbia 15143-D, 1927)
Vernon Dalhart, "I'm Be With You When the Roses Bloom Again" (Columbia 15054-D, 1926; rec. 1925)
Paul Joines & Cliff Evans, "Budded Roses" (on Persis1)
Harry Macdonough, "I'll Be With You When the Roses Bloom Again" (CYL: Edison 8276, 1903)
Blind Jack Mathis, "When the Roses Come Again" (Columbia 15344-D, 1929)
Lester McFarland & Robert A. Gardner, "When the Roses Bloom Again" (Brunswick 111/Vocalion 5027, 1927; Supertone S-2028, 1930)
Walter Scanlan "I'll Be With You When the Roses Bloom Again" (Edison 52063, 1927)
Kilby Snow, "Budded Roses" (on KSnow1)
Ernest V. Stoneman, "When the Roses Bloom Again" (matrix # GEX 496-A recorded 1927 and issued 1927-1928 as: Herwin 17741, Gennett 6044 [as by Ernest V. Stoneman and his Graysen County Boys, Champion 1522 [as by Uncle Jim Seany], Challenge 244/Supertone 9255/Silvertone 5001/Silvertone 8155/Silvertone 25001 [as by Uncle Ben Hawkins]) (matrix #7224-1 recorded 1927 and issued as Banner 1993/Domino 3964/Regal 8324/Oriole 946 [as by Sim Harris], 1927; Homestead 16498 [as by Harris])
[Wilmer] Watts & [Frank] Wilson, "When the Roses Bloom Again" (Paramount 3006, 1927)
Weaver & Wiggins [pseud. for Wilmer Watts & Frank Wilson], "When the Roses Bloom Again" (Broadway 8112, c. 1931)
CROSS_REFERENCES:
cf. "The Dying Soldier (Erin Far Away I)" [Laws J6] (plot) and references there
cf. "Down Among the Budded Roses" (some lyrics)
NOTES: According to Spaeth, _A History of Popular Music in America_ (p. 315), Cobb & Edwards were also the authors of "Mamie," listed as "an outstanding hit of 1901." 
This sounds like a Civil War song, but given the era when Cobb and Edwards worked together, one must assume it was inspired by the Spanish-American War. - RBW
I place Joines & Evans's recording "Budded Roses" here, but with misgivings; for one thing, it makes no mention of the man being a soldier. But the story fits well enough that, for want of an alternative, I place it here. Ditto Snow, who probably learned his version from Charlie Poole. - PJS
File: RcIBWYWt
===
NAME: I'll Build Me a Boat
DESCRIPTION: "I'll make me a boat and I'll down the river float... I'll see Mona, fair Mona, pretty Mona I'll see." Using his shirt for a sail, he arrives at Mona's -- but her four brothers break in, kill him, and throw him in the sea. She throws herself in after him
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: homicide brother ship river love courting suicide drowning sea
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 499, "Raise a Ruckus Tonight" (4 texts, of which "A" is this piece)
Roud #10054
CROSS_REFERENCES:
cf. "Raise a Ruckus" (lyrics)
NOTES: The editors of Brown, seemingly followed by Roud,  threw this in with "Raise a Ruckus Tonight" because it contains that key line, and other hints (e.g. the girl's name Mona) that it is related to that song.
Related, but assuredly not a version. The overwhelming majority of the text is a murder ballad -- and, by the looks of it, a very old and possibly very good one that somehow was mixed up with "Raise a Ruckus." Unfortunately, it's short enough that it can't be identified by its lyrics -- and the plot doesn't exactly match any others I know. The murderous brothers are common -- but throwing the body in the sea certainly isn't, and the use of a shirt for a sail is most intriguing. - RBW
File: Br3499
===
NAME: I'll Cheer Up My Heart
DESCRIPTION: "As I was a-walking ae May morning... There I saw my faithless lover...." "Well, since he's gane, joy gang wi' him.... I'll never lay a' my love upon ane." She laments her lost love, who prefers a rich girl, but will not let the grief ruin her life
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting farewell abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 177, "I'll Cheer Up My Heart" (1 text)
Roud #5563
CROSS_REFERENCES:
cf. "Farewell He" (subject) and references there
File: Ord177
===
NAME: I'll Drink One (To Be a Good Companion, The Sussex Toast)
DESCRIPTION: "I'll drink one, if you'll drink two, And here's a lad that'll drink with you, And if you do as I have done, You'll be a good companion." Each verse adds a drink ("I'll drink two if you'll drink three, And here's a lad that will drink with thee," etc.)
AUTHOR: unknown
EARLIEST_DATE: 1921 (Sharp MS.)
KEYWORDS: nonballad drink
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 285, "To Be a Good Companion" (1 text, 1 tune)
DT, SUSSXTST*
Roud #885
File: K285
===
NAME: I'll Fire Dis Trip
DESCRIPTION: "I'll fire dis trip an' I'll fire no mo', fire down below! (x2)" "Miss Nancy Bell, I wish you well, fire down below! (x2)" "De bullies' boy is Uncle Gable, fire down below! Bring on day wood while you be's able! Fire down below."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown); possibly first printed 1850 (see Notes)
KEYWORDS: ship work fire
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 222, "I'll Fire Dis Trip" (1 text)
Hugill, p. 115, "The Sailor Fireman" (1 text, 1 tune)
NOTES: Hugill suggests that this may be the original Negro song from which the tune of the verses of both "Ho for California" and "Camptown Races" stemmed. He found it in Sternvall's _Sang under Segel_ (1935) where the author cites a book called _Nigger Melodies, being the only entire and complete work of Ethiopian songs extant;_ Cornish Lamport & Co., NY, 1850. I found references to the book in WorldCat and other indexes, but haven't actually laid eyes on it. - SL
File: Br3222
===
NAME: I'll Fly Away
DESCRIPTION: "Some glad morning, when this life is over, I'll fly away/To a home on God's celestial shore, I'll fly away" Cho: "I'll fly away, oh glory, I'll fly away/When I die, halleluiah bye and bye..." "Just a few more weary days and then...."
AUTHOR: A. E. Brumley 
EARLIEST_DATE: 1941 (recording, Selah Jubilee Quartet)
KEYWORDS: resurrection death nonballad religious
FOUND_IN: US
REFERENCES: (1 citation)
DT, IFLYAWAY*
RECORDINGS:
Brown's Ferry Four, "I'll Fly Away" (King 785, 1949)
Rev. Gary Davis, "I'll Fly Away" (on GaryDavis2)
Lincoln Park Singers, "I'll Fly Away" (AFS 7043 B1, 1943)
Selah Jubilee Quartet, "I'll Fly Away" (Decca 7831, 1941)
Virginia Trio [Jim & Jesse McReynolds], "I'll Fly Away" (Kentucky 509, n.d.)
File: RcIFlyA
===
NAME: I'll Give You One More As You Go
DESCRIPTION: The singer describes how his sweetheart sent him off, offering a final kiss: "I'll give you one more as you go." Her parents are less tolerant; they set the dog on him. As he departs, the father orders "Sic him, Towse, And give him one more as he goes."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: love courting family dog humorous
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Randolph 376, "I'll Give You One More As You Go" (1 text, 1 tune)
Randolph/Cohen, pp. 308-309, "I'll Give You One More As You Go" (1 text, 1 tune -- Randolph's 376)
Roud #3755
ALTERNATE_TITLES:
Sic Him, Towse
NOTES: Cohen reports this was written by Ike Brown in 1884. - RBW
File: R376
===
NAME: I'll Hang My Harp on a Willow Tree
DESCRIPTION: "I'll hang my harp on a willow tree, I'm off to the wars again." The singer's love is to be wed to one of higher degree. For her sake he gave up soldiering and became a minstrel, but after her wedding he will resume soldiering, hoping to die in battle
AUTHOR: unknown
EARLIEST_DATE: c. 1846 (sheet music)
KEYWORDS: war infidelity wedding music harp
FOUND_IN: US(SE) Ireland Britain(England,Scotland)
REFERENCES: (3 citations)
McNeil-SFB1, pp. 113-115, "I'll Hang My Harp on a Willow Tree" (2 texts, 1 tune)
SHenry H155, p. 366, "I'll Hang My Harp on a Willow Tree" (1 text, 1 tune)
Ord, pp. 56-57, "I'll Hang My Harp" (I text, 1 tune)
ST MN1113 (Full)
Roud #1444
BROADSIDES:
LOCSinging, as201530, "I'll Hang My Harp on a Willow Tree," H. De Marsan (New York), 1861-1864; also as105930, as105920, as105910, sb20215b, "I'll Hang My Harp on a Willow Tree"
CROSS_REFERENCES:
cf. "Brighidin Ban Mo Store" (theme)
NOTES: The earliest references to this piece seem to be from American sheet music: A copy of c. 1846 was printed in Philadelphia with an arrangement credited to Leopold Meignen. In 1848/9 it was published in Louisville, Kentucky and credited to Wellington Guernsey. A 1909 American text is effectively identical to the Sam Henry text of 1926, but with a noticeably different tune. Given that the song was found both in Ulster by Henry and in England by Ord, one must suspect British origin, but the matter is uncertain.
Ord heard a report that the singer in this song was involved with Queen Victoria before her marriage (allegedly at 17, i.e. in 1836/37, shortly before she took the throne). There is no external confirmation of this, and does not match his text of the song, since in the text, the love has golden hair. Also, he speaks of fighting the Saracen -- but by Victoria's time, the Saracen was replaced by the Turk, and the English were generally supporting the Turks against Russia. - RBW
Broadside LOCSinging as201530: 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: MN1113
===
NAME: I'll Have a New Life (In That Resurrection Morning)
DESCRIPTION: "(On/In) the resurrection morning, When the dead and Christ shall rise, I'll have a new body...." The singer gives thanks for a new home, a new life, and a body "raised in power, Ready to live in paradise."
AUTHOR: unknown
EARLIEST_DATE: 1957 (collected by Shellans from Ruby Vass)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, pp. 91-92, "I'll Have a New Life" (1 text, 1 tune)
Roud #4309
NOTES: Roud lumps this with "We Shall Rise, Hallelujah," but while there may be some shared lyrics, I really don't think they're the same song.
The phrase "sown in weakness, raised in power" is from 1 Corinthians 15:43, which is sort of a hymn by Paul to the resurrection body.
The origin of this raises interesting questions. This really sounds to me like  church hymn -- and, indeed, I have a Baptist hymnal, _Soul-Stirring ongs and Hymns_, which has a piece entitled "Hallelujah, We Shall Rise" and beginning "In the resurrection morning, When the trump of Go shall sound, We shall rise...." The tunes look fairly similar; the lyrics less so. I woner if this might not be another case of someone in the Vass family (probably John Daniel Vass) remaking an existing song. - RBW
File: Shel091
===
NAME: I'll Hit the Road Again, Boys: see I Walk the Road Again (File: FSC178)
===
NAME: I'll Live Till I Die: see Rye Whiskey; also The Rebel Soldier (File: R405)
===
NAME: I'll Meet You in the Evening: see Hot Corn, Cold Corn (I'll Meet You in the Evening) (File: R267)
===
NAME: I'll Name the Boy Dennis, Or No Name At All
DESCRIPTION: "IÕm bothered, yes, IÕm bothered, completely perplexed, IÕm the father of a little boy, IÕm not happy but IÕm vexed." Everyone in his immense family wants to give the child a different name. He puts his foot down for the name Dennis.
AUTHOR: Words: Fred Hatfield  / Music: J. Small
EARLIEST_DATE: 1880 (copyright on a sheet music arrangement by Jos. Schwenseck [?])
KEYWORDS: humorous baby wordplay
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 34-35, "Name the Boy Dennis Or No Name At All" (1 text)
Roud #6658
File: Dean034
===
NAME: I'll Ne'er Forget the Parting: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: I'll Never Be Yours: see Banks of the Ohio [Laws F5]
 (File: LF05)
===
NAME: I'll Never Get Drunk Any More (I)
DESCRIPTION: "When I go out on Sunday, what pleasure do I see? For the girl I loved so dearly Has gone square back on me." "I'll never get drunk any more, any more... I'll lay my head on the barroom floor." The singer laments how drink has ruined him
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: drink abandonment nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 36, "I'll Never Get Drunk Any More" (4 texts, all somewhat mixed; the "A" text is cited above, and the "B" text is probably from the same family; "C" and "D" are "Oh, Once I Had a Fortune")
Roud #4625
File: Br3036
===
NAME: I'll Never Get Drunk Any More (II): see Oh, Once I Had a Fortune (File: R316)
===
NAME: I'll Never Get Drunk Any More (III)
DESCRIPTION: The singer "got frisky Over some poteen whisky," fell, cracked his skull and had his pocket picked. The landlady won't give a drunk credit. "A man that's fond of boozing, His cash goes daily oozing" He swears off drink and warns others to do the same. 
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: warning drink nonballad money theft
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 96-97, "I'll Never Get Drunk Any More!" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 268-269, "I'll Never Get Drunk Any More"
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
cf. "Mall Brook" [i.e. "Malbrouk"] (tune, according to Croker-PopularSongs)
File: CrPS096
===
NAME: I'll Never Leave Old Dixie Land Again
DESCRIPTION: Singer, a former slave, returns to Dixie and his beloved Dinah again, after having spent time living in Kansas. He says the weather there is enough to freeze him, and he misses his home, so he'll never leave old Dixie Land again
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Bogue Ford)
KEYWORDS: homesickness loneliness love home return reunion separation slavery
FOUND_IN: US(MW)
REFERENCES: (0 citations)
Roud #15470
RECORDINGS:
Bogue Ford, "I'll never leave old Dixie land again" (AFS 4211 A1, 1939; in AMMEM/Cowell)
NOTES: A minstrel-show song, without a doubt. Ford sings it in dialect.
A significant number of freed slaves did in fact settle in Kansas during the years after the Civil War. - PJS
File: RcINLODA
===
NAME: I'll Never Turn Back No More: see No More, My Lord (File: SBoA312)
===
NAME: I'll Never Wear the Red Any More: see Jenny Jenkins (File: R453)
===
NAME: I'll Not Marry at All
DESCRIPTION: The single woman proudly proclaims her intent to die an old maid. She reels off the defects of all sorts of men -- rich, poor, fat, lean, farmer, e.g. "I'll not marry a man that's rich, He'll get drunk and fall in the ditch, I'll not marry at all...."
AUTHOR: unknown
EARLIEST_DATE: 1913 (Belden)
KEYWORDS: oldmaid
FOUND_IN: US(Ap,MW,NE,Ro,So) Canada(Mar)
REFERENCES: (12 citations)
Eddy 72, "Shab-i-da Ru-dy" (1 text, 1 tune)
Belden, pp. 262-263, "I Wouldn't Marry" (2 texts)
Randolph 364, "The Old Maid's Song" (3 texts, 1 tune)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "H," "J," "O," and "P" apparently belong here)
Linscott, pp. 211-212, "I'll Not Marry at All" (1 text, 1 tune)
Wyman-Brockway II, p. 72, "The Old Maid" (1 text, 1 tune)
Fuson, pp. 91-92, "I'll Not Marry At All" (1 text)
MHenry-Appalachians, p. 26, "The Old Maid" (1 text)
LPound-ABS, 99, pp. 208-209, "I'll Not Marry at All" (1 text)
Pankake-PHCFSB, p. 78, "I Won't Marry" (1 text, 1 tune)
Creighton-SNewBrunswick 100, "I Never Will Marry a Man Who Is Rich" (1 text, 1 tune)
DT, NOTMARRY
Roud #2774
RECORDINGS:
Kentucky Thorobreds, "I'll Not Marry at All" (Paramount 3080, 1928; Broadway 8184 [as Old Smokey Twins], n.d.; rec. 1927)
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
cf. "A Young Virgin" (theme)
cf. "The Song of the Southern Volunteers" (form)
NOTES: Linscott, or her informants, thought this Irish. She cites no evidence, and the collections seem to be all, or nearly all, from the United States and Canada.
The idea of a catalog of undesirable occupations can be traced all the way back to ancient Egypt, though there it was a young man being advised against them. The "Instruction of Duauf" consists of a father telling the son what's wrong with each job, e.g. a smith smells worse than fish roe. (The piece was apparently used to train scribes; the one form of employment it approves of is scribe.) - RBW
File: E072
===
NAME: I'll Remember You, Love, In My Prayers: see When the Curtains of Night Are Pinned Back (File: San259)
===
NAME: I'll Return, Mother Darling, to You
DESCRIPTION: "A mother was saying good-bye to her boy, Who was ready to start for the war." She asks if they are parting forever. He promises to return "When the roses of springtime are blooming." Eventually the boy returns and declares he will never more part fromher
AUTHOR: Words: Casper Nathan / Music: E. Clinton Keithley (1880-1955)
EARLIEST_DATE: 1915 (sheet music copyrighted)
KEYWORDS: war mother children separation reunion
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 113, "I'll Return, Mother Darling, to You" (1 text)
Roud #21719
NOTES: The cover of the sheet music to this makes the mother look truly ancient; presumably the idea was to give the impression that the boy was her last son. Since the song was written in 1915, clearly the war is World War I. In a proper folk song, he probably would not have come back, but this item is too cheery to note the millions of casualties, or the many soldiers who came home blind, brain damaged, or missing one or more limbs.
Often not even the bodies returned home. John Keegan, _The First World War_, Alfred A. Knopf, 1999, pp. 421-422, notes, "Few Russian or Turkish soldiers were ever decentrly interred andmany German and Austrian soldiers killed on the shifting battlefields of the Eastern Front imply returned to earth.... Of the British Empire's million dead, most killed in France and Belgium, the bodies of over 500,000 were never to be found or, if found, not identified. a similar proportion of the 1,700,000 Frenh war dead had also disappeared."
Keegan, p. 423, "To the million dead of the British Empire and the 1,700,000 French dead, we must add 1,500,000 soldiers of the Habsburg Empire who did not return, two million Germans, 460,000 Italians, 1,700,000 Russians and many hundreds of thousands of Turks; their numbers were never counted.... Male mortality exceeded normal expectations, between 1914 and 1918, seven to eightfold in Britain, and tenfold in France, in which 17 per cent of those who served were killed.... [M]en who were between 19 and 22 when the ware broke out... were reduced by 35-37 per cent." - RBW
James L. Stokesbury, _A Short History of World War I_, Morrow, 1981, makes the figures even more grim. On p. 310, he calculates, "All the Allies together mobilized a total of just over 42 million men. They counted as casualties those who had been killed or died while in service, wounded, prisoners, and mising. The total of these was slightly more than 22 million, or about 52 percent.... Russia... had mobilied 12 million men and had 9,150,000 casualties, or 76 percent. The British Empire had mobilized 8,904,000 and suffered more than 3 million casualties, about 36%. Italy had 39 percentlosses among her 5.5 million servicemen. France, by contrast, had put under arms half a million fewer than the British empire, 8,400,000, but had a far higher ratio of losses, over 6 million, or 73 percent, the highest of any of the surviving states." (Russia, of course, had collapsed under the strain, hence the distinction between non-survivors and survivors.) Stokesbury calculates American casualties as a relatively trivial 8%, and that on a relatively small force of 4,355,000 men.
Stokesbury, p. 310, "The Central Powers sacrificed as many men losing the war as the Allies did winning it. Of 23 million men mobilized they had 15 million casualties, 15 more than the Allies. Germany lost more than 7 million of her 11 million fighting men. The worst record for the entire war was Austria-Hungary's, for she mobilized 7,800,000 and lost 7 million of them, an astonishing 90 percent."
Stokesbury, p. 309, notes that the was was estimated to have cost $337,980,579,560 -- and that's in 1920 dollars!
Bottom line: A million and a half British mothers had to face either losing a son or having him come back permanently maimed. - RBW
File: Dean113A
===
NAME: I'll Rise When the Rooster Crows
DESCRIPTION: Disjointed, some floating verses: "Going up yonder gonna put on my robes, gonna put on my golden shoes." "Where the duck chews tobacco and the goose drinks wine" Chorus: "I'll rise when the rooster crows... down where the sugar cane grows"
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Disjointed, some floating verses: "Going up yonder gonna put on my robes, gonna put on my golden shoes." "Where the duck chews tobacco and the goose drinks wine/The old hen cackles while the rooster keeps the time." "What you gonna do when the women all dead/Gonna stand in the corner with a hung-down head/If I had to marry I wouldn't marry for riches/Marry a big fat girl who couldn't wear my britches." Chorus: "I'll rise when the rooster crows...I'm going back south where the sun shines hot, oh, down where the sugar-cane grows"
KEYWORDS: marriage drink floatingverses nonballad chickens
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Binkley Brothers' Dixie Clodhoppers, "I'll Rise When the Rooster Crows" (Victor V-40048, 1929)
Uncle Dave Macon, "Rise When the Rooster Crows" (Vocalion 5097, 1926)
CROSS_REFERENCES:
cf. "Devilish Mary" (floating verses)
cf. "Hopalong Peter" (floating verses)
cf. "Hen Cackle" (floating verses)
File: RcIRWTRC
===
NAME: I'll See You in the Fair: see Cloughmills Fair (File: HHH121)
===
NAME: I'll Sing You a Song
DESCRIPTION: "I'll sing you a song (that's not very long/the days are long) About a woodcock (or cuckoo) and a sparrow." A dog either burns its tail or bites the singer's ear and is to be hanged tomorrow.
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: execution nonballad bird dog
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 485, "I'll sing you a song" (1 text)
Baring-Gould-MotherGoose #72, p. 80, "(I'll Sing You a Song)"; cf. #256, p. 159, ("I'll sing you a song")
Roud #15095
NOTES: Opie-Oxford2: "Since this rhyme dates at least from the eighteenth century, the statement in the last line that the dog must be hanged on the morrow may be based on more than poetic fancy. The trial of animals and the judicial hanging of dogs, although uncommon, appears at one time to have been considered reasonable." - BS
The Baring-Goulds give examples of this phenomenon, noting that it applied particularly to animals which killed or maimed people. They fail to note that this is essentially a Biblical policy: A bull which fatally gored a person was to be stoned (Exodus 21:28). - RBW
File: OO2485
===
NAME: I'll Sing You One Ho!: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: I'll Sit Down and Write a Song: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: I'll Take You Home Again, Kathleen
DESCRIPTION: The singer promises to take Kathleen home across the ocean. He says that -- even though she has lost her looks and her voice is sad -- he still loves her as she loves him. Once home (in Ireland?), they will visit their old haunts
AUTHOR: Thomas P. Westendorf
EARLIEST_DATE: 1876
KEYWORDS: home love travel
FOUND_IN: US(MW)
REFERENCES: (6 citations)
RJackson-19CPop, pp. 83-86, "I'll Take You Home Again, Kathleen" (1 text, 1 tune)
Dean, p. 107, "I Will Take You Back Again, Kathleen" (1 text)
Geller-Famous, pp. 5-10, "I'll Take You Home Again, Kathleen" (1 text, 1 tune)
Silber-FSWB, p. 259, "I'll Take You Home Again, Kathleen" (1 text)
Fuld-WFM, p. 296, "I'll Take You Home Again, Kathleen"
DT, KTHLEN
ST RJ19083 (Full)
Roud #12907
RECORDINGS:
Kaplan's Melodists w. Vernon Dalhart, voc. "I'll Take You Home Again, Kathleen" (Edison 51666, 1925)
Bradley Kincaid, "I'll Take You Home Again Kathleen" (Bluebird 5569, 1934)
Shannon Quartet, "I'll Take You Home Again, Kathleen" (OKeh 40302, 1925)
Zack [Hurt] & Glenn [?], "I'll Take You Home Again Kathleen" (OKeh 45240, 1928)
NOTES: This song has produced a its own folklore (that it's traditional, that it was written in 1900, that the author's wife was named/nicknamed/renamed Kathleen, that it has something to do with Ireland, etc.). The facts, which rarely resemble the folklore, have been summarized in Richard S. Hill's article "Getting Kathleen Home Again" in the June 1948 issue of _Notes_, the journal of the Music Library Association.
Spaeth (History of American Popular Music) summarizes the facts as follows: Westerndorf's wife was named Jennie, not Kathleen; he was a Virginian then living in Indiana; and the song was supposedly inspired by something called "Barney, Take Me Home Again." - RBW
File: RJ19083
===
NAME: I'll Tell My Ma (I)
DESCRIPTION: "I'll tell my my when I go home, The boys won't leave the girls alone; Pulling their hair and breaking their combs...." In some texts, the story ends there; in others, the girl says, "But that's all right till I go home"; we are told of her true love
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry)
KEYWORDS: courting hair fight
FOUND_IN: Ireland Australia Britain(England(North)) Canada(Mar)
REFERENCES: (2 citations)
SHenry H48e, p. 11, "I'll Tell My Ma" (1 text, 2 tunes)
Meredith/Covell/Brown, p. 146, "(Polka)" (1 fragment, consisting solely of the "I'll Tell My Ma" stanza, 1 tune)
Roud #2649
RECORDINGS:
Em Elliott, "I'll Tell My Ma When I Get Home" (on Elliotts01)
CROSS_REFERENCES:
cf. "The Wind (Rain, Rain, the Wind Does Blow)" (lyrics)
NOTES: The Clancy Brothers version of this involves a girl, "the belle of Belfast city," setting her heart on a man. This doesn't seem to happen in the other versions I've seen, which are just the complaints about the boys teasing the girl. 
The question is, is this a conflate of "I'll Tell My Ma" with some other song (presumably "The Wind (Rain, Rain, the Wind Does Blow)," or is the Clancy version the original which broke in half? Roud lumps them, but I'm not sure that means much.
I eventually ended up splitting them, but I'm none too happy about the situation. - RBW
File: MCB146
===
NAME: I'll Tell My Ma (II): see The Wind (Rain, Rain, the Wind Does Blow) (File: RcRRtWDB)
===
NAME: I'll Tell You What I Saw Last Night: see Wicked Polly [Laws H6] (File: LH06)
===
NAME: I'll Tell Your Daddy
DESCRIPTION: "John, John, John, I'll tell your daddy (x3), So early in the morning." "The blue-eyed girl is dead and gone (x3) So early in the morning."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: playparty nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 100, "I'll Tell Your Daddy" (1 text)
NOTES: The editors of Brown link this implicitly to "Going to Boston," but that appears to be on the basis solely of a floating verse. - RBW
File: Br3100
===
NAME: I'll Weave My Love a Garland
DESCRIPTION: "I'll weave my love a garland, He shall be dressed so fine, I'll set it round with roses... For I love my love, and I love my love Because my love loves me." The singer wishes she were an arrow, a fish, a reaper, that she might more easily find him
AUTHOR: unknown
EARLIEST_DATE: 1928 (de la Mare)
KEYWORDS: love separation
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; notes to #389, "I'll Overtake Thee" (1 text)
NOTES: I have seen this listed as traditional. I suspect that means it's from an early literary source with no author listed, meaning that it is public domain but not traditional; I have found no field collections. But I thought I'd better include it just in case....
One thing we can say is that the song is part of a very long chain of linked folksongs. The burden "I love my love, and I love my love Because my love loves me" is, e.g., common in "A Maid in Bedlam," and a slightly different form, "Come you not from Newcastle," dates back at least to the Percy folio. Sir George Ogle fiddled with the form in "Grammachree Molly" (in the Index as "Grammachree"). And all of those link to many other songs.
I also find, in Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 93, a German song called "Sichelein Rauschen," "I Heard the Sound of a Sickle." which has many of the themes of this song. This strengthens my feeling that the English version is semi-literary, combining the "I love my love" burden with elements from the German. - RBW
File: dlMC389A
===
NAME: I'm a Decent Boy from Ireland
DESCRIPTION: The "decent boy" has been forced to roam. Brought up by good parents, he urges, "Be kind to your parents when their locks are turning gray... You'll never know their value till they lay beneath the soil."
AUTHOR: unknown
EARLIEST_DATE: 1971
KEYWORDS: age family poverty rambling
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 278-279, "I'm a Decent Boy from Ireland" (1 text, 1 tune)
Roud #9420
CROSS_REFERENCES:
cf. "Don't Leave Your Mother When Her Hair Turns Gray" (theme)
File: Doe278
===
NAME: I'm a Good Old Rebel: see The Good Old Rebel (The Song of the Rebel Soldier) (File: Wa193)
===
NAME: I'm a Long Time Travelling Here Below: see When I Can Read My Titles Clear (Long Time Traveling) (File: DTlongti)
===
NAME: I'm a Man That Done Wrong to His Parents
DESCRIPTION: "I'm a man that's seen trouble and sorrow, Oh I once was light-hearted and gay, Not a dime in this world can I borrow Since my own I have squandered away." The singer tells how he wronged his parents. Now they despise him, and he must beg for shelter
AUTHOR: unknown
EARLIEST_DATE: 1941
KEYWORDS: poverty hardtimes family father
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 839, "I'm a Man That Done Wrong to His Parents" (1 text plus a fragment, 1 tune)
Roud #1386
File: R839
===
NAME: I'm a Minder
DESCRIPTION: "I'm a minder [i.e. miner], I'm a minder, In de col' ground, Lawd, Lawd, Lawd, Lawd."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work mining
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 216, (no title) (1 fragment)
File: ScNF216B
===
NAME: I'm a Nachel-Bawn Reacher: see Natural Born Reacher (File: ScNF232B)
===
NAME: I'm a Poor Old Chimney Sweeper
DESCRIPTION: "I am a poor old chimney sweeper, I have but one daughter and now I can't keep her. So since she has resolved to marry, Go choose you one and do not tarry." Once the girl has chosen her love, the couple is told to join hands, step over a broom, and be wed
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: courting marriage playparty work worker courting family
FOUND_IN: US(MW,SE)
REFERENCES: (2 citations)
Warner 189, "Chimbley Sweeper" (1 short text, 1 tune)
Randolph 571, "The Chimney Swallow" (1 fragment)
Roud #7023
RECORDINGS:
Rebecca King Jones, "Chimbley Sweeper" [excerpt] (on USWarnerColl01)
NOTES: The Warners (on the basis of the television miniseries "Roots"!) credit jumping over a broom as a Black wedding ceremony. But I have also seen (in, I must admit, a science fiction story) what appears to be a British rhyme on the same subject.
Elsewhere, however, a "broomstick wedding" is one not given formal or clerical recognition. An example of this is in Dickens's _Great Expectations_, chapter 48: Wemick describes a couple as having been "married very young, over  the broomstick (as they say)."
Randolph's text is shorter and rather different in tone from the Warners', but there are too many lyric similarities for me to separate them. - RBW
File: Wa189
===
NAME: I'm a Rambler, I'm a Gambler: see The Wagoner's Lad (File: R740)
===
NAME: I'm a Rover and Seldom Sober
DESCRIPTION: The singer is seldom sober but on a starless night he can find his way to his lover. He goes to her window. He is "drenched to the skin." She lets him in and they lie together until cock crow. Then he gets up because he must be early at the plow.
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Tom Newman)
KEYWORDS: lover drink nightvisit bird farming
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (1 citation)
DT, IMAROVER*
Roud #3135
RECORDINGS:
Tom Newman, "I'm Often Drunk and I'm Seldom Sober" (on Voice13)
CROSS_REFERENCES:
cf. "Rise Up Quickly and Let Me In" (two verses) and references there
NOTES: The description is from Ewan MacColl, "I'm a Rover" (on Ewan MacColl and Peggy Seeger, "Bothy Ballads of Scotland," Folkways Records FW 8759 (1961))
MacColl's notes: "This night-visit song is almost certainly related to The Grey Cock (The Lover's Ghost), a ballad in which a girl is visited by the ghost of her dead lover. As A.L. Lloyd has observed: 'Generally the song is found either with the bedroom-window theme or the cockcrow theme but not the two together. In this version the bedroom-window theme is clearly established and what remains of the cock-crow theme has lost its supernatural significance."
Tom Newman's version on Voice13 leaves out enough detail to hide the connection to "Mary's Dream," "The Ghostly Lover" and other ghostly night-visit ballads. Its description is
Singer is a drunk rover. At break of dawn in Galway he falls in love with Molly Bann. That night he goes to her window. He answers her complaint saying he is her lover, tired after a long journey, and wants to come in. "I'm soaking love, unto the skin"
The only connection to, say, "Mary's Dream" is the "soaking" line. - BS
File: DTimarov
===
NAME: I'm a Stranger Here
DESCRIPTION: "Ain't it hard to stumble When you got no place to fall? (x2) In this whole wide world I got no place at all. I'm a stranger here... I would go home, but... I'm a stranger here." The singer takes his mule -- all this baby left -- and seek a fair shake. 
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home abandonment hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 81, "I'm a Stranger Here" (1 text)
File: FSWB081C
===
NAME: I'm a Stranger in this Country (The Darger Lad)
DESCRIPTION: Singer, a "darger loon" from a distant land, meets a "Scottish lass" in an alehouse. They drink. He takes her to his lodgings and they spend the night together. Next morning he leaves on the train as she cries on the station. At home he drinks her health 
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Jimmy McBeath)
KEYWORDS: sex parting Scotland separation train
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #3388
RECORDINGS:
Jimmy McBeath, "I'm a Stranger in this Country" (on Voice15)
CROSS_REFERENCES:
cf. "The Indian Lass" (theme, verses) and references there
cf. "Little Mohee" [Laws H8] (theme, verses) and references there
NOTES: Hall, notes to Voice15, translates the text "darger loon" as "day-labourer lad."
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 15" - 13.9.02: "It appears to be related to 'The Indian Lass,' a song collected by Frank Kidson - see Traditional Tunes (1891) pp.109-11." I'm convinced. Compare first verses:
Kidson's first version "from a person's singing in North Yorkshire":
As I was a walking on a far distant shore,
I went into an ale-house to spend half-an-hour;
And as I sat smoking beside of my glass,
By chance there came in a fine young Indian lass.
Jimmy McBeath's version on Voice15.
I'm a stranger in this country from a far distant land.
I went into an ale-house for half an hour to spend.
And as I sat a-drinking, a-musing in my glass,
Wha stepped in but an old Scottish lass.
Kidson, or his informant, has elided the sex -- which can be found in Creighton-NovaScotia 51 -- but, at the end, 
So early next morning we were going to sail;
This lovely young Indian on the beach did bewail;
I took off my hankercheif and wiped her eyes, -- 
"O, do not go leave me, my sailor," she cries.
which McBeath has as
It was early next morning I ran to catch the train.
I left my bonnie lassie in the station to remain.
In drawing out her handkercheif, the tears dropped fae her ee.
'Oh, dinna gang and leave me, my darger loon,' cried she.
Neither of Kidson's tunes, nor Creighton's, match McBeath's. - BS
File: RcIASITC
===
NAME: I'm a Tight Little Irishman
DESCRIPTION: "Tight Little Irishman" Larry O'Broom does well enough on his father's inheritance until he marries a wife, who abuses him and apparently bankrupts him
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: marriage poverty shrewishness
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 144, "I'm a Tight Little Irishman" (1 fragment, 1 tune)
ST E144 (Full)
Roud #5344
File: E144
===
NAME: I'm a Workin' Chap
DESCRIPTION: "I'm a workin' chap, as you may see, You'll find an honest man in me." The singer is thrifty and industrious, for poor folks are "working life out to keep life in." The singer describes various poor people, and hopes listeners will not despise them
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work poverty clothes
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 51-52, "I'm a Workin' Chap" (1 text, 1 tune)
Roud #5591
NOTES: Roud links this song with "Tak It, Man, Tak It" as found in Ford, etc. I flatly don't see it. - RBW
File: Ord051
===
NAME: I'm a Young Man from the Country
DESCRIPTION: "I'm a young man from the country... I'm a free and easy fellow, I need not tell my name. Oh, wouldn't you like to know me?" Town people try to trick him, but he knows his cab fares and all the tricks, and avoids the traps
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Harvey M. Dann)
KEYWORDS: travel trick
FOUND_IN: US(Ap) Britain(England)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 253, "I'm A Young Man from the Country" (1 text)
Roud #1510
File: MHAp253
===
NAME: I'm A-Goin' down This Road Feelin' Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: I'm A-Leavin' Cheyenne: see Goodbye, Old Paint (File: LxU063A)
===
NAME: I'm Alabama Bound: see Alabama Bound (II) (File: PSAFB044)
===
NAME: I'm All Out an' Down
DESCRIPTION: "Honey-y-y, I'm all out an' down, Honey-y-y, I'm broke, babe, an' I ain't got a dime, Ev'ry good man gets in ha'd luck sometime, Don't they, baby?" Blues complaining of poverty, the noise made by women and hungry animals, work in the mud, etc.
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: work hardtimes poverty
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 307, "I'm All Out an' Down" (1 text, 1 tune)
Roud #15203
File: LoF307
===
NAME: I'm Alone, All Alone (I)
DESCRIPTION: "I have no father (mother, sister, brother, sweetheart) in this world...Take me home, dear Saviour, take me home" Cho: "I'm alone all alone in this world...Take me home, dear Saviour take me home"
AUTHOR: unknown
EARLIEST_DATE: 1965 (recording, Ernest V. Stoneman)
KEYWORDS: loneliness nonballad religious Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Ernest V. Stoneman w. Mike Seeger, "I'm Alone, All Alone"; Ernest Stoneman and Eddie Stoneman, "I'm Alone, All Alone" (ARC, unissued, 1934)
CROSS_REFERENCES:
cf. "Free Little Bird" (lyrics)
cf. "Shivering in the Cold" (theme)
NOTES: My first thought, upon seeing Paul Stamler's description, was that this was religious version of "Free Little Bird." But it's a much simpler form, though there is likely some sort of dependence. It may also have something to do with "Shivering in the Cold," with which it shares some ideas and even an alternate title. - RBW
File: RcIAloAA
===
NAME: I'm Alone, All Alone (II): see Shivering in the Cold (File: R327)
===
NAME: I'm An Irish Boy: see My Irish Jaunting Car (The Irish Boy) (File: HHH592)
===
NAME: I'm Bidding Adieu
DESCRIPTION: The singer, a poor farmer from Tralee, must emigrate. "They say there's luck in a foreign land, there's health and wealth galore." "We'll toil both night and day" He will return "of course" and dance "on the good old barn floor"
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: poverty emigration return Ireland nonballad dancing work
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 10, "I'm Bidding Adieu" (1 text, 1 tune)
File: McB1010
===
NAME: I'm Bound Away
DESCRIPTION: Shanty. "For the sake of you, my lassie, I'm bound away, my lassie. For the sake of you, my lassie, I'm bound away." Only this one verse given by Hugill
AUTHOR: unknown
EARLIEST_DATE: 1927 (C. F. Smith, _A Book of Shanties_)
KEYWORDS: shanty farewell
FOUND_IN: Britain
REFERENCES: (1 citation)
Hugill, p. 497, "I'm Bound Away" (1 excerpt, 1 tune, quoted from C.F. Smith) [AbEd, p. 365]
Roud #11254
File: Hugi497
===
NAME: I'm Bound for the Promised Land: see Bound for the Promised Land (File: LxU099)
===
NAME: I'm Bound For the Rio Grande: see Rio Grande (File: Doe064)
===
NAME: I'm Bound to Cross the Jordan
DESCRIPTION: "I'm boun' to cross the Jordan(x5), Hallelujah!" "Oh, brothers, won't you join me? Sisters, won't you join me? Sinners, won't you join me? For I'm bound to cross the Jordan, Hallelujah!" "Oh, my brother's over Jordan, My sister's...."
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 532, "I'm Boun' to Cross the Jordan" (1 text)
Roud #11872
File: Br3532
===
NAME: I'm Bound to Follow the Long Horn Cow: see I'm Bound to Follow the Longhorn Cows (File: LoF186)
===
NAME: I'm Bound to Follow the Longhorn Cows
DESCRIPTION: "I'm bound to follow the longhorn cows until I git too old. It's well I work for wages, boys, I git my pay in gold." The singer boasts of his skills as a cowboy. He describes the difficulties of stampedes. He hopes to save up money to be married
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: cowboy work bragging money gold loneliness love marriage
FOUND_IN: US(So,SW)
REFERENCES: (5 citations)
Larkin, pp. 162-163, "I'm Bound to Follow the Long Horn Cow" (1 text, 1 tune)
Lomax-FSNA 186, "I'm Bound to Follow the Longhorn Cows" (1 text, 1 tune)
Hudson 97, pp. 228-229, "The Jolly Cowboy" (1 text, much shorter than Lomax's)
Asch/Dunson/Raim, p. 104, "The Lone Star Trail" (1 text, 1 tune)
Fife-Cowboy/West 114, "Lone Star Trail" (2 texts, 1 tune)
Roud #5765
RECORDINGS:
Ken Maynard, "The Lone Star Trail" (Columbia 2310-D, 1930; on AAFM3, WhenIWas1)
NOTES: This song was featured in the film "The Wagon Master"; Ken Maynard is described as the "pioneer of cowboy singing stars" in the movies. - PJS
If the texts printed by the Fifes are any indication, this piece can take on almost any form, and the incidents can take place in almost any order; the only line their texts have entirely in common is "My trade is cinches and saddles and ropes and bridle reins." And the Lomax text is again very different, with changes in all the verses, much new material, and a different order. - RBW
File: LoF186
===
NAME: I'm Crossing Jordan River
DESCRIPTION: "I'm crossing Jordan river, Lord I want my crown (x2)." "Oh when I'm crossing Jordan River, I want my crown." "Jordan river chilly and cold, The love of Jesus is in my soul." "Jordan river deep and wide, None can cross but the sanctified." And similarly
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: religious river nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 258-259, "I'm Crossing Jordan River" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Michael Row the Boat Ashore" (floating lyrics)
File: CNFM258
===
NAME: I'm Despised for Being Poor
DESCRIPTION: "Farewell, false girl(s), I leave you In sorrow and in pain, My absence cannot grieve you, Soon you'll bear a stranger's name." He recalls courting the girl; though it grieves her, she has abandoned him for a rich stranger. He will enlist as a soldier
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: love courting betrayal money soldier
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp.194-195, "I'm Despised for Being Poor" (1 text)
Roud #7944
ALTERNATE_TITLES:
I Was Despised Because I Was Poor
NOTES: Nearly every word of this has close parallels elsewhere, except for the final line of each verse, "I'm despised for being poor" (or variants). But since that's the key to the whole song, the result probably should stand on its own. - RBW
File: Beld195
===
NAME: I'm Dying for Someone to Love Me
DESCRIPTION: The girl reports "I am dying for someone to love me." Flirting and friendship are not enough; she wants the real thing. None of the local young men are up to the task. Mother calls her crazy, but the girl recalls that she was once much the same
AUTHOR: unknown
EARLIEST_DATE: 1887 (The Wonderful Eight Book of Poetry and Song)
KEYWORDS: love loneliness family
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 373, "I'm Dying for Some One to Love Me" (1 text, 1 tune)
Randolph/Cohen, pp. 303-305, "I'm Dying for Someone to Love Me" (1 text, 1 tune -- Randolph's 373)
Roud #7620
CROSS_REFERENCES:
cf. "Meet Me Tonight in the Moonlight" (lyrics)
NOTES: Quite a few of the lyrics to this remind me of "Meet Me Tonight in the Moonlight" -- enough so that I suspect this may be a parody. But the thrust of the song is different.
The version in the "Wonderful Eight Book" is credited to W. F. Shaw, but Cohen notes that a song with this same title (not necessarily the same song) was copyrighted 1877.
Randolph's informant, Booth Cambell, thought he learned it around 1880. - RBW
File: R373
===
NAME: I'm From Over the Mountain: see The Trip Over the Mountain (File: HHH161)
===
NAME: I'm Gaein in the Train
DESCRIPTION: "I'm going in a train, And you're not coming with me; I've got a lad of my own, and his name is Kilty Jimmy." "Jimmy wears a kilt, He wears it in a fashion, And every time he twirls it around, You cannot keep from laughing!"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: clothes
FOUND_IN: 
REFERENCES: (1 citation)
Montgomerie-ScottishNR 153, "(I'm going in a train)" (1 text)
Roud #18663
NOTES: Roud lumps this with something similar to "I Know Where I'm Going," and that certainly was what I thought of when I first read the piece. Still, the evidence is thin. I'm including it in the Index, hesitantly, and giving it its own entry, hesitantly. - RBW
File: MSNR153
===
NAME: I'm Goin' Away to Texas
DESCRIPTION: "I'm goin' away to Texas, Oh dear me...." "Just go on an' just keep a-goin'." "When I get there I'll write you a letter." "I don't want you nor none of your letters." "You'll be sorry for all this." "If I am, you never will know it." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Randolph)
KEYWORDS: dialog husband wife separation rejection shrewishness
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 363, "I'm Going Away to Texas" (3 texts, 1 tune, but only the "A" text and tune really belong here; "B" is "I Love You And I Can't Help It" and "C" is perhaps "The Quaker's Courtship" )
Randolph/Cohen, pp. 327-329, "I'm Going Away to Texas" (1 text, 1 tune -- Randolph's 363A)
Lomax-FSNA 166, "I'm Going Away to Texas" (1 text, 1 tune)
Roud #6691
File: R363
===
NAME: I'm Goin' Back to North Carolina: see My Home's Across the Blue Ridge Mountains (File: Wa124)
===
NAME: I'm Goin' Down the River Befo' Long: see Chilly Winds (File: MWhee029)
===
NAME: I'm Goin' Down the Rivuh: see I'm Going Down the River (File: MWhee050)
===
NAME: I'm Goin' to Beat This Rice
DESCRIPTION: "I'm goin' to beat this rice, Goin' to beat 'em so, Goin' to beat 'em till the husks come off, Ah hanh hanh!" "Goin' to cook this rice when I get through." "Goin' to eat my belly full."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: work food nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 116, (no title) (1 text)
File: CNFM116B
===
NAME: I'm Goin' to Pick my Banjo (Old Woman in the Garden)
DESCRIPTION: The singer watches his wife hoe the garden and cook while the lazy hound sits. He picks the banjo. The preacher tells him he'll never get to heaven; he repeats his refrain: "I'm goin' to pick my banjo... pick it while I can... right to the Promised Land."
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: music clergy work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 125, "I'm Goin' to Pick my Banjo (or, Old Woman in the Garden)" (1 text, 1 tune)
ST Wa125 (Partial)
Roud #7478
RECORDINGS:
Frank Profffitt, "Old Woman in the Garden" (on USWarnerColl01)
File: Wa125
===
NAME: I'm Going Away to Texas (II): see The Quaker's Courtship (File: R362)
===
NAME: I'm Going Away to Texas (III): see I Love You And I Can't Help It (File: R363B)
===
NAME: I'm Going Down the River
DESCRIPTION: "I'm going down the river before long, Ba-baby..." "I know you're going to miss me when I'm gone." "Miss me from rollin' in your arms." "I think I heard the Joe Fowler blow." "She blowed like she ain't going to blow no more."  And so forth
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river ship separation
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 50-51, "I'm Goin' Down the Rivuh" (1 text, 1 tune); also p. 29, "I'm Goin' Down the Rivuh Befo' Long" (1 text, 1 tune, a combination of this blues with "Chilly Winds"); also presumably pp. 46-50, "The Joe Fowler Blues" (1 text, 1 tune, with all of the lyrics found in this song; compare p. 116, "The Kate Adams," with many of the same lyrics) and pp. 114-115, "I'm Goin' Down the Rivuh, Baby" (1 text, 1 tune, with still another set of verses)
Roud #10004, etc.
NOTES: According to Wheeler, the Joe Fowler was one of the large stable of boats built by the Fowler family for use on the Mississippi. Built in 1888, she burned in 1920. Her single-tone whistle was reportedly famous.
Like most pieces in Wheeler, her version of song is more blues than ballad, and consists  mostly of words which could appear in any blues. But the reference to a specific boat hints that there might be something more complete out there somewhere.
It is possible that the "Joe Fowler Blues" is a separate song which was taken up entirely in the Wheeler text of "I'm Going Down the River" (after all, she has another "Going Down the River" text which swallowed part of "Chilly Winds" and still a third which is mostly about a man leaving home while boasting of his sexual prowess). But I know of no other versions to prove this, so for the moment they are combined. Roud splits them (10004, 10014, 10043), but they're all one-shots. - RBW 
File: MWhee050
===
NAME: I'm Going Down This Road Feeling Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: I'm Going Home: see Homeward Bound (I) (File: Doe087)
===
NAME: I'm Going Home to Die No More: see The Road to Heaven (File: R600)
===
NAME: I'm Going to Be Married on Monday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to be Married on Sunday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to be Mother Today
DESCRIPTION: Singer's wife is ill so he cooks and watches the children: is mother. He cooks bacon, spills milk, the frying pan catches fire. The water boils over, he bumps his head and gets a black eye. He tells his wife "you can _ing well do the cooking yourself"
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Johnny Doughty)
KEYWORDS: humorous nonballad children wife food
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #8093
RECORDINGS:
Johnny Doughty, "I'm Going to be Mother Today" (on Voice14)
File: RcIGTBMT
===
NAME: I'm Going to Buy Me a Little Railroad
DESCRIPTION: "Well, I'm goin' to buy me a little railroad of my own, Ain't goin' to let nobody ride it but the chocolate to the bone."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: railroading
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 240, (no title) (1 short text)
NOTES: Scarborough explains this as a reference to the singer's love. My instinctive reaction, though, was that the piece is political: In a day when Blacks were denied equal access to transportation, they might want to have a railroad where *they* were the ones with the rights. - RBW
File: ScaNF240
===
NAME: I'm Going To Cross the Sea
DESCRIPTION: "I'm going to cross the sea, my love, Oh how I hate to start, I'll shake your hand in a long farewell, And then we have to part." "Sift your meal and save your bran, There's gonna be a wedding down in Alabam." "Slice your bread and butter fine...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: playparty separation food
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 587, "I'm Going To Cross the Sea" (1 text)
Thomas-Makin', pp. 40-42, (no title) (1 text, 1 tune)
Roud #7674
NOTES: Although there are many songs with similar lines, there is no reason I can see (based on Randolph's fragmentary text) to link this with any other "Going Cross the Sea" song.
Thomas's text is similar in scope: Three stanzas, sharing the first few lines with Randolph's and then being mostly floating. She does not list it as a playparty, rather as a chantey -- but her clasifications are suspect. - RBW
File: R587
===
NAME: I'm Going to Georgia: see On Top of Old Smokey (File: BSoF740)
===
NAME: I'm Going to Get Married: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to Get Married Next Sunday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to Join the Army: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: I'm Going to Ride in Pharaoh's Chariot
DESCRIPTION: "I'm goin' to ride in Pharaoh's chariot (x2), One of these days God knows that, I'm going to ride in Pharaoh's chariot One of these days." Similarly, "I'm goin' to cross the river of Jordan," "...walk the golden streets," "talk with Paul and Silas," etc.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad Bible
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 591, "I'm Goin' to Ride in Pharaoh's Chariot" (1 text)
Roud #11906
CROSS_REFERENCES:
cf. "I Hope I'll Join the Band (Soon in the Morning)"  (lyrics, theme)
cf. "Welcome Table (Streets of Glory, God's Going to Set This World on Fire)" (form)
NOTES: The reference to riding in Pharaoh's chariot is presumably to Genesis 41:43, where Joseph, after being made viceroy of Egypt, is made to ride "in [Pharaoh's] second chariot." - RBW
Paul Stamler mentions the possibility that this is a version of the "Welcome Table" group. This is very possible, though we can't prove it without a tune. But the emphasis seems to be a little different. I am, for the moment, keeping them separate, though I'm far from sure. - RBW, (PJS)
File: Br3591
===
NAME: I'm Going to Stand In My Back Door
DESCRIPTION: "I'se gwine to stan' I my back do', An' I'se gwine ter hab -- Let de Debbil blab! -- Dat gal wid de blue dress on. Oh, swing dat gal wid de blue dress on, Swing, you niggers, swing!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: home clothes love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 231, (no title) (1 short text)
File: ScaNF231
===
NAME: I'm Going Uptown: see Goin' to Have a Talk with the Chief of Police (File: CNFM098)
===
NAME: I'm Gwine Away to Georgia
DESCRIPTION: "I'm gwine away to Georgia, U'm gwine away to roam, U'm gwine away to Georgia, chile, Fer to make it my home." "The turkle dove is a hollerin' 'Cause he hears my sad cry, U'm gwine away to Georgia now Fer to live till I die."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love home separation bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 449, "I'm Gwine Away to Georgia" (1 text)
Roud #413
NOTES: Roud links this with "The Cuckoo." I've no idea why. - RBW
File: Br3447
===
NAME: I'm Gwine to Alabamy
DESCRIPTION: "I'm gwine to Alabamy, Oh, For to see my mammy, Ah!" "She went from Old Virginny And I'm her pickaninny." "She lives on the Tombigbee, I wish I had her with me." "Now I'm a good big nigger, I reckon I won't get bigger." "But I'd like to see my mammy..."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison, "Slave Songs of the United States")
KEYWORDS: slave mother separation
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-AmFolklr, pp. 904-905, "I'm Gwine to Alabamy" (1 text, 1 tune)
Roud #12047
File: BAF904A
===
NAME: I'm Just A-Going Over Jordon: see Wayfaring Stranger (File: FSC077)
===
NAME: I'm Just from the Fountain
DESCRIPTION: "I am just from the fountain, I'm just from the fountain, Lord, I'm just from the fountain that never runs dry, Oh fathers, I love Jesus, I love him, yes I do, Oh fathers, I love Jesus, and you must love him too." "Oh mothers, I love Jesus," etc.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: religious Jesus nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 636, "I'm Just from the Fountain" (1 short text, 1 tune)
Roud #7562
File: R636
===
NAME: I'm Just Going Down to the Gate
DESCRIPTION: Though the singer's sweetheart's parents think she is too young to marry, she's allowed to wander as far as the garden gate, where the two lovers meet regularly. Someday they will slip off to the parson's.
AUTHOR: Gus. Williams
EARLIEST_DATE: 1882 (sheet music published)
LONG_DESCRIPTION: Singer describes his sweetheart as a "sly little fairy"; though her parents are protective and think she's too young to marry, she's allowed to wander as far as the garden gate, where of course she meets him. They talk sweet nothings while the parents debate weighty matters inside; she tells them "there's no sign of a storm, and the night is so warm." Someday they will slip off to the parson's. Chorus: "I'll just go as far as the gate, dear ma...The moon is so bright, and it's such a fine night/I love to stand here by the gate"
KEYWORDS: age courting elopement marriage nonballad family lover
FOUND_IN: US(MW,SE)
REFERENCES: (0 citations)
Roud #6407
RECORDINGS:
Sid Harkreader, "Only As Far As the Gate" (Paramount 3035, 1927)
Uncle Dave Macon, "Only As Far As the Gate Dear Ma" (Vocalion 15323, 1926)
Murphy Brothers Harp Band, "When Katie Comes Down to the Gate" (Champion 16455, 1932)
NOTES: Chris Valillo has documented that this was taught at a singing school in Badet, IL as early as 1884. I've used the title of the original song, although it has apparently not been used much in tradition. - PJS
File: RcJGDttG
===
NAME: I'm Lonesome Since My Mother Died
DESCRIPTION: Mother dies and father remarries. My stepmother "beat me and she turned me out When I speaks of my mother dear." "If I could only call her back, Once more to sit down by her side, I would like her better than before; I'm lonesome since my mother died."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: grief death mourning lament mother stepmother youth
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 181, "I'm Lonesome Since My Mother Died" (1 text)
Roud #6361
File: GrMa181
===
NAME: I'm Looking Over My Dead Dog Rover
DESCRIPTION: Concerning the death of Rover, usually caused (inadvertently, one hopes) by the singer (e.g. by hitting Rover with a power mower). The text varies extremely, as does the cause of death; the only constant element seems to be the title line.
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: dog animal death humorous parody
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 136, "I'm Looking Over My Dead Dog Rover" (2 texts, tune referenced)
DT, DEADROVR
Roud #15720
CROSS_REFERENCES:
cf. "I'm Looking Over a Four-Leaf Clover" (tune)
NOTES: I've never seen two versions of this song alike, and none of the printed versions matches my father's text. Looks to me like a genuine folk song, even if the plot is completely unfixed. - RBW
File: DTdeadro
===
NAME: I'm My Own Grandpa
DESCRIPTION: Singer marries a pretty widow; his father marries her red-haired daughter. By tortuous logic, the singer explains that this makes him his own grandfather. Chorus: "I'm my own grandpa...It seems funny, I know/But it really is so/I'm my own grandpa"
AUTHOR: Dwight Latham & Moe Jaffe
EARLIEST_DATE: 1948 (recordings, Grandpa Jones, Korn Kobblers); reportedly copyright 1947
KEYWORDS: marriage nonsense paradox family father mother
FOUND_IN: US
REFERENCES: (1 citation)
DT, OWNGRNPA
Roud #10444
RECORDINGS:
Grandpa Jones, "I'm My Own Grandpa" (King 694, 1948)
Korn Kobblers, "I'm My Own Grandpaw" (MGM 10136, 1948)
Lonzo & Oscar, "I'm My Own Grandpa" (RCA Victor 20-2563, 1947)
NOTES: This is included because it seems to have begun passing into oral tradition [or at least universal folklore - RBW] -- certainly it appears often enough on the internet (in geneology sites!) without attribution. The song is based on a short story by Mark Twain. - PJS
To make matters even more complicated, Fiddlin' John Carson's song "Papa's Billy Goat" (a version of what we index by its "urban" name of "Bill Grogan's Goat"), first recorded in 1923, concludes with this verse:
Then I acted an old fool, married me a widow,
And the widow had a daughter and her name was Maude;
Father being a widower married her daughter,
And now my daddy is my own son-in-law.
Obviously that isn't the whole burden of "I'm My Own Grandpa," but it's getting there, and Carson's version was popular enough that he was asked to re-record it twice. - RBW
Incidentally, Robert A. Heinlein eventually went this one better, and produced a story in which (by means of time travel and gender surgery) the main character became his own mother. And father. And, hence, grandmother and grandfather and.... (Wouldn't cloning have been easier?)
Not too surprisingly, that story ("All You Zombies," from 1959) mentions this song. It is, incidentally, the next-to-last short story Heinlein ever wrote (the last being "Searchlight," from 1962), and the last not associated with his "Future History" series. - RBW
File: DTowngrn
===
NAME: I'm No' Comin' Oot the Noo
DESCRIPTION: "O a nice wee lass, a bonnie wee lass Is bonnie wee Jeannie McKay," but when she and the singer are to go out, her says "My mother's ta'en my claes tae the pawn... And I'm no comin' oot the new." In any situation, the singer pleads poverty and stays in 
AUTHOR: unknown
EARLIEST_DATE: 1985 (recording, the Stewarts of Blair)
KEYWORDS: courting clothes bug poverty humorous
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
ST RcINCOtN (Partial)
Roud #5298
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "I'm No' Comin' Oot the Noo" (on SCStewartsBlair01)
File: RcINCOtN
===
NAME: I'm Nobody's Darling on Earth: see Nobody's Darling on Earth (File: R723)
===
NAME: I'm Not Myself At All
DESCRIPTION: "Oh, I'm not myself at all, Molly dear, Molly dear." At confession the singer asked Father Taff for half a blessing because his other half belongs to Molly Brierly. The singer wants her to marry him before he disappears entirely.
AUTHOR: Samuel Lover (1797-1868)
EARLIEST_DATE: before 1861 (broadside, LOCSinging as201450)
KEYWORDS: courting love humorous nonballad clergy
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 22, "I'm Not Myself At All" (1 text)
BROADSIDES:
Bodleian, Harding B 18(267), "I'Am Not Myself At All", H. De Marsan (New York), 1859-1860 [same as LOCSinging as201450]; also Harding B 11(3984), "I'm Not Myself At All"; Harding B 11(4325), "Molly Dear" or "I'm Not Myself At All" 
LOCSinging, as201450, "I'am Not Myself At All", H. De Marsan (New York), 1859-1860 [same as Bodleian Harding B 18(267)]; also sb20205a, "I'am Not Myself At All"
NOTES: Broadsides LOCSinging as201450 and Bodleian Harding B 18(267): 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: OCon022
===
NAME: I'm Often Drunk and I'm Seldom Sober
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
I'm a Rover and Seldom Sober
File: DTimarov
===
NAME: I'm Often Drunk and Seldom Sober
DESCRIPTION: Singer is seldom sober and "a rover in every degree," He says his lover is "as clever a woman as ever trod upon London ground." He wishes he were in Dublin or across the sea beyond lawyers' reach. She says her love is clever. They both love drink.
AUTHOR: unknown
EARLIEST_DATE: before 1831 (broadside, Bodleian Harding B 25(894))
KEYWORDS: drink floatingverses nonballad
FOUND_IN: 
REFERENCES: (0 citations)
Roud #3135
BROADSIDES:
Bodleian, Harding B 25(894), "I'm Often Drunk and Seldom Sober" ("Many cold winter nights I've travelled"), R. Walker (Norwich), 1780- 1830; also Harding B 25(893), Harding B 11(1731), "I'm Often Drunk, and Seldom Sober ("The sea is wide and I can't get over")
NOTES: Description is from broadside Bodleian Harding B 11(1731). - BS
File: BdIODASS
===
NAME: I'm Old But I'm Awfully Tough
DESCRIPTION: Singer describes himself as a happy old gentleman whom the girls adore. Chorus consists mostly of laughing
AUTHOR: Cal Stewart?
EARLIEST_DATE: c. 1900 (recording, Cal Stewart)
KEYWORDS: age humorous nonballad
FOUND_IN: US
REFERENCES: (0 citations)
Roud #15460
RECORDINGS:
Andrew Keefe, "I'm Old But I'm Awfully Tough" (CYL: Edison 9152, 1905)
Cal Stewart - change reference to: (Columbia 22, 1901; Columbia A-299, 1909; rec. 1900) (Victor 659, 1901; Zonophone C-5321, n.d.) (Victor 16403, 1909; rec. 1907)
CROSS_REFERENCES:
cf. "Laughing Song" (chorus)
NOTES: This is a pop song, pure and simple, and I wouldn't include it in the Index, except that a massively folk-processed version of the song was collected in the 1970s from the Arkansas singer Tip McKinney (former member of Pope's Arkansas Mountaineers, who made 78s of traditional music in 1928). It's a classic example of a song moving from popular music into tradition. - PJS
File: RcIOBIAT
===
NAME: I'm On My Way
DESCRIPTION: "I'm on my way, and I won't turn back! I'm on my way, great God, I'm on my way." "I'm on my way to Canaan's land." "I ask my sister to go with me." "If she says no, I'll go alone." "I ask my boss to let me go." "If he says no, I'll go anyhow."
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Carter Family)
KEYWORDS: religious travel
FOUND_IN: US
REFERENCES: (2 citations)
Greenway-AFP, p. 100, "I'm On My Way" (1 text, 1 tune)
Silber-FSWB, p. 302, "I'm On My Way" (1 text)
RECORDINGS:
Carter Family, "On My Way to Canaan's Land" (Bluebird B-8167, 1939)
Pete Seeger, "I'm On My Way" (on PeteSeeger04) (on PeteSeeger15) (on PeteSeeger26); "I'm On My Way to Canaan's Land" (on PeteSeeger44)
File: Grnw100
===
NAME: I'm Poor But a Gentleman Still: see Poor, But a Gentleman Still (File: FSC103)
===
NAME: I'm Sad and I'm Lonely
DESCRIPTION: "I'm sad and I'm lonely, My heart it will break. My sweetheart loves another; Lord I wish I were dead." The singer warns against the lies that young men tell, which are more numerous than "cross-ties on the railroad or stars in the skies."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love separation lie desertion floatingverses
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Sandburg, pp. 243-245, "I'm Sad and I'm Lonely" (1 text, 1 tune)
Silber-FSWB, p. 167, "I'm Sad And I'm Lonely" (1 text)
Cambiaire, p. 84, "I'm Sad and I'm Lonely" (1 text)
ST San243 (Full)
RECORDINGS:
Eller Family, "I'm Goin' to Georgia" (on FolkVisions1)
CROSS_REFERENCES:
cf. "Troubled In My Mind" (floating lyrics)
cf. "On Top of Old Smokey" (floating lyrics)
cf. "A Warning to Girls" (floating lyrics)
NOTES: This appears to be another of those collections of floating verses that has taken on some life of its own. - RBW
The Eller Family recording is actually a mishmosh of floating verses from here, "On Top of Old Smoky," "The Cuckoo" and, if I'm not mistaken, "Poor Ellen Smith." But I put it here because, well, why not? It has to go somewhere. - PJS
File: San243
===
NAME: I'm Scarce Sixteen Come Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventeen 'gin Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventeen Come Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventy-Two Today
DESCRIPTION: "I'm seventy-two today, my boys; They say I'm growing old. I feel as young as I used to be; My heart is strong and bold." The old man says he can and will ride and court as well as ever (if perhaps a bit faster), and expects to enjoy the process
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: age courting
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Randolph 433, "I'm Seventy-Two Today" (1 text)
Warner 158, "Seventy-Two Today" (1 text, 1 tune)
ST R433 (Full)
Roud #4387 and 7485
CROSS_REFERENCES:
cf. "If I Were As Young As I Used to Be (Uncle Joe)" (plot)
File: R433
===
NAME: I'm Sitting on the Stile, Mary (The Irish Emigrant II)
DESCRIPTION: "Oh I'm sitting on the stile, Mary, where we sat side by side." He thinks of their life together and the graveyard where he buried her "with your babe all on your breast." He promises not to forget her "in that land I'm going to"
AUTHOR: Words: Lady Helena Selina Blackwood Dufferin (1807-1867), Music: William R. Dempster (1843?)
EARLIEST_DATE: before 1835 (broadside, Bodleian Harding B 11(4048))
KEYWORDS: marriage emigration burial lament baby wife separation promise
FOUND_IN: Canada(Newf) Ireland US(MW)
REFERENCES: (5 citations)
Peacock, pp. 462-464, "I'm Sitting on the Stile, Mary" (1 text, 2 tunes)
O'Conor, p. 156, "The Irish Emigrant" (1 text)
Dean, p. 81, "The Lament of the Irish Emigrant" (1 text)
BrownII 133, "I Was Sitting on a Stile" (1 fragment, which the editors apparently regard as a part of this song -- though with only four lines, it's almost unfileable)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 302-303, "The Lament of the Irish Emigrant"
ST Pea462 (Partial)
Roud #2661
BROADSIDES:
Bodleian, Harding B 11(4048), "The Irish Emigrant" ("I'm sitting on the stile, Mary"), G. Walker (Durham), 1797-1834; also 2806 c.14(195) View 4 of 5, Harding B 11(1773), Firth b.25(157), Johnson Ballads 1690, Firth b.27(499), Firth c.12(134), Harding B 11(2181), Firth c.26(135), Harding B 11(465), 2806 c.16(140), Harding B 11(1778), Harding B 11(1777), Firth b.25(303), Harding B 11(239), Harding B 26(270), Harding B 6(18), 2806 b.10(93), 2806 b.10(76), Harding B 20(74), Harding B 15(139a), Harding B 11(1776), "The Irish Emigrant"
LOCSinging, as107440, "Lament of the Irish Immigrant," J. Andrews (New York), 1853-1859
Murray, Mu23-y4:016, "Irish Emigrant," John Ross (Newcastle), 19C
NLScotland, L.C.Fol.70.(2a), "The Irish Emigrant," Robert McIntosh (Glasgow), c. 1875
SAME_TUNE:
Parody on The Irish Emigrant (broadside Murray, Mu23-y1:068, "Parody on "The Irish Emigrant" ("I'm sitting on a rail Judy, Where oft across ye'd stride"), James Lindsay (Glasgow), 19C)
ALTERNATE_TITLES:
The Irish Emigrant's Lament
NOTES: Not the song by William Kennedy.
GEST Songs of Newfoundland and Labrador site is one of many sources for the author of the words; Museum of the City of New York site refers to sheet music source for tunesmith.
Killeagh County Down site: The village of Killyleagh grew up around a fortified tower, built in the 12th century by a Norman knight, John de Courcy....Lady Helen Dufferin wrote the famous poem "The Lament of the Irish Emigrant" in the castle, It is still possible to visit Mary's Stile in the shadows of the Castle today.
Murray, Mu23-y1:068, "Parody on the Irish Emigrant," James Lindsay (Glasgow), 19C (the singer stays in Ireland, glad his wife has died)
Bodleian, Firth b.26(206), "Answer to the Irish Emigrant" ("I'm coming back to you, Mary, Australia's shores I find"), A. Ryle and Co. (London), 1845-1859; also Harding B 11(88), "Answer to the Irish Emigrant" (the singer returns from Australia)
LOCSinging, as107460, "Lament of the Irish Gold Hunter," J. Andrews (New York), 1853-1859; also as107450, "Lament of the Irish Gold Hunter!!" (Tune: "I'm Sitting on the Stile, Mary"; the singer is digging for gold but expects to return to Ireland, if he survives "sitting on the stile, Mary, Away up in the mines")
LOCSinging, hc00011a, "Paddy's Lament" ("I'm sitthin on de sthile, Molly, wid a grape shot in my leg"), Charles Magnus (New York), 1864 (Tune: "I'm sitting on the stile &c."; attributed to John Ross Dix; the singer is fighting in America for the Union but hopes to return "when peace returns once more."
Broadside LOCSinging as107440 and LOCSinging as107460: 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
There is some question about who wrote the music to this. Amsco's uncredited book _The Library of Irish Music_ lists the tune as by G. Barker. But many of its attributions are inaccurate. - RBW
File: Pea462
===
NAME: I'm Sixteen Thousand Miles from Home: see Sixteen Thousand Miles from Home (File: MA067)
===
NAME: I'm Sticking to the Murphys
DESCRIPTION: "I'm sticking to the Murphys, I'll fight 'em till I die; I can't help spitting cotton Because I am so dry. You'll bust your lips with laughter; Stick to the pledge I must, But the more I drink cold water The more I'm belching dust."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Springfield News and Leader)
KEYWORDS: drink promise
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 340, "I'm Sticking to the Murphys" (1 text)
Roud #7811
NOTES: The Murphy movement was a temperance program of the 1870s or so. Men signed a pledge to avoid alcohol (and to try to convince others to do the same), and were rewarded with a blue ribbon. - RBW
File: R340
===
NAME: I'm the Man That Kin Raise So Long: see Alabama Bound (Waterbound II) (File: BMRF598)
===
NAME: I'm the Man That Rode the Mule 'Round the World: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: I'm the Man that Rote Ta Rarra Bumdia: see I'm the Man that Wrote Ta-ra-ra Boom-de-ay (File: R409)
===
NAME: I'm the Man that Wrote Ta-ra-ra Boom-de-ay
DESCRIPTION: "I am the Man that Wrote Ta-ra-ra Boom-de-ay, Promise me you won't give it away...." The singer was a poor showman until he produced the famous song. Now the police seek him, people throw brickbats, and not even Shakespeare can equal his claim
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: parody music
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 409, "I'm the Man that Wrote Ta Rarra Bumdia" (1 text, 1 tune)
Roud #7614
CROSS_REFERENCES:
cf. "Ta-ra-ra Boom-der-e"
NOTES: For the actual (uncertain) authorship of "Ta-ra-ra Boom-der-e," see that song. - RBW
File: R409
===
NAME: I'm Thinking Tonight of My Blue Eyes: see Broken Ties (I'm Thinking Tonight of My Blue Eyes) (File: BrII156)
===
NAME: I'm Tired of Living Alone
DESCRIPTION: "I'm tired of living alone. I went to the river, and I saw a pretty rose, I plucked it and called it my own. A rose will fade, and so will a maid; I'm tired of living alone."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: flowers loneliness
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 272, "I'm Tired of Living Alone" (1 fragment)
Roud #15744
NOTES: No doubt a part of something longer and perhaps widely familiar. But I can't identify it from the stanza in Brown. - RBW
File: Br3272
===
NAME: I'm To Be Marrit in May
DESCRIPTION: "The win' at the window is rattlin', The sheep huddle close on the brae... But what care I for the weather, I'm happy's a queen a' the day... And I'm to be marrit in May." The girl praises her love Johnny and describes the joy she feels
AUTHOR: James M. Taylor
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love marriage
FOUND_IN: 
REFERENCES: (1 citation)
Ord, p. 164, "I'm To Be Marrit in May" (1 text)
Roud #5559
NOTES: Since Ord had this from the (reported) author, there is no real reason to think it exists in oral tradition. - RBW
File: Ord164
===
NAME: I'm Troubled: see Troubled In My Mind (File: LoF102)
===
NAME: I'm Troubled in Mind: see Troubled In My Mind (File: LoF102)
===
NAME: I'm Working My Way Back Home
DESCRIPTION: If "the boat keep steppin'" and his back doesn't give out, the singer will get back to his woman in Memphis. "All that I crave fo' many a long day Is yo' lovin' when I git back." He urges the fireman to make speed, and describes the route the boat follows
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: river work love separation ship
FOUND_IN: US(SE)
REFERENCES: (2 citations)
MWheeler, pp. 13-14, "I'm Wukin' My Way Back Home" (1 text, 1 tune)
Botkin-MRFolklr, p. 575, "I'm Wukin' My Way Back Home" (1 text, 1 tune)
ST BMRF575 (Full)
Roud #9991
File: BMRF575
===
NAME: I'm Wukin' My Way Back Home: see I'm Working My Way Back Home (File: BMRF575)
===
NAME: I'se Gwine Back to Dixie
DESCRIPTION: Singer, having left Dixie, pines for the usual things: home, food, etc. He swore that if he left, he'd never return, but now "time has changed the old man, his head is bending low." "I'm going back to Dixie...I'm going where the orange blossoms grow...."
AUTHOR: Charles A. White
EARLIEST_DATE: 1874 (sheet music publication)
LONG_DESCRIPTION: Singer, having left Dixie, pines for the usual things: home, the old plantation, hominy, punkin, and red gravy. He says that, working on the farm and on the river, he swore that if he left, he'd never return, but now "time has changed the old man, his head is bending low" and his heart turns back to Dixie. Chorus: "I'm going back to Dixie...I'm going where the orange blossoms grow...My heart turns back to Dixie, and I must go"
KEYWORDS: age homesickness loneliness home return travel farming river work food nonballad family
FOUND_IN: US
REFERENCES: (1 citation)
DT, HEARTDIX
RECORDINGS:
Leo Boswell, "My Heart's Turned Back to Dixie" (Columbia 15748-D, 1932)
Climax Quartet, "Ise Gwine Back to Dixie" (Columbia [Climax] 753, 1902)
Greater New York Quartet, "I'se Gwine Back to Dixie" (CYL: Columbia 9010, c. 1898)
Haydn Quartet, "I'se Gwine Back to Dixie"  (Berliner 024-N, rec. 1899; Victor 657, 1901) (Victor 4725, 1906; Victor 16104, 1908)
Leake County Revelers, "I'm Gwine Back to Dixie" (Columbia 15409-D, 1929)
Uncle Dave Macon, "I'se Gwine Back to Dixie" (Vocalion 5157, 1927)
Peg Moreland, "Going Back to Dixie" (Victor 21653, 1928)
Grover Rann & Harry Ayers, "I'se Gwine Back to Dixie" (Columbia 15638-D, 1931; rec. 1930)
ALTERNATE_TITLES:
Gwine Back to Dixie
File: DTheartd
===
NAME: I'se Gwine Land on Dat Shore: see I Don't Love Old Satan (File: Br3584)
===
NAME: I'se the B'y that Builds the Boat: see I'ze the B'y that Builds the Boat (File: FJ116)
===
NAME: I've Always Been a Rambler: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: I've Been a Foreign Lander: see Foreign Lander (File: JRSF064)
===
NAME: I've Been a Wild Boy: see Wild Rover No More (File: MA069)
===
NAME: I've Been All Around This World: see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: I've Been Buked and I've Been Scorned: see Hell and Heaven (I've Been Buked and I've Been Scorned) (File: LxA588)
===
NAME: I've Been Faithful to You
DESCRIPTION: "Why did you turn from me, darling? Why all this coldness today?" The (girl) declares "I have been faithful to you," and asks why the other is false. Later he finds her body, holding tight to a note that reads "Love, I've been faithful to you."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Henry, collected from Mary King)
KEYWORDS: love betrayal death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 161-162, "I've Been Faithful to You" (1 text)
File: MSAp161
===
NAME: I've Been to Australia-o: see I've Been to Australia, Oh! (File: FaE106)
===
NAME: I've Been to Australia, Oh!
DESCRIPTION: The singer warns, "So now my friends, take my advice, and never think to go Or you will rue the day you went to Australia-oh." While there, his wife, money, and clothes were stolen. Facing with high prices, he has to do manual labour. He hopes to go home
AUTHOR: unknown
EARLIEST_DATE: 1957 (Old Bush Songs); Ron Edwards reportedly found a version dated 1862
KEYWORDS: Australia poverty work hardtimes emigration robbery
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 106-107, "I've Been to Australia, Oh!" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 105-108, "I've Been to Australia-o" (1 text)
CROSS_REFERENCES:
cf. "The Pommy's Lament" (theme)
File: FaE106
===
NAME: I've Been Working on the Railroad
DESCRIPTION: The singer describes working on the railroad "all the live-long day" and waiting for Dinah to blow the horn. He describes someone being "in the kitchen with Dinah, strumming on the old banjo."
AUTHOR: unknown
EARLIEST_DATE: 1894 (Carmina Princetonia)
KEYWORDS: railroading work courting
FOUND_IN: US
REFERENCES: (7 citations)
Cohen-LSRail, pp. 537-542, "I've Been Working on the Railroad" (1 text, 1 tune)
BrownIII 234, "Working on the Railroad" (1 text plus two unrelated fragments, probably of "Roll on the Ground (Big Ball's in Town)"; the "A" text is a jumble starting with this song but followed up by what is probably a "Song of All Songs" fragment)
Scarborough-NegroFS, p. 248, "I've Been Working on the Railroad" (1 text, with the first verse being this and the second being probably some sort of courting song)
MHenry-Appalachians, p. 81, "I've Been Working on the Railroad" (1 text)
Silber-FSWB, p. 103, "I've Been Working on the Railroad" (1 text, including some parody verses)
Fuld-WFM, p. 209, "I've Been Working on the Railroad -- (The Eyes of Texas)"; p. 513, "Someone's in the Kitchen with Dinah"
DT, WORKRAIL
RECORDINGS:
Blankenship Family, "Working on the Railroad" (Victor 23583, 1931)
Art Mooney, "I've Been Working on the Railroad" (Vogue R-713-32, n.d. but prob. 1930s)
Sandhills Sixteen, "I've Been Working on the Railroad" (Victor 20905, 1927)
Pete Seeger, "I've Been Working on the Railroad" (on PeteSeeger21) (on PeteSeeger32)
SAME_TUNE:
We've Enlisted in the Navy (Pankake-PHCFSB, p. 151)
ALTERNATE_TITLES:
Levee Song
NOTES: Although this is surely a composed song, Fuld cannot find any references to the "Railroad" verses prior to 1894 (when it was twice published as "The Levee Song," and in both instances associated with Princeton). No composer is listed in the extant materials.
The "Dinah" verses are dated by Fuld to the period before 1850. How they came together is a mystery; they don't fit all that well -- but as I've never heard the halves done separately (though Scarborough's text consists only of the first part, and the Cohen text, from the Blankenship family omits the"Dinah Won't You Blow" stanza, substituting something Cohen thinks is a school rouser), I keep them together here.
Cohen cites Theodore Raph as claiming the song became popular in 1881. But Cohen himself agrees with Fuld's 1894 date. Probably it will take a much more detailed study than any undertaken so far to finally settle the matter. - RBW
File: FSWB209
===
NAME: I've Bin to the 'Bama and I Just Got Back
DESCRIPTION: "I've bin to the 'Bama and I just got back. I didn't bring no money but I brought the sack."
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: money travel
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 498, "I've Bin to the 'Bama and I Just Got Back" (1 fragment)
Roud #11765
NOTES: Roud lumps this with the "Hesitation Blues." Tough to prove either way. - RBW
File: Be3498
===
NAME: I've Built Me a Neat Little Cot, Darling: see Kitty Tyrrell (File: R788)
===
NAME: I've Buried Three Husbands Already (Wherever There's a Goose There's a Gander)
DESCRIPTION: "Oh I buried three husbands already ... And now I am mostly all ready For another young son to come on." "Wherever there's a goose there's a gander." "The older the bow and the fiddle, The sweeter the tune it can play"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age marriage death humorous nonballad husband
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #16725
RECORDINGS:
Mary Delaney, "I've Buried Three Husbands Already" (on IRTravellers01)
NOTES: Did someone set the Wife of Bath's Tale to music? - RBW
File: RcIB3HA
===
NAME: I've Got a Brother in the Snow-White Fields
DESCRIPTION: "I've got a brother in the snow-white fields, Praying all night long. I want to go to Heaven when I die, Oh my Lawd (x2), I want to go to...." "I want to go to Heaven and I want to go right... dressed in white." "I want to go to heaven at my own expense."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: religious death brother nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 535, "I've Got a Brother in the Snow-White Fields" (1 text)
Roud #11822
File: Br3535
===
NAME: I've Got a Master and I Am His Man
DESCRIPTION: "Oh, I've got a master and I am his man, Galloping steadily on, Oh, I've got a master and I am his man, I'll marry me a wife as soon as I can, With a higglety pigglety, gambling gay, Higglety pigglety, gambling gay, Galloping steadily on."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: servant work horse
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 148, "I've Got a Master and I Am His Man" (1 fragment)
Roud #15768
File: Br3148
===
NAME: I've Got a Mother Gone to Glory: see probably The Other Bright Shore (File: R611)
===
NAME: I've Got No Use for the Women
DESCRIPTION: "I've got no use for the women; A true one can never be found. They use a man for his money...." The singer tells how his partner  killed a man who insulted his sweetheart's picture, and was himself killed and buried on the prairie.
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Travis B. Hale)
KEYWORDS: death homicide revenge love burial
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 65, "I've Got No Use for the Women" (1 text, 1 tune)
Roud #4104
RECORDINGS:
Edward L. Crain, "Bury Me Out on the Prairie"  (Crown 3239, 1932; Homestead 22991, c. 1932; on MakeMe)
Crowder Brothers, "Got No Use for Women" (Perfect 8-03-57, 1938)
Vernon Dalhart, "Bury Me Out on the Prairie" (Conqueror 7729, 1931)
Delmore Bros. "Oh Bury Me Out on the Prairie" (Montgomery Ward M-4060, 1933)
Travis B. Hale, "Oh Bury Me Out on the Prairie" (Victor 20796, 1927)
Harry Jackson, "I Ain't Got No Use for the Women" (on HJackson1)
Bradley Kincaid, "Bury Me Out on the Prairie" (Silvertone 5187/Silvertone 8218/Supertone 9208, 1928) (Vocalion 5474, 1930; Conqueror 8091, 1933)
Ranch Boys, "Bury Me Out on the Prairie" (Decca 5341, 1937)
Carson Robison's Trio, "Oh Bury Me Out on the Prairie" (Broadway 4060, n.d.)
Roy Shaffer, "Bury Me Out on the Prairie" (Bluebird B-8213, 1939)
Tune Wranglers "I've Got No Use for the Women" (Bluebird B-7089, 1937)
CROSS_REFERENCES:
cf. "Jack Haggerty (The Flat River Girl)" (lyrics)
cf. "Bury Me Not on the Lone Prairie" (lyrics)
NOTES: What an excuse for not being able to find a girlfriend. - RBW
This uses more phrases from "Bury Me Not on the Lone Prairie" than can be explained by coincidence. - PJS
File: FCW065
===
NAME: I've Just Come from Sydney
DESCRIPTION: "I've just come from Sydney across the range of mountains Where the nanny goats and the billy goats and the moo cows do dwell." He looks for his girl. Informed she has run off, he says he will wander by the sea and lay himself down and -- get up!
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: love separation elopement humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Manifold-PASB, p. 143, "I've Just Come from Sydney" (1 text, 1 tune)
NOTES: From the language, this sounds like a children's song; from the tone, it's clearly a gag. I suspect it's a parody of something, but I've no idea what. - RBW
File: PASB143
===
NAME: I've Just Got in Across the Plains
DESCRIPTION: "I've just got in across the plains, I'm poorer than a snail, My mules all died but poor old Chip." The singer tells of his terrible troubles on the way to California, and warns those who would follow that gold is hard to find
AUTHOR: Enuel Davis?
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: travel hardtimes animal gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 345-346, "I've Just Got in Across the Plains" ( 1 text)
Roud #7775
ALTERNATE_TITLES:
Miner's Song
NOTES: Belden mentions that this was written "on the California Trail around 1850 by Enuel Davis," who contributed other complaints about the trail to California. But in context, it appears possible that Davis was the transcriber or publisher. - RBW
File: Beld345
===
NAME: I've Rode the Southern and the L & N
DESCRIPTION: Blues; singer says he's ridden the Southern & L&N railroads, has been treated badly, is a rambling man, and has found his "two blue eyes" at last. He has had to offer her his watch, his chain, and all he had before she would agree to marry him
AUTHOR: Possibly Homer Callahan, but since it's mostly floating verses...
EARLIEST_DATE: early 1930s (recording, Homer Callahan)
KEYWORDS: courting marriage bargaining rambling train floatingverses
FOUND_IN: 
REFERENCES: (0 citations)
Roud #8589
RECORDINGS:
Homer Callahan, "I've Rode the Southern and the L & N" (Conqueror 8557, 1935; Romeo 351011 (1935), also issued on Banner, Melotone, Oriole and Perfect; some issued under the name Callahan Bros.)
Merle Lovell, "I Rode Southern, I Rode L & N" (AFS 4111 A1, 1940; on LC61)
NOTES: The "L & N" was the Louisville & Nashville Railroad.
This barely qualifies as a ballad, but the narrative thread, though thin, is present, and while some of the floating verses come from Jimmie Rodgers via Homer Callahan, they've floated through enough places to become part of tradition. - PJS
File: RcIRtSLN
===
NAME: I've Travelled This Country (Last Friday Evening)
DESCRIPTION: "I've traveled this country both early and late; Hard has been my fortune and sad has been my fate." He comes to his love's home and sees her with another man. He gets drunk and/or questions her and wishes he were a fisherman and could catch her
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: love betrayal drink
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Belden, p. 194, "Last Friday Evening" (1 text)
Scarborough-SongCatcher, p. 333, "Lovely Polly" (1 text; tune on p. 447)
Roud #1795
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (floating lyrics)
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "If I Were a Fisher" (floating lyrics) and references there
File: Beld194
===
NAME: I've Two or Three Strings To My Bow
DESCRIPTION: "I am a fair maiden forsaken, but I have a contented mind." Her love has forsaken him, but she does not intend to mourn; she has other options. She warns girls against men, and says she will "care no more for him than he cares for me."
AUTHOR: unknown
EARLIEST_DATE: 1768 (Ramsey)
KEYWORDS: love betrayal
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H70a+b, pp. 340-341, "I've Two or Three Strings To My Bow" (1 text, 1 tune)
Roud #4788
CROSS_REFERENCES:
cf. "Farewell He" (subject)
ALTERNATE_TITLES:
The Frugal Maid
File: HHH070
===
NAME: I'ze the B'y that Builds the Boat
DESCRIPTION: "I'ze the b'y that builds the boat, And I'ze the b'y that sails her; I'ze the b'y that catches the fish And takes 'em home to Liza." Stories of a Newfoundland life and diet -- and of the odd things that can happen at a Newfoundland party
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: nonballad ship sailor
FOUND_IN: Canada(Newf) US(NE)
REFERENCES: (8 citations)
Fowke/Johnston, pp. 116-117, "I'se the B'y that Builds the Boat" (1 text, 1 tune)
Fowke/MacMillan 43, "I'se the B'y that Builds the Boat" (1 text, 1 tune)
Peacock, p. 64, "I's the B'y That Builds the Boat" (1 text, 1 tune)
Doyle3, p. 30, "I'se The B'y" (1 text, 1 tune)
Blondahl, pp. 40-41, "I'se the B'y" (1 text, 1 tune)
Lomax-FSNA 78, "I'ze the Bye" (1 text, 1 tune)
Silber-FSWB, p. 129, "I'se The B'y" (1 text)
DT, ISTHEBY*
Roud #4432
NOTES: Gordon Bok reports the following anecdote:
"A friend of mine came back from fishing in the Gulf of St. Lawrence, and he told me he was sitting in a bar in Cornerbrook when the fellow beside him punched him in the arm and said, 'How do you kill a Newfoundlander?'
"My friend says: 'I dunno.'
"The fellow says, 'You nail his boots to the floor and play "I'ze the B'y."'" - RBW
File: FJ116
===
NAME: I'ze the Bye: see I'ze the B'y that Builds the Boat (File: FJ116)
===
NAME: Ibby Damsel
DESCRIPTION: "Some old Robin Down they call me/But I'm a weaver by my trade/In this fair berth, in which I'm dwelling/And Ibby Damsel my heart betrayed." Two succeeding verses praise Ibby Damsel's beauty, and note that "from her chamber I can't get free"
AUTHOR: unknown
EARLIEST_DATE: 1916 (collected from Rosie Hensley by Cecil Sharp)
KEYWORDS: captivity love betrayal beauty weaving
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 119, "Ibby Damsel" (1 text, 1 tune)
Roud #3635
NOTES: A fragment, but it just avoids nonballad status by its hint of a narrative. There are no further notes on this song in Sharp's collection. - PJS
File: ShAp2119
===
NAME: Ice Bound Hunting Seals
DESCRIPTION: "The wind was still from the nor'east As we sat down to out humble feast" as the sealers talk of days gone by. They recall happier voyages; finally old "Garge" "Cried out, 'it's the "infarnal" steal -- that's what done it.'"
AUTHOR: probably James Murphy
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting technology
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 67, "Ice Bound Hunting Seals" (1 text, 1 tune)
NOTES: A manuscript text, with no author cited, but thought to be the work of James Murphy. - RBW
File: RySm067
===
NAME: Ice Was Thin, The: see Three Little Girls A-Skating Went (File: R588)
===
NAME: Ice-Floes, The
DESCRIPTION: The Eagle sails for the ice and sends out sealing parties. The crews find many animals. After several successful expeditions, the singer and colleagues are unable to find the ship. Some eventually find their way back, but 60 die
AUTHOR: E. J. Pratt
EARLIEST_DATE: 1962 (Pratt, Here the Tides Flow)
KEYWORDS: storm disaster death hunting
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 59-62, "The Ice-Floes" (1 text)
NOTES: Not traditional, not true, and not a song. As written, the poem cannot be set to music, and the event, while similar to some actual events (see, e.g., the several "Greenland Disaster" songs), was made up by the author.
Don't ask me what induced Ryan and Small to include it in their book. - RBW
File: RySm059
===
NAME: Ida Red (I)
DESCRIPTION: "Ida Red, Ida Red, I'm in love with Ida Red." Verses often concern Ida, but are frequently silly and exaggerated: "Ida Red, she ain't a fool, Bigger'n an elephant, stronger'n a mule."
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Fiddlin' Powers & Family)
KEYWORDS: love nonballad humorous
FOUND_IN: US(Ap,MW,SE,So,SW)
REFERENCES: (5 citations)
Randolph 442, "Ida Red" (1 text, 1 tune)
Silber-FSWB, p. 36, "Ida Red" (1 text)
Rorrer, p. 83, "Shootin' Creek" (1 text, with verses from this song but music and chorus from "Cripple Creek (I)")
MWheeler, p. 14, "Ida Red" (1 text, 1 tune, somewhat removed from the standard version but too close to list as a separate song)
DT, IDARED
Roud #3429
RECORDINGS:
Dykes Magic City Trio, "Ida Red" (Brunswick 125, 1927)
Land Norris, "Ida Red" (OKeh 45006, 1925)
Charlie Poole and the North Carolina Ramblers, "Shootin' Creek" (composite, with tune and chorus from "Cripple Creek (I); Columbia15286-D, 1928; on CPoole01, CPoole05)
Fiddlin' Powers & Family, "Ida Red" (Victor 19434, 1924)
Pete Steele, "Ida Red" (on PSteele01)
Riley Puckett, "Ida Red" (Columbia 15102-D, 1926)
Gid Tanner & the Skillet Lickers, "Ida Red" (Montgomery Ward M-4846, 1935)
"T" Texas Tyler, "Ida Red" (4-Star 1228, n.d. but post-World War II)
Wade Ward, "Ida Red" [instrumental] (on GraysonCarroll1)
Bob Wills & his Texas Playboys, "Ida Red" (Vocalion 05079, 1939/Columbia 37725, 1947)
CROSS_REFERENCES:
cf. "Cripple Creek (I)" (floating verses)
NOTES: Wheeler's version has the chorus, "Ida Red, I'm gettin' tired uv eatin' that shortnin' bread." Not enough reason to call it a separate song, to my mind -- though Roud, for once, appears to split (it's his #9992). Of course, he lumps this with "Ida Red (II)." - RBW
File: R442
===
NAME: Ida Red (II)
DESCRIPTION: "I went down one day in a lope, Fool around till I stole a coat." In love with Ida Red, the singer turns criminal (against Ida's wishes). He winds up in prison, and she cannot raise his bail. He regrets his mistake, and looks forward to seeing Ida again
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love prison separation theft
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 110-111, "Ida Red" (1 text)
Roud #3429
NOTES: This song is item dI23 in Laws's Appendix II.
Roud lumps this with Ida Red (I), which is a humorous item; this is a crime ballad. - RBW
File: LoA110
===
NAME: Idaho Cowboy Dance, An: see At a Cowboy Dance (File: FCW105)
===
NAME: Idaho, The
DESCRIPTION: Fragment: "She was laden with slates and heavy crates And was bound for New Orleans"
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: sea ship wreck commerce
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 127, "The Idaho" (1 text)
NOTES: Apparently not the Idaho that struck Coningmore Rock on June 1, 1878. - BS
File: Ran127
===
NAME: Idumea: see Am I Born to Die? (Idumea) (File: LoF125)
===
NAME: Idyl of the Plains: see The Cowboy (File: FCW028)
===
NAME: Ierne United
DESCRIPTION: "When Rome, by dividing, had conquered the world," Ireland, united, escaped. Eventually "our domestic dissensions let foreigners in.... our freedom was lost.... Let us firmly unite, and our covenant be, Together to fall, or together be free"
AUTHOR: Theobald Wolfe Tone (source: Moylan)
EARLIEST_DATE: 1792 (according to Moylan)
KEYWORDS: Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 120, "Ierne United" (1 text)
NOTES: The claim of this song is a half-truth: Ireland was never conquered, or even attacked, by Rome. But it wasn't because Ireland was united; it was because Ireland was *remote*. The Romans never finished conquering Britain, and had no harbors on her west coast; of course they didn't go after Ireland. But Ireland was not united at any time in its history prior to the Tudor conquest; there were always at least the four kingdoms of Leinster, Munster, Ulster, and Connaught, and those usually subdivided. A king like Brian Boru could say he ruled all as High King, but at best his authority resembled that of the modern British monarch: Respected, bowed to -- and utterly ignored.
Still, it is true that internal strife led to the English invasion: There was strife between Diarmat Mac Murchada (MacMurrough), king of Leinster, and Tigernan Ua Ruairk of Breifne/Breffni. There was also a conflict over who was High King of Ireland, which had lesser lords taking sides. In a complex multi-sided war, Diarmat was deprived of most of his power -- and sailed to England, where he offered to marry his daughter to Richard FitzGilbert de Clare, known as "Strongbow," the Earl of Pembroke.Pembroke invaded (1169, then in more force in 1170 as MacMurrough, successful in Leinster, decided to try for the High Kingship). King Henry II , who early in his reign had been granted a patent by the (English) Pope to straighten out the much-too-independent Irish church, later followed him to keep Strongbow under control (1172; Strongbow had become, in effect, King of Leinster when MacMurrough died, and Henry couldn't have that).
The Normans, by a combination of politics, marriage, and warfare,gradually took over eastern Ireland (see Peter and Fiona Somerset Fry, _A History of Ireland_, pp. 58-73; Mike Cronin,_A History of Ireland_, pp. 11-15; Terry Golway, _For the Cause of Liberty_, p. 11). - RBW
File: Moyl120
===
NAME: If Ever I Cease to Love
DESCRIPTION: Singer's true love is perfect: "a modern Taglioni and Sims Reeves rolled into one." If he stops loving her, may these things happen: "little dogs wag their tails in front," "cows lay eggs and fowls yield milk," "we never have to pay Income Tax..."
AUTHOR: unknown
EARLIEST_DATE: 1871 (broadside, Bodleian Firth c.21(153))
KEYWORDS: love nonballad parody
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Firth c.21(153), "If Ever I Cease to Love" ("In a house, in a square, in a quadrant"), The Poet's Box(Glasgow), 1871; also Firth b.27(343), "If Ever I Cease to Love"
CROSS_REFERENCES:
cf. "That the Stones of the Street May Turn Up the Pig's Feet" (subject and some text)
NOTES: Broadside Bodleian Firth c.21(153) is the basis for the description.
A parody of the "if ever I prove false" theme floating among songs such as "When First Into this Country" and "I Live Not Where I Love."  The parody is carried further by a broadside on drinking, to the tune of "If Ever I Cease to Love": 
Bodleian, Firth c.16(407)[some lines illegible], "If Ever I Cease to Lush" ("I think its a sin, if ever there was one"), unknown, n.d. [but with a reference to the performers N.C. Bostock and Mark Alberts].
Maria Taglioni (1804-1884) was an Italian ballerina, most famous beginning in 1832; she retired in 1848 (source: "Maria Taglioni" in _Columbia Encyclopedia_, Sixth Edition, Copyright (c) 2005).  She is named as the quintessential dancer in other humorous broadsides; for example, see: NLScotland, L.C.Fol.70(48a), "Newhaven Fishwife"; LOCSinging, sb30394a, "The Obstinate Girl." 
John Sims Reeves (1818-1900) was an English opera singer who "made a great sensation" in 1848; he retired in 1891 (source: "John Sims Reeves" at the Wikipedia site). - BS
File: BdIEICTL
===
NAME: If Ever You Go to Kilkenny
DESCRIPTION: "If ever you'll go to Kilkenny Enquire for the Hole-in-the-Wall" for free or inexpensive food: the governor comes around with it in the morning. The singer was drunk there last Friday and the governor insisted he strip before entering.
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: drink food nonballad clothes
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #16989
RECORDINGS:
Mary Delaney, "If Ever You Go to Kilkenny" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "'The Hole in the Wall' was, from the middle of the eighteenth century to 1850, one of Ireland's more renowned supper-houses.... There was another 'Hole in the Wall' in Kilkenny ... where, before the existence of the public market, farmers used to sell ... farm produce. It is quite possible that Mary's song refers to this latter location although her text gives the impression that the premises referred to was a prison." The notes also mention the first verse of a song, referring to the supper-house, that is very close to the first verse here. - BS
File: RcIEYGTK
===
NAME: If I Die a Railroad Man
DESCRIPTION: "They took John Henry to the steep hillside, He looked to the heaven above, He said, 'Take my hammer and wrap it in gold And give it to the girl I love." "If I die a railroad man, go bury me under the tie So I can hear old Number 4 As she goes rolling by"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: train railroading death nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, pp. 362-363, "If I Die a Railroad Man" (1 text, 1 tune)
RECORDINGS:
Green Bailey, "If I Die a Railroad Man" (Champion 15652 [as Aaron Boyd]/Supertone 9320 [as Harvey Farr], 1929; rec. 1928; on KMM)
Tenneva Ramblers, "If I Die a Railroad Man" (Victor 21406, 1928)
File: San362
===
NAME: If I Die in Arkansas
DESCRIPTION: "If I die in Arkansas (x2), Ship my body to my mother-in-law." "If my mother refuses me, ship it to my paw." "If my paw refuses me, ship it to my girl." "If my girl refuses me, shove it in the sea, Where the fishes... make a fuss over me."
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording by Bill Atkins)
KEYWORDS: death corpse burial family rejection humorous
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Randolph 351, "If I Die in Arkansas" (1 text)
BrownIII 495, "If I Die in Tennessee" (1 text)
Roud #7628
File: R351
===
NAME: If I Die in Tennessee: see If I Die in Arkansas (File: R351)
===
NAME: If I Had a Scolding Wife (I): see Lucy Long (I) (File: R279)
===
NAME: If I Had It You Could Get It
DESCRIPTION: "I went right down to my old friend Joe," (to ask for money?), but Joe has none to spare. "If I had it, you could get it, But I am very sorry I haven't got it. For I am all in and down and out." The singer says he will hold his money if he ever gets more
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: money poverty hardtimes begging
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 494, "If I Had It You Could Get It" (1 short text)
Roud #11761
CROSS_REFERENCES:
cf. "Nobody Knows You When You're Down and Out" (lyrics)
File: Br494
===
NAME: If I Had My Way: see Samson and Delilah (File: LoF251)
===
NAME: If I Had the Gov'ner
DESCRIPTION: "If I had the gov'ner Where the gov'ner has me, Before daylight I'd set the gov'ner free. I begs you' gov'ner, Upon my soul: If you won't gimme a pardon, Won't you gimme a parole?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: prisoner request pardon
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 31, (no title) (1 short text)
NOTES: Scarborough reports having gotten this from Texas governor Pat Neff, who heard it as the refrain of a song by a prisoner requesting help. I rather doubt this; it looks like a loose fragment of something else -- perhaps "Take This Hammer." But until something more definite emerges, it has to file separately. - RBW
File: ScaNF031
===
NAME: If I Lose, I Don't Care
DESCRIPTION: Floating verses; singer is clearly a rambler, but the song has no cohesion. "I can't walk/Neither can I talk/Just getting back from the state of old New York/One morning, just before day." Chorus: "If I lose, let me lose/I don't care how much I lose."
AUTHOR: credited to Tom Delaney
EARLIEST_DATE: 1925 (recording, Maggie Jones)
KEYWORDS: rambling gambling nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 187, "If I Lose, I Don't Care" (1 text, 1 tune)
Rorrer, p. 75, "If I Lose, I Don't Care" (1 text)
Darling-NAS, pp. 284-285, "If I Lose, I Don't Care" (1 text)
DT, IFILOSE*
Roud #12399
RECORDINGS:
Maggie Jones, "If I Lose, Let Me Lose" (Columbia 14059-D, 1925)
J. E. Mainer's Mountaineers, "If I Lose, Let Me Lose" (Bluebird B-7471, 1938)
New Lost City Ramblers, "If I Lose, I Don't Care" (on NLCR05)
Charlie Poole and the North Carolina Ramblers, "If I Lose, I Don't Care" (Columbia 15215-D, 1927; on CPoole02 as "If I Lose, Let Me Lose")
CROSS_REFERENCES:
cf. "Battleship of Maine" (tune, floating lyrics)
cf. "Joking Henry" (tune)
ALTERNATE_TITLES:
If I Lose, Let Me Lose
Let Me Lose
File: CSW187
===
NAME: If I Lose, Let Me Lose: see If I Lose, I Don't Care (File: CSW187)
===
NAME: If I Was On Some Foggy Mountain Top: see Foggy Mountain Top (File: CSW042)
===
NAME: If I Were a Blackbird: see I Am a Young Maiden (If I Were a Blackbird) (File: FSC38)
===
NAME: If I Were a Fisher
DESCRIPTION: Composite of floating material: The singer goes to the garden to pick flowers. He wishes he were a fisher, to catch Molly, a salmon; he wishes he were a scholar. He would build Molly a castle. But he lost her by courting too slow
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: love courting rejection flowers bird floatingverses
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
SHenry H709, p. 348, "If I Were a Fisher"; H24a, pp. 248-349, "The Star of Benbradden" (2 texts, 2 tunes)
Creighton-NovaScotia 46, "Pretty Polly" (1 fragment, 1 tune)
Roud #6873
RECORDINGS:
Betty Garland, "Lovin' Nancy" (on BGarland01)
CROSS_REFERENCES:
cf. "Pretty Saro" (floating verses)
cf. "The Cuckoo" (floating verses)
cf. "The Streams of Lovely Nancy" (floating verses)
cf. "The False Bride (The Week Before Easter; I Once Loved a Lass)" (floating verses)
cf. "On Top of Old Smokey" (floating verses)
cf. "As I Walked Out (I) (A New Broom Sweeps Clean)" (floating lyrics)
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (floating lyrics)
cf. "I've Travelled This Country (Last Friday Evening)" (floating lyrics)
cf. "I Once Had a True Love" (floating lyrics)
NOTES: Another composite of floating verses; see the cross-references. Sam Henry's earlier text, "The Star of Benbradden," starts with an original verse, but the rest is the same as "If I Were a Fisher." Since they're both composites, I decided to lump them -- and use the "If I Were a Fisher" name as more memorable.
I tossed Betty Garland's "Lovely Nancy" here on the same principle; it's massively composite, in the "Pretty Saro/If I Were a Fisher" mold.
Creighton's single stanza is really just a floating verse, but it's a floating verse often found with this song; this is as good a home for it as any. - RBW
File: HHH709
===
NAME: If I Were As Young As I Used to Be (Uncle Joe)
DESCRIPTION: The singer is now (84/92); his black hair has turned gray, and youngsters call him "Uncle Joe." But he still feels young, and promises "If any girl here is in love with me, She'll find me as young as I used to be."
AUTHOR: unknown
EARLIEST_DATE: 1882
KEYWORDS: age humorous
FOUND_IN: US(MA,So)
REFERENCES: (5 citations)
Randolph 434, "Uncle Joe" (1 texts, 1 tune, plus two fragments that might or might not belong with this song)
Randolph/Cohen, pp. 337-338, "Uncle Joe" (1 text, 1 tune -- Randolph's 434A)
FSCatskills 150, "If I Were As Young As I Used to Be" (2 texts, 1 tune)
Gilbert, pp. 7-8, "Not So Young As I Used to Be"  (1 text)
DT, UNCLEJOE
Roud #4377
CROSS_REFERENCES:
cf. "Seventy-Two Today" (plot)
File: R434
===
NAME: If I were back 'ome in 'Ampshire: see If I Were Back Home in Hampshire (File: CoSB296)
===
NAME: If I Were Back Home in Hampshire
DESCRIPTION: "If I were back 'ome in 'Ampshire, Where they birds do flock round I, I'd clap my 'hands an' laugh like buggery, An' all they birds would fly away." "I wonder where that blackbird be... 'E see I an' I see 'e an' I be after 'e...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home England bird nonballad
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 296-297, "If I were back 'ome in 'Ampshire" (1 text, 1 tune)
Roud #16931
File: CoSB296
===
NAME: If the River Was Whiskey: see Rye Whisky (File: R405)
===
NAME: If the Seaboard Train Wrecks I Got a Mule to Ride: see Alabama Bound (II) (File: PSAFB044)
===
NAME: If This Book Should Chance to Roam
DESCRIPTION: "If this book should chance to roam, Box its ears and send it home."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry)
KEYWORDS: nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 238, (no title) (1 short text)
NOTES: This sounds more like a bookplate than a song, but I index it in the absence of better data. - RBW
File: MHAp238C
===
NAME: If You Can Love Me
DESCRIPTION: "If you can love me, why not love me, While you have so many in Tennessee! By this you may be led, To think of me when I am dead."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, from Mary King)
KEYWORDS: love
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 232, (first of several "Fragments from Tennessee") (1 fragment)
NOTES: Although the first line of this sounds "Green Grow the Lilacs"-ish, the form implies that it's something different. Don't ask me what. - RBW
File: MHAp232A
===
NAME: If You Don't Believe I'm Sinking
DESCRIPTION: "If you don't believe I'm sinking, just look what a hole I'm in. If you don't believe I love you, just look what a fool I've been. You made me love you and now your man have come, I'll see you later when I've got my gun."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: love fight
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 447, "If You Don't Believe I'm Sinking" (2 fragments)
Roud #11783
File: Br3447
===
NAME: If You Get There Before I Do
DESCRIPTION: "If you get there before I do, all right, all right, Jesus will make it all right. Just tell them that I am coming too, all right, all right. If you get there before I do, all right, Just scratch a hole and pull me through, all right, all right."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 531, "If You Get There Before I Do" (1 fragment)
Roud #11821
CROSS_REFERENCES:
cf. "Wade in the Water" (floating lyrics) and references there
NOTES: The title line, of course, is common and floats (see the cross-references). But the chorus and form implies that this is a separate piece. - RBW
File: Br3531
===
NAME: If You Meet a Woman in the Morning
DESCRIPTION: "If you meet a woman in the morning, Bow yo' head, buddy, bow yo' head." "When you hear that turkle-dove a-hollerin', Sign it's gwi' rain, buddy, sign it's gwi' rain." Other bird calls indicate other times: Whip-poor-will planting, screech owls cold
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 446, "If You Meet a Woman in the Morning" (1 text)
Roud #11792
CROSS_REFERENCES:
cf. "Swannanoa Tunnel" (form, lyrics)
NOTES: The notes in Brown suggest a link to "Swannanoa Tunnel." The form is obviously the same. But this, at the very least, is used for other purposes. - RBW
File: Br3446
===
NAME: If You Want to Go A-courting: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: If You Want to Go to Heaven: see Talking Blues (File: LoF224)
===
NAME: If You Want to Know Where the Privates Are: see The Old Barbed Wire (I Know Where They Are) (File: San442)
===
NAME: If You Want to See the Captain: see The Old Barbed Wire (I Know Where They Are) (File: San442)
===
NAME: If You'll Only Let Liquor Alone
DESCRIPTION: The singer reminds her husband that he promised when they married "that you would leave liquor alone." Nevertheless, he breaks his vows "to your kind wife and baby at home."
AUTHOR: unknown
EARLIEST_DATE: 1963 (Ives-NewBrunswick)
KEYWORDS: promise drink baby husband wife betrayal lie marriage
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 90-92, "If You'll Only Let Liquor Alone" (1 text, 1 tune)
Roud #1951
File: IvNB90
===
NAME: If Your Gal Gets Mad
DESCRIPTION: "Ef yore gal gits mad an' tries to bully you (x2), Jes' take your automatic an' shoot her through an' through! (x2)"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting rejection homicide
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 275, (no title) (1 short text)
NOTES: Needless to say, this method has not been shown to cause women to be come more amenable to men's wishes.
I suspect this may be the ending of a longer ballad in which the woman provokes the man until he shoots her, but I cannot recall seeing such a song. - RBW
File: ScNF275A
===