NAME: Robin Hood and the Bishop of Hereford [Child 144]
DESCRIPTION: The Bishop of Hereford enters Barnsdale and finds Robin Hood killing a deer. He tries to convince Robin Hood to come before the king. Robin refuses, gives the Bishop dinner, and then extracts the price -- several hundred pounds, plus a dance or a mass
AUTHOR: unknown
EARLIEST_DATE: 1749
KEYWORDS: Robinhood hunting clergy money
FOUND_IN: Britain(England(South))
REFERENCES: (6 citations)
Child 144, "Robin Hood and the Bishop of Hereford" (2 texts)
Bronson 144, "Robin Hood and the Bishop of Hereford" (3 versions)
Leach, pp. 411-413, "Robin Hood and the Bishop of Hereford" (1 text)
OBB 120, "Robin Hood and the Bishop of Hereford" (1 text)
PBB 70, "Robin Hood and the Bishop of Hereford" (1 text)
DT 144, RHOODBSH*
Roud #2338
CROSS_REFERENCES:
cf. "Robin Hood and the Bishop" (plot, lyrics)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C144
===
NAME: Robin Hood and the Butcher [Child 122]
DESCRIPTION: Robin goes to Nottingham in the guise of a young butcher who sells cheap and spends freely. The sheriff returns with him to the forest for bargain-priced cattle. He is shown deer, then captured and relieved of his gold. He is released for his wife's sake.
AUTHOR: unknown
EARLIEST_DATE: 1657 (Stationer's Register)
KEYWORDS: Robinhood trick commerce robbery
FOUND_IN: 
REFERENCES: (4 citations)
Child 122, "Robin Hood and the Butcher" (2 texts)
Bronson 122, comments only
OBB 119, "Robin Hood and the Butcher" (1 text)
BBI, RZN4, "Come all you brave gallants & listen a while"
Roud #3980
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C122
===
NAME: Robin Hood and the Curtal Friar [Child 123]
DESCRIPTION: Robin learns of a friar's prowess and seeks him out. Each submits once to carrying the other over water, then the friar dumps Robin in. They fight long, then Robin's men and the friar's dogs enter the fray. The friar is invited to join the band.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood clergy fight outlaw
FOUND_IN: 
REFERENCES: (5 citations)
Child 123, "Robin Hood and the Curtal Friar" (2 texts)
Bronson 123, "Robin Hood and the Curtal Friar" (1 version)
Leach, pp. 361-365, "Robin and the Curtal Friar" (1 text)
OBB 118, "Robin Hood and the Curtal Friar" (1 text)
BBI, RZN13, "In summer time when leaves grow green"
Roud #1621
NOTES: This friar is otherwise known as Friar Tuck, so called because his frock is tucked up. Child says Curtal relates to the keeping of the "curtile", or vegetable garden, but acknowledges that others thought it meant he had a curtailed, or shortened, frock. - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
There is a record of a "Friar Tuck," though not in any way associated with Robin Hood. Two writs of 1417 mention a man of that name who had gathered a gang of outlaws in Surrey and Sussex. He remained at large in 1429 (though nothing was heard of him in the interval); his true name was reported to be Robert Stafford.
The association of Robin Hood and the Friar may have arisen from the May Games (in which both a Friar and Robin were characters), and the Friar may possibly have been associated with Friar Tuck because the latter was an outlaw.
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
Bronson has extensive notes on the dubious nature of the tune of this piece, which is from Rimbault based on an alleged handwritten copy no longer found in the book where Rimbault claimed to find it. - RBW
File: C123
===
NAME: Robin Hood and the Golden Arrow [Child 152]
DESCRIPTION: The sheriff of Nottingham plots to catch Robin by means of an archery competition. Robin and his men go, but dress differently and scatter in the crowd, so are not recognized. Robin wins. To gloat, he sends a letter to the sheriff, by arrow.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood contest disguise
FOUND_IN: 
REFERENCES: (1 citation)
Child 152, "Robin Hood and the Golden Arrow" (1 text)
Roud #3994
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C152
===
NAME: Robin Hood and the Monk [Child 119]
DESCRIPTION: Robin Hood decides to take mass in Nottingham. He quarrels with Little John after a shooting match, and proceeds alone. A monk betrays him to the sheriff. John and Much trick the king into giving them his seal; they go to the sheriff and rescue Robin
AUTHOR: unknown
EARLIEST_DATE: ms. Cambridge Ff. 5.48, c. 1450
KEYWORDS: Robinhood clergy captivity rescue
FOUND_IN: 
REFERENCES: (11 citations)
Child 119, "Robin Hood and the Monk" (1 text)
Bronson 119, comments only; cf. Chappell/Wooldridge II, pp. 53-54, "Oh, How They Frisk It, or, Leather Apron, or Under the Greenwood Tree"
Leach, pp. 340-349, "Robin Hood and the Monk" (1 text)
Friedman, p. 327, "Robin Hood and the Monk" (1 text)
OBB 117, "Robin Hood and the Monk" (1 text)
Niles 42, "Robin Hood and the Monk" (1 text, 1 tune -- another questionable JJN collection)
Gummere, pp. 77-89+321-322, "Robin Hood and the Monk" (1 text)
TBB 27, "Robin Hood and the Monk" (1 text)
Hodgart, p. 81, "Robin Hood and the Monk" (1 text)
ADDITIONAL: Iona & Peter Opie, The Oxford Book of Narrative Verse, pp. 22-32, "Robin Hood and the Monk" (1 text)
Walter de la Mare, _Come Hither_, revised edition, 1928; #148, "In Summer" (1 fragment, consisting of the first five verses)
Roud #3978
ALTERNATE_TITLES:
Robin Hood and the Twenty Pounds of Gold
NOTES: In terms of the date of the manuscript, this is regarded as the oldest surviving Robin Hood piece (though in fact, except for John Jacob Niles's probable fake, it does not seem to survive outside the one manuscript). It is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]).
Bronson observes that Chappell associated a tune with this piece, but that the association was Chappell's own, on weak grounds, and therefore does not cite the melody. The Opies quote Dobson and Taylor to the effect that this was more likely recited than sung.
The Cambridge manuscript, again according to the Opies, is sort of a do-it-yourself minstrel kit: 135 pages not only of tales but also prayers and prophecies. - RBW
File: C119
===
NAME: Robin Hood and the Old Maid: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Old Woman: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Pedlar: see The Bold Pedlar and Robin Hood [Child 132] (File: C132)
===
NAME: Robin Hood and the Pedlars [Child 137]
DESCRIPTION: Robin Hood, Will Scarlett, and Little John try to stop three pedlars, succeeding only by sending an arrow into one of their packs. They fight. Robin appears to be slain. His antagonist administers a supposed healing balsam, making him puke on reviving.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Robinhood fight injury medicine trick
FOUND_IN: 
REFERENCES: (1 citation)
Child 137, "Robin Hood and the Pedlars" (1 text)
Roud #3987
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C137
===
NAME: Robin Hood and the Potter [Child 121]
DESCRIPTION: A potter defeats Robin. Robin disguises himself as the potter. He sells pots in Nottingham, giving some to the Sheriff's wife. She invites him home. He offers to take the Sheriff to Robin. Robin robs the Sheriff, sending him home with a horse for his wife
AUTHOR: unknown
EARLIEST_DATE: 1795 (Ritson)
KEYWORDS: Robinhood fight trick disguise gift
FOUND_IN: 
REFERENCES: (3 citations)
Child 121, "Robin Hood and the Potter" (1 text, with "The Playe of Robyn Hode" in an appendix)
Leach, pp. 352-360, "Robin Hood and the Potter" (1 text)
Niles 44, "Robin Hood and the Potter" (1 text, 1 tune -- as dubious as any other JJN Robin Hood ballad)
Roud #3979
ALTERNATE_TITLES:
The Potter and Robin Hood
NOTES: This is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]). 
Fully half the Robin Hood ballads in the Child collection (numbers (121), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150), with this one being the earliest) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
This is probably the earliest, and in many ways the best, example of this genre, though it is hardly typical (since it has a second part dealing with the trick played on the Sheriff). Paul Stamler offers the following only-mildly-exaggerated description of the typical ballad of this type:
"Robin Hood meets just about anyone and they quarrel about something really stupid. Robin picks a fight, and since the other person is always bigger, stronger, and a better fighter, he wins. Robin then makes nice with him and invites him to join all the other people who've beaten him up. Somewhere during all this, Robin raises an extremely symbolic horn to his lips. Privately, everyone in Robin's band agrees that Robin would do better if he stayed on his meds." - RBW
File: C121
===
NAME: Robin Hood and the Prince of Aragon [Child 129]
DESCRIPTION: Aragon has encircled London, demanding its princess, unless three champions defeat him and his two giants. Robin Hood, Little John, and Robin's nephew Will Scadlock do so, gaining pardon. Will gains the princess and is reunited with his father.
AUTHOR: unknown
EARLIEST_DATE: 1749
KEYWORDS: Robinhood fight royalty pardon
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Child 129, "Robin Hood and the Prince of Aragon" (1 text)
Bronson 129, "Robin Hood and the Prince of Aragon" (1 version)
BarryEckstormSmyth pp. 233-240, "Robin Hood and the Prince of Aragon" (1 text, 1 tune, which even the editors admit is full of absurdities and whose verses Bronson calls "rather deplorable") {Bronson's [#1]}
BBI, RZN18, "Now Robin Hood, Will Scadlock, and little John"
Roud #3983
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
This is an instance where oral tradition didn't do anything for a ballad; Child calls his text vapid, and the New Brunswick version from J. P. A. Nesbitt (found in Barry/Eckstorm/Smyth) could almost be held up as an example of "when ballads go bad."
It is probably obvious that there isn't a hint of history in this ballad; the attacker in the ballad is a Turk, but Aragon was a Christian state, centered around Barcelona. The Aragonese could not have have hoped to attack England until after the union with Spain.
The whole business might have been suggested by the bad  blood between Spain and England over the marriage of Henry VIII and Catherine of Aragon -- but that of course didn't end in invasion. - RBW
File: C129
===
NAME: Robin Hood and the Ranger [Child 131]
DESCRIPTION: Robin is stopped from killing a deer by a forester. They fight. Robin is bested and offers the other a place in his band. He blows his horn to summon his men, the forester joins them, and all celebrate.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood fight
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
Child 131, "Robin Hood and the Ranger" (1 text)
Bronson 131, "Robin Hood and the Ranger" (2 versions)
Roud #933
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C131
===
NAME: Robin Hood and the Scotchman [Child 130]
DESCRIPTION: "Bold Robin Hood to the north he would go... with valour and mickle might... To fight and recover his right." Robin meets a Scotsman, and offers him a job providing he can pass a test of strength. The Scot pummels Robin and joins his band
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight
FOUND_IN: 
REFERENCES: (3 citations)
Child 130, "Robin Hood and the Scotchman" (2 texts)
Bronson 130, comments only
BBI, (no number given; should perhaps be ZRN24), "Then bold Robin Hood to the north"
Roud #3984
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C130
===
NAME: Robin Hood and the Shepherd [Child 135]
DESCRIPTION: Robin comes upon a shepherd and demands to know the contents of his bag and bottle. The shepherd defies him. They fight. The shepherd wins. Robin blows his horn. Little John answers the call but the shepherd thrashes him as well.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight shepherd
FOUND_IN: 
REFERENCES: (4 citations)
Child 135, "Robin Hood and the Shepherd" (1 text)
Bronson 135, comments only
BarryEckstormSmyth p. 451, "Robin Hood and the Shepherd" (brief notes only)
BBI, RZN1, "All gentlemen and yeomen good"
Roud #3985
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C135
===
NAME: Robin Hood and the Sheriff: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood and the Tanner [Child 126]
DESCRIPTION: Robin Hood meets a tanner in the woods; they fight. After two hours Robin blows his horn. Little John comes running; Robin says the other has tanned his (Robin's) hide. Little John offers to continue the battle; Robin says no, praising the tanner's skill.
AUTHOR: unknown
EARLIEST_DATE: 1657 (Stationer's Register)
KEYWORDS: Robinhood fight
FOUND_IN: Britain(England(South)) US(SE)
REFERENCES: (8 citations)
Child 126, "Robin Hood and the Tanner" (1 text)
Bronson 126,  "Robin Hood and the Tanner" (3 versions+ 2 in addenda)
Davis-Ballads 31, "Robin Hood and the Tanner" (1 text, 1 tune entitled "Robin Hood and Arthur O'Bland") {Bronson's #3}
Leach, pp. 372-376, "Robin Hood and the Tanner" (1 text)
Sharp-100E 4, "Robin Hood and the Tanner" (1 text, 1 tune)
Lomax-FSNA 94, "Robin Hood and Arthur O'Bland" (1 text, 1 tune) {Bronson's #3}
BBI, RZN12, "In Nottingham there lived a jolly Tanner"
DT 126, RHOODTAN*
Roud #332
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle.
Bronson, in searching for the tunes of the Child Ballads, notes that many are the same tune, and that tune is most likely to be "Arthur A Bland." Which, if it is anything, is this. So this may be one of the "core" Robin Hood ballads. Except -- all this is based on a few tag lines, which are often unreliable. - RBW
File: C126
===
NAME: Robin Hood and the Tinker [Child 127]
DESCRIPTION: A Tinker asks help arresting Robin Hood for 100 pounds. Robin tricks him into drinking himself to sleep. On waking he learns his companion was Robin. He finds Robin; they fight. Robin yields, then blows his horn for reinforcements. The Tinker joins them.
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood trick
FOUND_IN: 
REFERENCES: (4 citations)
Child 127, "Robin Hood and the Tinker" (1 text)
Bronson 127, comments only
Leach, pp. 376-380, "Robin Hood and the Tinker" (1 text)
BBI, RZN14, "In summer time when leaves grow green"
Roud #3982
NOTES: Child describes this as a "contemptible imitation of imitations." - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C127
===
NAME: Robin Hood and the Twenty Pounds of Gold: see Robin Hood and the Monk [Child 119] (File: C119)
===
NAME: Robin Hood and the Valiant Knight [Child 153]
DESCRIPTION: The king sends a knight with 100 to arrest Robin. The knight goes alone to Robin to request surrender. Robin refuses and battle ensues. The knight (retires/is killed) but Robin, wounded, sends for a monk whose bloodletting ends his life. The men scatter.
AUTHOR: unknown
EARLIEST_DATE: before 1741
KEYWORDS: Robinhood knight battle injury death clergy
FOUND_IN: 
REFERENCES: (2 citations)
Child 153, "Robin Hood and the Valiant Knight" (1 text)
Bronson 152, comments only
Roud #3995
CROSS_REFERENCES:
cf. "Robin Hood's Death" [Child 120] (subject)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C153
===
NAME: Robin Hood and the Widow's Three Sons: see Robin Hood Rescuing Three Squires [Child 140] (File: C140)
===
NAME: Robin Hood Newly Revived [Child 128]
DESCRIPTION: Robin sees a young man skillfully kill a deer, offers him a place,  is answered disdainfully. They fight. Impressed, Robin asks the stranger who he is. He is Robin's sister's son, who has slain his father's steward. Robin makes him next under Little John
AUTHOR: unknown
EARLIEST_DATE: 1777
KEYWORDS: Robinhood fight family
FOUND_IN: 
REFERENCES: (5 citations)
Child 128, "Robin Hood Newly Revived" (1 text)
Bronson 128, comments only
Leach, pp. 380-383, "Robin Hood Newly Revived" (1 text)
BBI, RZN7, "Come listen a while you Gentlemen all"
DT 128, RHNEWREV
Roud #3956
CROSS_REFERENCES:
cf. "The Bold Pedlar and Robin Hood" [Child 132] (theme)
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C128
===
NAME: Robin Hood Rescuing Three Squires [Child 140]
DESCRIPTION: Robin learns from (a women/their mother) that three men are to be hanged for deer-killing. He meets a (palmer/beggar) who confirms this. Robin insists on trading clothes, goes disguised to Nottingham, blows his horn for his men, and rescues the three.
AUTHOR: unknown
EARLIEST_DATE: 1786
KEYWORDS: Robinhood execution disguise rescue
FOUND_IN: Britain(England(South,West),Scotland) US(NE,SE)
REFERENCES: (13 citations)
Child 140, "Robin Hood Rescuing Three Squires" (4 texts)
Bronson 140, "Robin Hood Rescuing Three Squires" (7 versions+2 in addenda)
BarryEckstormSmyth pp. 2420-242, "Robin Hood Rescuing Three Squires" (1 text)
Flanders/Olney, pp. 69-72, "Bold Robin Hood Rescuing the Three Squires" (1 text, 1 tune) {Bronson's #2}
Flanders-Ancient3, pp. 107-116, "Robin Hood Rescuing Three Squires" (3 texts, with A1 and A2 being variant versions from the same informant, 1 tune) {Bronson's #2, with some small variants}
BrownII 140, "Robin Hood Rescuing Three Squires" (1 text with variants from several performances by the same informant)
Friedman, p. 341, "Robin Hood Rescuing Three Squires" (1 text)
OBB 122, "Robin Hood and the Widow's Three Sons" (1 text)
PBB 69, "Robin Hood and the Sheriff" (1 text)
Niles 47, "Robin Hood Rescuing Three Squires" (2 texts, 2 tunes, the second perhaps being mixed with Child 143)
Chase, pp. 124-126, "Bold Robin Hood" (1 text, 1 tune, clearly this piece although it has many floating lyrics, e.g. from "The House Carpenter") {Bronson's #4}
Darling-NAS, pp. 87-90, "Robin Hood Rescuing Three Squires" (1 text)
DT 140, RH3SQUIR*
Roud #71
ALTERNATE_TITLES:
Robin Hood and the Old Maid
Robin Hood and the Old Woman
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C140
===
NAME: Robin Hood Rescuing Will Stutly [Child 141]
DESCRIPTION: One of Robin's men, Will Stutly, is to be hanged. Robin and his men swear to rescue him or die trying. At the gallows Little John leaps from a bush, unbinds Will, and gives him a sword. They fight back to back as the archers chase the sheriff and his men
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood execution rescue fight
FOUND_IN: US(SE)
REFERENCES: (6 citations)
Child 141, "Robin Hood Rescuing Will Stutly" (1 text)
Bronson 141, "Robin Hood Rescuing Will Stutly" (1 version)
Davis-Ballads 32, "Robin Hood Rescuing Will Stutly" (1 text, 1 tune entitled "The Rescue of Will Stutly") {Bronson's [#1]}
Leach, pp. 402-403, "Robin Hood Rescuing Will Stutly" (1 text)
BBI, RZN21, "When Robin Hood in the Green wood"
DT 141, ROBHDWST*
Roud #3957
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C141
===
NAME: Robin Hood Side: see Scarboro Sand (The Drowned Sailor) [Laws K18] (File: LK18)
===
NAME: Robin Hood Was a Forrester Bold
DESCRIPTION: "O Robin Hood was a forrester good As ever drew bow in a merry greenwood, And the wild deer will follow, will follow." "Little John with his arms so long, He conquered them all with his high ding dong, And the bugles did echo, did echo."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: Robinhood
FOUND_IN: US(Ap) Britain(England)
REFERENCES: (1 citation)
JHCox 34, "Robin Hood" ( text)
Roud #1303
NOTES: Cox's text is only a fragment of what was presumably a longer ballad (probably a late broadside, though I find no reference in the Broadside Ballad Index to this particular text). It doesn't look like any of the Child "Robin Hood" ballads, either. But it is traditional, so here it sits until someone figures out its ancestry. - RBW
File: JHCox034
===
NAME: Robin Hood's Birth, Breeding, Valor, and Marriage [Child 149]
DESCRIPTION: Robin and his mother visit her brother, who makes Robin his heir and gives him Little John as a page. Robin takes Little John to his band in the forest. He meets shepherd Clorinda who impresses by shooting a buck. They go to Titbury feast and are married.
AUTHOR: unknown
EARLIEST_DATE: 1716
KEYWORDS: Robinhood family mother brother servant outlaw marriage
FOUND_IN: 
REFERENCES: (2 citations)
Child 149, "Robin Hood's Birth, Breeding, Valor and Marriage" (1 text)
BBI, RZN17, "Kind gentlemen will you be patient awhile"
Roud #3991
NOTES: Child notes that this ballad has several elements at variance with the bulk of the Robin Hood tradition. - KK
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C149
===
NAME: Robin Hood's Chase [Child 146]
DESCRIPTION: Robin leaves London after the feats of Child 145. The king, repenting of his pardon, goes after him. Robin leads a chase through many towns, back to London, then to Sherwood. The king returns to London to learn cunning Robin had sought him there.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood royalty escape
FOUND_IN: 
REFERENCES: (4 citations)
Child 146, "Robin Hood's Chase" (1 text)
Bronson 146 comments only
Leach, pp. 418-420, "Robin Hood's Chase" (1 text)
BBI, RZN9, "Come you gallants all, to you I do call"
Roud #3989
NOTES: It should perhaps be noted that the wife of Henry II (the "King Henry" of most Robin Hood ballads; reigned 1154-1189) was named Eleanor. The first Henry to have a wife named Katherine was Henry V (reigned 1413-1422); Henry VIII (1513-1547) marred several Katherines. But both these kings are far too late for Robin Hood's era. For further details, see the entry on Child 145.
For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C146
===
NAME: Robin Hood's Death [Child 120]
DESCRIPTION: Robin Hood, feeling ill, travels to (Kirkly-hall) to be blooded. The prioress sets out to bleed him to death. Only as he nears death does Robin realize what is happening; he calls to Little John. It is too late to save Robin; he arranges for his burial
AUTHOR: unknown
EARLIEST_DATE: 1786
KEYWORDS: Robinhood death burial medicine betrayal
FOUND_IN: US(MW,SE)
REFERENCES: (11 citations)
Child 120, "Robin Hood's Death" (2 texts)
Bronson 120,  "Robin Hood's Death" (1 version)
Davis-Ballads 30, "Robin Hood's Death" (1 text, 1 tune entitled "The Death of Robin Hood") {Bronson's [#1]}
Leach, pp. 349-352, "Robin Hood's Death" (1 text)
Friedman, p. 345, "Robin Hood's Death" (1 text)
OBB 125, "The Death of Robin Hood" (1 text)
Niles 43, "Robin Hood's Death" (1 text, 1 tune)
Gummere, pp. 90-93+322-323, "Robin Hood's Death" (1 text)
Hodgart, p. 94, "Robin Hood's Death" (1 text)
BBI, (no number; perhaps should be ZRN23?), "When Robin Hood and Little John"
DT 120, ROBHDTH*
Roud #3299
RECORDINGS:
Art Thieme, "The Death of Robin Hood" (on Thieme02) (on Thieme06) [with introductory verses from other Robin Hood ballads]
CROSS_REFERENCES:
cf. "Robin Hood and the Valiant Knight" [Child 153] (subject)
ALTERNATE_TITLES:
Robber Hood's Death
NOTES: This is considered by J. C. Holt (following Child and others), to be one of the five "basic" Robin Hood ballads. (For more details on chronology see the notes on "A Gest of Robyn Hode" [Child 117]). The earliest known copy (from the Percy folio) is very defective, but seems to be at least two centuries older than the manuscript.
This perhaps the most popular of the basic Robin Hood ballads (note that it is one of only eight Robin Hood pieces for which we have an authentic tune); fragments have been found in America as recently as the twentieth century.
Unlike most Robin Hood tunes, this has an unquestionably legitimate tune, from Davis. - RBW
File: C120
===
NAME: Robin Hood's Delight [Child 136]
DESCRIPTION: Robin Hood, Little John, and Will Scarlock are met in the forest by three keepers. They fight. The keepers get the better of it. Robin asks to blow his horn but is refused. Robin invites them to compete at drinking sack instead. They become friends.
AUTHOR: unknown
EARLIEST_DATE: 1663
KEYWORDS: Robinhood fight drink
FOUND_IN: 
REFERENCES: (3 citations)
Child 136, "Robin Hood's Delight" (1 text)
Bronson 135, comments only
BBI, RZN20, "There's some will talk of Lords and Knights"
Roud #3986
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117].
Fully half the Robin Hood ballads in the Child collection (numbers (121 -- the earliest and most basic example of the type), 123, 124, 125, 126, 127, 128, 130, 131, 132, (133), (134), (135), (136), (137), (150)) share all or part of the theme of a stranger meeting and defeating Robin, and being invited to join his band. Most of these are late, but it makes one wonder if Robin ever won a battle. - RBW
File: C136
===
NAME: Robin Hood's Golden Prize [Child 147]
DESCRIPTION: Robin, disguised as a friar, asks alms of two priests in the wood. They claim that they were robbed and have nothing. Robin follows them and forces them to reveal the gold they are carrying. He makes them vow never to lie or cheat in the future
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood money clergy lie
FOUND_IN: 
REFERENCES: (5 citations)
Child 147, "Robin Hood's Golden Prize" (1 text)
Bronson 147, comments only
Leach, pp. 420-422, "Robin Hood's Golden Prize" (1 text)
OBB 123, "Robin Hood's Golden Prize" (1 text)
BBI, RZN11, "I have heard talk of Robin Hood"
Roud #3990
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C147
===
NAME: Robin Hood's Progress to Nottingham [Child 139]
DESCRIPTION: Robin at age 15 falls in with 15 foresters in Nottingham. He intends to enter a shooting match. They taunt him with his youth. He wagers on his ability and wins by killing a hart, but they refuse to pay. He kills them all, escapes to the merry green wood.
AUTHOR: unknown
EARLIEST_DATE: 1656 (Stationer's Register)
KEYWORDS: Robinhood hunting contest escape money youth
FOUND_IN: Canada(Mar)
REFERENCES: (7 citations)
Child 139, "Robin Hood's Progress to Nottingham" (1 text)
Bronson 139, "Robin Hood's Progress to Nottingham" (2 versions)
Creighton/Senior, pp. 69-70, "Robin Hood's Progress to Nottingham" (1 text (composite from 2 singers), 1 tune) {Bronson's #2}
Creighton-NovaScotia 7, "Robin Hood's Progress to Nottingham" (1 fragment, 1 tune) {Bronson's #1}
Leach, pp. 400-402 "Robin Hood's Progress to Nottingham" (1 text)
BBI, RZN19, "Robin Hood he was a tall young man"
DT 139, RHPROGNT
Roud #1790
BROADSIDES:
Bodleian, Wood 402(14, 15), "Robin Hoods Progresse to Nottingham," F. Grove (London), 1623-1661; also Wood 401(37) [partly illegible], "Robin Hoods Progresse to Nottingham"; Douce Ballads 3(120a), "Robin Hood's progress to Nottingham" [subtitle "Shewing how he slew fifteen foresters"]
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
This, according to broadside Bodleian Douce Ballads 3(120a) and all other broadsides withi list a tune, is to be sung to the tune of "Bold Robin Hood." But Bronson notes that this song cannot be identified, and that several Robin Hood ballads use the same stanza form. - BS, RBW
File: C139
===
NAME: Robin Redbreast: see The Banks of the Gaspereaux [Laws C26] (File: LC26)
===
NAME: Robin Redbreast's Testament
DESCRIPTION: The singer asks the robin how long it has been there; it says twenty years, but now it's sick and would make its testament. He gives parts of his body to the Hamiltons, to serve them, and others to repair bridges. He scorns the wren who mourns for him
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: bird death lastwill farewell
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (3 citations)
SHenry H527, pp. 20-21, "Robin Redbreast's Testament" (1 text, 1 tune)
Montgomerie-ScottishNR 194, "(Robin Redbreast's Testament)" (1 text)
DT, ROBNTEST
Roud #3900
NOTES: In the time-honored tradition of folklorists assigning big meaning to small verse, I suspect this has a political undertone. (Probably someone has talked about this before, but I haven't seen it yet.) My first thought was of the period at the end of the reign of Mary Stuart and the beginning of James I in Scotland, when the Hamilton and Lennox factions were struggling over the regency. But the Hamiltons were not yet Dukes.
Testing additional versions, I think the likely time period is c. 1649 and the end of the reign of Charles I. The robin is said to be "e'en like a little king," which fits, and his reign of "mair than twenty year" fits Charles, who came to the throne in 1625 and was executed in 1649.
In that case, the Duke of Hamilton is James, First Duke of Hamilton (1606-1649). An indecisive and ineffective figure, he finally ended up leading royalist forces at Preston in 1648, where he was crushed by Cromwell. He was executed about a month after Charles himself. - RBW
File: HHH527
===
NAME: Robin Spraggon's Auld Grey Mare: see Pawkie Paiterson's Auld Grey Yaud (File: FVS311)
===
NAME: Robin Tamson's Smiddy [Laws O12]
DESCRIPTION: The singer has been sent to the smithy to have the mare shod. While there he woos the smith's daughter behind her father's back. The girl dislikes his poor clothes; he says she can mend them. She decides to run off with him rather than live an old maid
AUTHOR: Alexander Rodgers (Sandy Rodger)?
EARLIEST_DATE: 1842 (in Whistle-binkie, as "My Auld Breeks, air the Corn Clips")
KEYWORDS: clothes courting elopement horse
FOUND_IN: Britain(Scotland) US(MW) Canada(Mar)
REFERENCES: (6 citations)
Laws O12, "Robin Tamson's Smiddy"
Logan, pp. 365-367, "My Minnie Ment My Auld Breeks" (1 text)
Gardner/Chickering 67, "Robin Tamson's Smiddy" (1 text, 1 tune)
Creighton-Maritime, p. 39, "Robbie Tampson's Smitty" (1 text, 1 tune)
Creighton-SNewBrunswick 14, "Robbie Tampson's Smitty" (1 text, 1 tune)
DT 671, RTSMITTY
Roud #939
BROADSIDES:
Bodleian, Firth b.25(573), "Robin Thompson's Smiddy," J. Moore (Belfast), 1846-1852; also 2806 c.16(207)=Harding B 11(3301), "Robin Thompson's Smiddy"; Harding B 11(2103), "Duddy Breeks" or "Robbin Thompson's Smiddy"; Firth b.26(528), "Robin Tamson"; Harding B 11(1018), Harding B 11(331), "Duddy Breeks"
NLScotland, L.C.Fol.70(42b), "Robin Tamson's Smiddy," Poet's Box (Dundee), c 1880-1900
File: LO12
===
NAME: Robyn and Gandeleyn [Child 115]
DESCRIPTION: Robyn hunts deer. Just after felling one he is himself slain by an arrow. His knave Gandeleyn seeks its source, finds Wrennok the Dane, challenges him, and avenges Robyn.
AUTHOR: unknown
EARLIEST_DATE: c. 1430 (British Museum -- Sloane MS. 2593); printed by Ritson 1790
KEYWORDS: hunting death fight revenge
FOUND_IN: 
REFERENCES: (4 citations)
Child 115, "Robyn and Gandeleyn" (1 text)
Leach, pp. 332-334, "Robin and Gandeleyn" (1 text)
OBB 112, "Robyn and Gandeleyn" (1 text)
DT 115, RHGANDYN
Roud #3976
NOTES: E. K. Chambers (_English Literature at the Close of the Middle Ages_, p. 131) thinks that this is a sort of proto-Robin Hood ballad. But Child dismisses this notion, and rightly I think (but see below)
Chambers also notes that the source (Sloane MS. 2593) contains many carols, and believes that this was intended to be sung at Christmas. This is basically bunk (it doesn't help that Chambers literally hasn't the sense to tell what is a carol, or even what is a traditional song).
Sloane MS 2593 *does* contain many religious works, including the well-known "Adam Lay Ybounden" and "I Sing of a Maiden That Is Makeless" and others -- but it has plenty of secular works as well, including "I Have a Yong Suster" (the earliest form of "I Gave My Love a Cherry"), some drinking lyrics, and at least a few riddles.
If this isn't a Robin Hood song, it may nonetheless have some very indirect connections with that corpus. As with several of the older Child ballads ("Hind Horn" [Child 17], "King Orfeo" [Child #19], "Blancheflour and Jellyflorice" [Child 300], this may connect with a Middle English romance.
The romance in this case is "Gamelyn." The plot in brief: Sir John of Boundys, dying, leaves his property to his sons John, Ote, and Gamelyn. Gamelyn is set aside. Placed in bondage by his brother, he is freed by Adam the Spencer; they take revenge and flee to the greenwood. The oldest brother, now sheriff, declares him an outlaw. Gamelyn comes to the court, is taken prisoner, but is set free when Ote stands his bail. Gamelyn attacks the court, gains his freedom, and is pardoned by the King.
The similarities of "Gamelyn" to the Robin Hood cycle are obvious, and it is possible that "Robyn and Gandelyn" is a worn down version of the romance; they are about as close as "Hind Horn" and "King Horn" (i.e. not very). But that doesn't make the ballad an ancestor of the Robin Hood corpus; rather, it is at best a cousin.
"Gamelyn" is one of the best-attested of the Middle English romances, though the reason is "bizarre" (Larry D. Benson, _The Riverside Chaucer_, p. 1125): It's included in many manuscripts of Chaucer! The Cook's Tale ends abruptly, and it appears that some scribes, feeling the need to supply a complete story, plugging in this account. (The dialect, it must be admitted, matches Chaucer, but the seven-stress lines don't.)
There are some 16 manuscripts in Manley and Rickert's "c" and "d" groups of _The Canterbury Tales_, which are associated with the inclusion of Gamelyn, though not all of these are complete; we also find it, e.g., in the well-known Harley 7334. Several critical editions have been published, but I have not studied the matter further. - RBW
File: C115
===
NAME: Rock 'N' Row Me Over: see One More Day (File: FSWB086B)
===
NAME: Rock About My Saro Jane
DESCRIPTION: The singer, despite "a wife and five little children," decides to "take a trip on the big Macmillan." The troublesome operations of the boat are described. Chorus: "Oh, there's nothing to do but sit down and sing And rock about my Saro Jane."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Uncle Dave Macon)
KEYWORDS: ship river love work
FOUND_IN: US
REFERENCES: (5 citations)
Lomax-FSUSA 47, "Rock About My Saro Jane" (1 text, 1 tune)
Lomax- FSNA 277, "Rock About, My Saro Jane" (1 text, 1 tune)
Botkin-SoFolklr, p. 747, "Rock About, My Saro Jane" (1 text, 1 tune)
Silber-FSWB, p. 92, "Rock About My Saro Jane" (1 text)
DT, SAROJANE
Roud #10052
RECORDINGS:
Uncle Dave Macon, "Rock About My Saro Jane" (Vocalion 5151, 1927; also probably issued as Brunswick B-1024, 1929 and Brunswick 80091, n.d.; on TimesAint03)
New Lost City Ramblers, "Rock About My Saro Jane" (on NLCR14)
File: LxU047
===
NAME: Rock All Our Babies to Sleep: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Rock Island Line (I), The
DESCRIPTION: "The Rock Island Line is a mighty good road, The Rock Island Line is the road to ride." About life in general, engineering on the Rock Island Line, and anything else that can be zipped into the song
AUTHOR: unknown (heavily adapted by Huddie Ledbetter)
EARLIEST_DATE: 1934 (recording, Kelly Pace et al)
KEYWORDS: railroading train nonballad floatingverses
FOUND_IN: US(So)
REFERENCES: (3 citations)
Cohen-LSRail, pp. 472-477, "The Rock Island Line" (3 texts, 1 tune)
Silber-FSWB, p. 102, "Rock Island Line" (1 text)
DT, ROCKISLL
Roud #15211
RECORDINGS:
Kelly Pace & group of prisoners, "Rock Island Line" (AFS 248 A1, 1934; on LC8, LCTreas)
NOTES: How much of this is genuinely "folk" is hard to tell. The earliest version collected [was] at Cummins Prison Farm (Arkansas) in 1934. The collection was made by John & Ruby Lomax; Lead Belly was their driver. Working from this and perhaps some floating material, Lead Belly created a song which he interspersed with patter about railroad work. The Weavers regularized this, and Alan Lomax added "new material"; one wonders if the prisoners would have recognized the result. - PJS, RBW
One of the verses found in revival versions is present [in the Pace recording on 1934], ("Jesus died to save me in all of my sin/Glory to God, we goin' to meet Him again"), as is the standard chorus. 
Mr. Pace's name is spelled "Kelly" throughout LC8, but,"Kelley" on LC10. I have no idea which is correct. - PJS
Cohen uses the spelling "Kelly Pace," but of course he may have had the same problem.
Cohen also documents the evolution of the song, which apparently began as an Arkansas work song. Lead Belly, as noted, probably learned it in 1934. When he recorded it for the Library of Congress in 1937, he used a subset of the Pace verses, with a line of patter about cutting trees; the song is still a work song.
When Lead Belly recorded it again in 1944 for Capitol, he had added a couple of verses not from Pace ("I may be right and I may be wrong"; "A-B-C double X-Y-Z") and had a new line of railroad patter. Soon after, he recorded it for Folkways, in what seems to have become the canonical version, ending with him telling the rainroad agent, "I fooled you."
It's unfortunate we don't have more information about how Lead Belly performed the song in concert in these years. It's quite a demonstration of "live fire" folk process, though. - RBW.
File: FSWB102
===
NAME: Rock Island Line (II), The: see Fox River Line, The (The Rock Island Line) [Laws C28] (File: LC28)
===
NAME: Rock of Ages (I)
DESCRIPTION: "Rock of Ages, Cleft for Me, Let me hide myself in thee." The singer admits to the inability to meet God's demands, and asks forgiveness and protection
AUTHOR: Words: Augustus Montague Toplady (1740-1778)/Music: Thomas Hastings (1784-1872)
EARLIEST_DATE: 1775 (first stanza; remainder of text 1776, both in "The Gospel Magazine"; music published 1832)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Silber-FSWB, p. 357, "Rock of Ages" (1 text)
Fuld-WFM, pp. 469-470, "Rock of Ages"
DT, ROCKAGES*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 120-121, "Rock of Ages" (1 text, 1 tune)
Roud #5429
RECORDINGS:
Henry Burr, "Rock of Ages" (Columbia 1781, 1904)
Peerless Quartet, "Rock of Ages" (Paramount 33010, 1919)
Hamlin Male Quartet, "Rock of Ages" (Supertone 9267, 1928)
CROSS_REFERENCES:
cf. "Rock of Ages (II -- Hide Me Over the Rock of Ages)"
NOTES: Augustus Montague Toplady is most famous for writing the words to this song. Charles Johnson's _One Hundred & One Famous Hymns_ gives a brief biography which seems to consist mostly of denomination-jumping. He is said to have been "always in frail health," which explains his early death.
He is credited with two volumes of religious lyrics. Nonetheless _Granger's Index to Poetry_ lists only seven of his works which made it into their voluminous database (and it appears that two of those are actually alternate names for this piece). This is of course the one most cited (twelve times under various titles). - RBW
File: FSWB357C
===
NAME: Rock of Ages (II -- Hide Me Over the Rock of Ages)
DESCRIPTION: "Way down yonder in the lonesome valley, clef' for me, clef' for me (x2), Way down yonder in the lonesome valley, Let God's bosom be my pillow. Hide me over the rock of ages, clef' for me, clef' for me." "What you gon' do when the world's on fire?"
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 547, "Rock of Ages" (1 text plus a fragment and mention of 1 more)
Fuson, p. 204, "Hide Thou Me" (1 text, probably a mix, with the form of "Rock of Ages (II -- Hide Me Over Rock of Ages" but verses from "Jacob's Ladder")
Roud #5429
RECORDINGS:
Lester McFarland & Robert Gardner, "Rock of Ages" (Brunswick 190, 1928)
CROSS_REFERENCES:
cf. "Rock of Ages (I)"
NOTES: The notes in Brown suggest that this is an "adaption" of the standard "Rock of Ages." Most likely, since the phrase "rock of ages" is assuredly not Biblical. But this is clearly a separate song. - RBW
File: Br3547
===
NAME: Rock to See the Turkey Run
DESCRIPTION: "Rock to see de turkey run, Run, run, run, run, run, run, Rock to see de turkey run, Run, run, run, run, run, run, Rock to see de turkey run, Run, run, run."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 196, "Rock to See de Turkey Run" (1 short text)
File: ScaNF196
===
NAME: Rock-a My Soul
DESCRIPTION: "Rock-a my soul in the bosom of Abraham (x3), Oh, rock-a my soul," "When I went down to the valley to pray... My soul got happy and I stayed all day." "When I was a mourner just like you... I mourned and mourned till I come through."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen et al, Slave Songs of the United States)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 573, "Good Lordy, Rocky My Soul" (1 text)
Silber-FSWB, p. 357, "Rock-a My Soul" (1 text)
Roud #11892
RECORDINGS:
Golden Gate Jubilee Quartet, "Rock My Soul" (Bluebird B-7804/Montgomery Ward M-7596, 1938; RCA Victor 20-2921, 1948; on Babylon)
Taylor sisters, "Rock-a My Soul" (on HandMeDown2)
NOTES: The reference to Abraham's bosom alludes to the story of the Rich Man and Lazarus (Luke 16:19-31). In 16:22, Lazarus dies and is carries to Abraham's bosom. Although the phrase does not occur elsewhere, it came to have the sense of "heaven." - RBW
File: FSWB357B
===
NAME: Rock-A-By Ladies
DESCRIPTION: "Four little prisoners here in jail, here in jail, here in jail, Four little prisoners here in jail...." The four are charged with shooting "the old man instead of the son." The required "dollar and a half to set them free" is given and they are released
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: playparty trial freedom
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 579, "Rock-a-by Ladies" (1 text plus fragments from other sources)
Roud #502
CROSS_REFERENCES:
cf. "London Bridge Is Falling Down" (tune & meter)
File: R579
===
NAME: Rock-A-Bye Baby
DESCRIPTION: The nursery rhyme: "Rock-a-bye baby on the tree top, When the wind blows, the cradle will rock...." Folk versions often add more verses (or make changes to the first), e.g. about the farmer who goes hunting to feed the baby
AUTHOR: unknown
EARLIEST_DATE: text: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2); tune: 1884 (see notes)
KEYWORDS: lullaby
FOUND_IN: US(SE) Ireland Canada(Mar)
REFERENCES: (8 citations)
Warner 190, "Rocky By Baby, By-O" (1 text, 1 tune)
SHenry H591a, p. 6, "Heezh Ba" (1 text, 1 tune)
BrownIII 113, "Rock-a-Bye Baby in the Tree-Top" (1 text with variants)
Creighton-SNewBrunswick 86, "Rockaby Baby" (1 text, 1 tune)
Opie-Oxford2 22, "Hush-a-bye, baby, on the tree top" (2 texts)
Baring-Gould-MotherGoose #550, p. 224, "(Hush a by Baby)"
Silber-FSWB, p. 408, "Rock-A-Bye, Baby" (1 text)
Fuld-WFM, pp. 468-469+, "Rock-a-Bye Baby"
ST Wa190 (Partial)
Roud #2768
CROSS_REFERENCES:
cf. "What'll I Do with the Baby-O" (words)
cf. "Tony Went Walking" (lyrics)
NOTES: The first reported printing of the words to this piece is from about 1765, in "Mother Goose's Melody." It does not seem to have become a song -- or at least to have adopted its current melody -- until 1872, when Effie I. Crockett (1857-1940) allegedly sang it to an infant she was babysitting. The result was published in 1884, with Crockett adopting the pseudonym "Effie I. Canning."
In the Sam Henry text, the song starts with the singer recalling being "airy and handsome" and going out partying; but "noo I am auld... fittin' for nae thin' but rockin' the cradle. Rockin' the cradle is nae work, ava," then breaks into the standard lyrics. It's probably a composite, but with only six lines of the original, most of which are similar to floating material, the other half is probably beyond identification; there are points of contact with "Rocking the Cradle (and the Child Not His Own)."
The Montgomeries (Montgomerie-ScottishNR #134) have a piece which looks vaguely related, beginning, "Hoolie, the bed'll fall! Who'll fall with it? Two eyes, two hands, And two bonnie feet."
According to folklore (or at least Katherine Elwes Thomas), this originally referred to the Old Pretender, James III son of James II of England, and the whole stanza refers to James II's deposition as a result of having a Catholic heir. Uh-huh. - RBW
There are examples on the Library of Congress American Memory site of other melodies for the song and other texts incorporating the tree top verse:
LOCSheet, sm1881 16221, "Lullaby Baby Upon the Tree Top," White, Smith & Co. (Chicago), 1881; also sm1881 14963, "Lullaby Baby Upon the Tree Top" (tune)
LOCSinging, sb10078a, "Dig, Dig, Dig" or "Hush-a-bye Baby," unknown, n.d.; also as102980, "Dig, Dig, Dig" or "Hush-a-bye Baby" - BS
File: Wa190
===
NAME: Rock-a-Bye Baby in the Tree-Top: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Rock, Chariot, I Told You to Rock
DESCRIPTION: Biblical statements linked by the refrain "Judgement goin' to find me!" E.g., "Rock, Chariot, I Told You to Rock, Judgement goin'... Won't you rock, chariot, in the middle of the air... I wonder what chariot comin' after me...."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson et al)
KEYWORDS: Bible religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 50-52, "(Rock, Chariot, I Told You to Rock)" (1 text); p. 227, "Rock Chariot" (1 tune, partial text)
Roud #10961
RECORDINGS:
Rich Amerson, Earthy Anne Coleman & Price Coleman, "Rock Chariot, I Told You to Rock" (on NFMAla2)
CROSS_REFERENCES:
cf. "Ezekiel Saw the Wheel" (subject)
NOTES: This is based on Ezekiel's vision in Ezekiel 1, but with hints of the Assumption of Elijah (2 Kings 2). - RBW
File: CNFM050
===
NAME: Rock'd in the Cradle of the Deep
DESCRIPTION: "Rock'd in the cradle of the deep, I lay me down in peace to sleep; Secure I rest upon the wave, For thou Oh! Lord, hast power to save." The singer reiterates a simple faith: God can save, the storms cannot harm me, I will sleep sound whatever happens
AUTHOR: Words: Emma Hart Willard / Music: Joseph Philip Knight
EARLIEST_DATE: Words: 1832 / Music: 1840
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
RJackson-19CPop, pp. 184-189, "Rock'd in the Cradle of the Deep" (1 text, 1 tune)
RECORDINGS:
James Cherry, "Rocked in the Cradle of the Deep" (Berliner 0964X, 1896)
Edison Quartet, "Rocked in the Cradle of the Deep" (CYL: Edison 2217, c. 1897)
William F. Hooley, "Rocked in the Cradle of the Deep" (Victor 3067, 1904)
J. W. Myers, "Rocked in the Cradle of the Deep" (Zonophone 322, 1905)
Original Bison City Quartette, "Rocked in the Cradle of the Deep") (CYL: Ohio Phonograph Co., no #, c. 1893)
Standard Quartette, "Rocked in the Cradle of the Deep" (CYL: Columbia 2247, rec. c. 1895)
Frank C. Stanley, "Rocked in the Cradle of the Deep" (Victor 4867, 1906)
CROSS_REFERENCES:
cf. "The Drover's Dream" (quoted in that song)
SAME_TUNE:
Locked in the Stable with the Sheep (cf. Spaeth, _A History of Popular Music in America_, p. 84)
File: RJ19184
===
NAME: Rock's Poteen
DESCRIPTION: The singer's "soul for every ill prepares, Whilst I've poteen to cheer me." He prefers Rock's poteen to Briton's ale and beer. Wine is for "stupid sots." "Then fill your glass of sparkling juice That never met a gauger's nose."
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: drink nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 78-79, "Rock's Poteen" (1 text)
NOTES: Morton-Ulster: "A 'Gauger' was a member of the Revenue Police, who until their disbandment in the mid 1850s, had been charged with the suppression of illicit distillation -- poteen making."
Croker-PopularSongs: "From 1802 to June 1806 ... no less than 13349 unlicensed whisky-stills ... were seized in Ireland.... This song, in praise of poteen, is copied from _Captain Rock in London, No.2_" - BS
File: CrPS078
===
NAME: Rocking the Baby to Sleep: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Rocking the Cradle (and the Child Not His Own)
DESCRIPTION: The old man laments "about rocking the cradle and the child not his own." Though at the time he had been happy to marry a lighthearted lass, he now finds her out at parties all the time (or keeping company with other men)
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian 2806 b.9(282))
KEYWORDS: marriage age wife husband children infidelity bastard
FOUND_IN: Ireland US(SE,So) Britain(Wales) Canada(Newf) Australia
REFERENCES: (8 citations)
Randolph 393, "Rock All Our Babies to Sleep" (1 text, 1 tune)
Warner 166, "Show Me the Man Who Never Done Wrong (or, Rocking the Baby to Sleep)" (1 text, 1 tune -- a curious version in which it appears at first that it is the woman, not the man, who is betrayed)
Meredith/Anderson, pp. 168-169, "The Wee One"; p. 266, "Rock All Our Babies" (2 texts, 2 tunes)
Kennedy 212, "Rocking the Cradle" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 143-145, "Old Man Rocking the Cradle" (1 text, 1 tune)
Peacock, pp. 478-479, "The Milkman's Lament" (1 text, 1 tune)
Lomax-FSNA 192, "The Old Man's Lament" (1 text, 1 tune); also 190, "Run Along, You Little Dogies" (1 text, 1 tune, mostly "Get Along Little Dogies" but with a chorus partly from this piece!)
DT, ROCKCRAD ROCKCRA2
Roud #357
RECORDINGS:
Robert Cinnamond, "Rocking the Cradle" (on IRRCinnamond02)
Richard Hayward, "County Mayo Fragment" (Rex 15016A/matrix DR 11812-2, 1947)
A. L. Lloyd, "Rocking the Cradle" (on Lloyd2, Lloyd4)
Uncle Dave Macon, "Tossing the Baby So High" (Vocalion 5013, 1926)
Neil Morris, "Rock All the Babies to Sleep" (on LomaxCD1707)
Charlie & Bud Newman, "Rock All Our Babies to Sleep" (OKeh 45431, 1930; rec. 1928)
Riley Puckett, "Rock All Our Babies to Sleep" (Columbia 107-D, 1924)
George Reneau, "Rock All Our Babies to Sleep" (Vocalion 14997, 1925)
Jimmie Rodgers, "Rock All Our Babies to Sleep" (Victor 23721, 1932; Regal Zonophone [UK] MR-2200, 1936; rec. 1930)
Paddy Tunney, "The Old Man Rocking the Cradle" (on Voice01); "Rocking the Cradle" (on IRPTunney01)
Dave Turner [pseud. for Dick Parman], "Rock All Our Babies To Sleep" (Supertone 9374, 1929)
Fay & Jay Walker, "Rock All Our Babies to Sleep" (Broadway 8093, c. 1925)
BROADSIDES:
Bodleian, 2806 b.9(282), "Rocking the Cradle," J.F. Nugent & Co. (Dublin), 1850-1899; also Harding B 19(65), 2806 c.15(202), "Rocking the Cradle"
CROSS_REFERENCES:
cf. "Unhappy Jeremiah (The Brats of Jeremiah)" (plot)
cf. "Hush-a-Bye, Baby" (plot)
cf. "When I Was Single (II)"
cf. "Seoithin Seo" (tune, according to Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland")
ALTERNATE_TITLES:
Tossing the Baby So High (Uncle Dave Macon version)
NOTES: An Irish legend has it that the chorus, "Hi-ho, hi-ho, my laddie, lie easy, For perhaps your own daddy might never be known. I'm seein' and sighin' and rockin' the cradle, And nursing the baby that's none of my own," was sung by the Virgin Mary to the baby Jesus. In English, no doubt. - RBW
Also collected and sung by David Hammond, "Rockin' the Cradle" (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: R393
===
NAME: Rockingham Cindy: see Jinny Go Round and Around (File: R272)
===
NAME: Rocks and Gravel
DESCRIPTION: "Rocks and gravel makes a solid road (x2), Takes a do-right woman to satisfy my soul." Unrelated verses, largely about the ways a man can go wrong (and, perhaps, abandon his woman)
AUTHOR: Alan Lomax & W. B. Richardson ?
EARLIEST_DATE: 1958 (copyright)
KEYWORDS: drugs gambling abandonment
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 77, "Rocks and Gravel" (1 text)
File: FSWB077A
===
NAME: Rocks In De Mountens: see Take This Hammer (File: FR383)
===
NAME: Rocks of Bawn, The
DESCRIPTION: Singer warns fellow-laborers not to hire with any master without knowing what the work will be. He describes his decrepit condition, and declares that even the British army would offer a better life (but he has not been invited to join)
AUTHOR: Martin Swiney ? (attribution by Dominic Behan, according to Munnelly/Deasy-Lenihan)
EARLIEST_DATE: 1926 (Collected by Sam Henry)
KEYWORDS: disability poverty farming work army boss worker
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H139, p. 42, "The Rocks of Bawn" (1 text, 1 tune)
OLochlainn 23, "The Rocks of Baun" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 4, "The Rocks of Bawn" (1 text, 1 tune)
DT, ROCKBANN
Roud #3024
RECORDINGS:
Seamus Ennis, "The Rocks of Bawn" [incomplete] (on Lomax42, LomaxCD1742)
Joe Heaney, "The Rocks of Bawn" (on Pubs1, Voice05)
Tom Lenihan, "The Rocks of Bawn" (on IRTLenihan01)
CROSS_REFERENCES:
cf. "Lovely Jane from Enniskea" (tune)
SAME_TUNE:
Lovely Jane from Enniskea (File: MoMa005)
NOTES: In the seventeeth century, Cromwell's army's drove the Irish "to Hell or to Connaught" -- to the submarginal lands of the western coast, where life was exceptionally hard. - PJS
Although it is quite true that the Irish were concentrated in the poorest lands, especially in the far west (note that almost all native speakers of Gaelic are in the west), Cromwell is hardly the only guilty party (though his guilt was extreme; see the notes to "The Wexford Massacre"). The British initially settled in the "Pale" around Dublin, and most later colonists also landed in the east. Thus there was a constant westward pressure on the native Irish -- especially those unwilling to accept British institutions such as the Anglican church. - RBW
File: DTrockba
===
NAME: Rocks of Giberaltar, The: see The Lowlands of Holland (File: R083)
===
NAME: Rocks of Gibraltar, The: see The Lowlands of Holland (File: R083)
===
NAME: Rocks of Scilly, The [Laws K8]
DESCRIPTION: The singer leaves his new wife to go to sea. Lonely, he fears a disaster -- and meets one when a storm runs his ship onto the Rocks of Scilly. Another singer tells how only four sailors survive, not including the first singer. His wife dies of sorrow
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(83))
KEYWORDS: sailor storm wife death
FOUND_IN: Canada(Mar) Britain(England(West))
REFERENCES: (5 citations)
Laws K8, "The Rocks of Scilly"
Creighton/Senior, pp. 200-201, "Rocks of Scilly" (1 text, 1 tune)
Creighton-SNewBrunswick 62, "The Rocks of Scilly" (1 text, 1 tune)
Mackenzie 50, "The Rocks of Scilly" (1 text)
DT 400, SCILLRCK
Roud #388
BROADSIDES:
Bodleian, Harding B 28(83), "Rocks of Scilly," W. Armstrong (Liverpool), 1820-1824; also Firth c.12(118), Harding B 17(261a), Harding B 16(231a), Harding B 11(3303), "[The] Rocks of Scilly"
CROSS_REFERENCES:
cf. "The Gentle Boy (Why Don't Father's Ship Come In)" (theme)
NOTES: "The Isles of Scilly -- 40 miles off the extreme western tip of England -- are a beautiful, sometimes wild, place where more ships have been wrecked than anywhere else in the world." (Source: _Tresco Times--The Last Piece of England_ quoted at the Tresco Isles of Scilly site) - BS
File: LK08
===
NAME: Rocky Banks of the Buffalo, The: see Babylon, or, The Bonnie Banks o Fordie [Child 14] (File: C014)
===
NAME: Rocky Brook: see Samuel Allen [Laws C10] (File: LC10)
===
NAME: Rocky By Baby, By-O: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Rocky Mountain Side: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Rocky Road (Green Green)
DESCRIPTION: Playparty, with several possible plots, but typical chorus "Green green, rocky road, Some (young) lady's green. Tell me who you love, tell me who you love...." In one game, a girl is called into a circle, calls a boy, and so forth
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Lilly's Chapel School)
KEYWORDS: playparty courting
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 154, "(Green, Green, Rocky Road)" (1 text); p. 277, "Green Green Rocky Road" (1 tune, partial text)
Roud #15657
RECORDINGS:
Children of Lilly's Chapel School, "Green Green Rocky Road" (on NFMAla6, RingGames1)
ALTERNATE_TITLES:
Green Green
Green Green Rocky Road
Red Green
Red Light Green Light
NOTES: This should not be confused with the shape-note hymn "Rocky Road," nor with the pop-folk song "Green, Green", both of which are separate songs.
The version of this song usually sung by revival singers was adapted by Len Chandler from the traditional song found in Courlander. The folk-revival version also incorporates lyrics from "Rosie, Darling Rosie," which was also collected and recorded by Courlander. - PJS
File: CNFM154
===
NAME: Rocky Road (II): see Rough, Rocky Road (Most Done Suffering) (File: Br3632)
===
NAME: Rocky Road to Dublin, The
DESCRIPTION: An emigrant from Tuam recounts his comical misadventures on the way to England. He is flirted with in Mullingar, robbed in Dublin, put with the pigs on board ship, and ends in a brawl with "the boys of Liverpool."
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(3304))
KEYWORDS: emigration humorous Ireland
FOUND_IN: Ireland US
REFERENCES: (5 citations)
Hodgart, p. 207, "The Rocky Road to Dublin" (1 text)
SHenry H44, pp. 178-179, "The Rocky Road to Dublin" (1 text, 1 tune)
O'Conor, pp. 19-20, "Rocky Road to Dublin" (1 text)
OLochlainn 51, "The Rocky Road to Dublin" (1 text, 1 tune)
DT, RCKYDBLN*
Roud #3012
RECORDINGS:
American Quartet, "Along the Rocky Road to Dublin" (Victor 17900, 2926; rec. 1915)
Sam Ash, "Along the Rocky Road to Dublin" (Little Wonder 254, 1915)
Liam Clancy, "The Rocky Road to Dublin" (on IRLClancy01)
Marguerite Farrell, "Along the Rocky Road to Dublin" (Columbia A1920, 1916; rec. 1915)
Osey Helton, "Rocky Road to Dublin" (Broadway 5122A, c. 1931)
Edward Herborn & James Wheeler, "Rocky Road to Dublin" (Columbia A2217, 1917)
Bill McCune & his Orch. "Along the Rocky Road to Dublin" (Vocalion 04281, 1938)
Premier Quartet, "Along the Rocky Road to Dublin" (CYL: Edison [BA] 2817, n.d.)
Allen Sisson, "The Rocky Road to Dublin" [instrumental] (Edison 51559, 1925)
BROADSIDES:
Bodleian, Harding B 11(3304), "Rocky Road to Dublin," J. Harkness (Preston), 1840-1866; also Harding B 18(417), Johnson Ballads 2804 [same as LOCSinging as203070]; Harding B 11(454), "Rocky Road to Dublin"
LOCSinging, as203070, "The Rocky Road to Dublin," H. De Marsan (New York), 1864-1878 [same as Bodleian Harding B 18(417)]; also as111860, "The Rocky Road to Dublin"
NOTES: [Tune listed in broadsides LOCSinging as203070 and Bodleian Harding B 18(417) as "Irish Jig." True, but hardly helpful.... - RBW/BS]
Broadside LOCSinging as203070: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: Hodg207
===
NAME: Rocky Road to Georgia: see Rocky Road to Jordan (Long Summer Day) (File: R590)
===
NAME: Rocky Road to Jordan (Long Summer Day)
DESCRIPTION: "Out a sweetheart hunting, long a summer day." "Where shall I find her, long a summer day?" "Here is where I found her, Rocky road to (Jordan/Georgia)." "Walk and talk together...."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Randolph)
KEYWORDS: courting playparty
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 590, "Rocky Road to Georgia" (1 text)
Roud #7650
File: R590
===
NAME: Roddy McCorley
DESCRIPTION: "Oh see the fleet-foot host of men..." who are hurrying to stage a rescue. "For young Roddy McCorley goes to die on the bridge of Toome today." They are too late. The song recalls McCorley's actions; he would not turn traitor even to save his life
AUTHOR: Words: Ethna Carberry (1866-1902)
EARLIEST_DATE: c.1798 (Zimmermann)
KEYWORDS: Ireland rebellion death execution
HISTORICAL_REFERENCES: February 28, 1800 - Rody McCorley hanged in Toome. (source: Moylan citing John Moulden)
FOUND_IN: Ireland
REFERENCES: (5 citations)
OLochlainn-More 100, "Rody MacCorley" (1 text, 1 tune)
Zimmermann 17, "Rody Mac Corly" (1 text, 1 tune)
Moylan 123, "Rody MacCorley" (1 text, 1 tune)
Silber-FSWB, p. 324, "Roddy McCorley" (1 text)
DT, RMCORLEY*
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Roddy McCorley" (on IRClancyMakem02)
CROSS_REFERENCES:
cf. "Rody McCorley" (subject)
NOTES: The Fiddler's Companion site says "McCurley was a County Antrim rebel leader in the rising of 1798." 
The rebels [were] defeated at Antrim in June 1798. If any of [the details in the song "Rody McCorley are] accurate he might have been executed Good Friday, April 6, 1798 or, more likely, March 22, 1799
Zimmermann: "Rody McCorley was hanged c.1798." [But see Moylan's note.]
Moylan: .". by Ethna Carberry (Anna [Johnson] MacManus b. 1866), was written in the 1890s and may have been based on ["Rody McCorley"]. - BS
According to Hoagland, _1000 Years of Irish Poetry_, p. 775, the name was spelled "Carbery" (a spelling supported by _Granger's Index to Poetry_); her collected poems were published posthumously in _The Four Winds of Erin_. _Granger's_ cites six of her poems; this, interestingly, is not among them. - RBW..
File: FSWB324
===
NAME: Rodney's Glory
DESCRIPTION: "Good news to you I will unfold, 'Tis of brave Rodney's glory." In 1782 Rodney defeats De Grasse and the French fleet off Fort Royal. Five French ships are captured and thousands slain. "Now may prosperity attend Brave Rodney and his Irishmen"
AUTHOR: Eoghan Rua O Suilleabhain (Owen Roe O'Sullivan) (1748?-1784) (source: Hoagland; cf. Moylan)
EARLIEST_DATE: before 1845 (broadside, Bodleian Firth c.12(24))
KEYWORDS: battle navy death sea ship
HISTORICAL_REFERENCES: April 12, 1782 - Admiral George Brydges Rodney defeats French Admiral the Count De Grasse at the Battle of the Saintes in the Caribbean and brings the captured French ships into Fort Royal
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 8, "Rodney's Glory" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 349-351 "Rodney's Glory" (1 long text)
BROADSIDES:
Bodleian, Firth c.12(24), "Rodney's Glory," J. Pitts (London), 1819-1844
NLScotland, L.C.Fol.70(133a), "Rodney's Glory," unknown, c.1890
NOTES: Moylan: "Serving with Rodney was a thirty-three-year-old Irishman -- the Gaelic poet Eoghan Rua O Suilleabhain from Sliabh Luachria.... He took part in the engagement with De Grasse and composed this song ... as a way of ingratiating himself with his commander and thereby obtaining his discharge. The ploy was apparently unsuccessful...." - BS
According to Arthur Herman, _To Rule the Waves_, pp. 316-318, George Brydges Rodney (1718-1792) was anything but a good example: although he made captain at the astonishing age of 23, he "had an unquenchable greed for money that corrupted everything he touched. He stole from captured prizes... and cheated other officers out of prize money. He treated everyone with high-handed arrogance... He was also a degenerate gambler, and the outbreak of war found him in France, hiding from debtor's prison."
But he was known as a fighter, so he was pulled out of retirement to command the Leeward Islands station during the late stages of the American Revolution. (He was thoughtfully supplied with several officers to watch over his accounts and actions.) It was a rather desperate time for Britain; the navy was still recovering from severe budget cuts under the Prime Minister Grenville in the 1760s (see Don Cook, _The Long Fuse: How England Lost the American Colonies_, pp. 56, 114-115).
In 1780, at Cape Finisterre (the so-called "Midnight Battle"), he changed naval rules by attacking from the windward, making it impossible for a defeated enemy to simply flee.
But his great victory was the Battle of the Saintes. Britain had lost at Yorktown the year before, and de Grasse's fleet which has won the naval part of the Yorktown campaign threatened to destroy the British position in the Carribean as well. De Grasse, based at Fort Royal at Martinique, was supposed to rendezvous with the Spanish and attack Jamaica. Instead, Rodney caught him on April 12. According to Trevor N. Dupuy, Curt Johnson, and David L. Bongard, _The Harper Encyclopedia of Military Biography_, p. 637, he sank one ship and captured five (a sixth of the French fleet). Andrew Keegan and Andrew Wheatcroft, _Who's Who in Military History_, p. 265, however, says he captured nine ships then and after. Despite these discrepancies, every source seems to agree that his win at the Saintes allowed Britain to continue its mastery of the sea, allowing it to remain a great Colonial power. - RBW
File: Moyl008
===
NAME: Rody MacCorley: see Roddy McCorley (File: FSWB324)
===
NAME: Rody McCorley
DESCRIPTION: Rody McCorley is betrayed in Ballyscullion by Dufferin and McErlean. Testimony that he was "a foe unto the crown" leads to prison in Ballymena and hanging "upon Good Friday... Convenient to the Bridge of Toome"
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: rebellion betrayal execution prison trial Ireland patriotic
HISTORICAL_REFERENCES: February 28, 1800 - Rody McCorley hanged in Toome. (source: Moylan citing John Moulden)
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 21, "Rody McCorley" (1 text, 1 tune)
Moylan 122, "Rody McCorley" (1 text, 1 tune)
Roud #9756
CROSS_REFERENCES:
cf. "Roddy McCorley" (subject)
NOTES: OLochlainn-More: "This is the authentic 1798 ballad"
The Fiddler's Companion site says "McCurley was a County Antrim rebel leader in the rising of 1798." 
The rebels [were] defeated at Antrim in June 1798. If any of this is accurate he might have been executed Good Friday, April 6, 1798 or, more likely, March 22, 1799 [but see Moylan's note].
The ballad is recorded on two of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Roisin White, "Rody McCorley" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes)
Franke Harte and Donal Lunny, "Roddy McCorley" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: OLcM021
===
NAME: Roger the Ploughboy
DESCRIPTION: Roger meets milk-maid Sue. He would take her to the fair to buy hair ribbons. She eventually agrees. In a grove "he gave her a ribbon to roll up her hair." She said it could not be bought at a fair. They marry. "Roger continues to roll up her hair"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(2578))
KEYWORDS:  love marriage seduction
FOUND_IN: 
REFERENCES: (0 citations)
Roud #17772
RECORDINGS:
Paddy Tunney, "The Lark in the Morning" (on Voice05) [a mixture of "The Lark in the Morning" and "Roger the Ploughboy"]
BROADSIDES:
Bodleian, Harding B 11(2578), "Roger the Ploughboy" ("Young Roger the ploughboy was a crafty young swain"), H., Such (London), 1863-1885; also Firth b.34(258)[some words are illegible], "Roger the Ploughboy"; 2806 c.16(113), "Roger the Plow Boy"
NOTES: The description is based on broadside Bodleian Harding B 11(2578).
See recording Paddy Tunney, "The Lark in the Morning" (on Voice05). The first verse is a fragment of "The Lark in the Morning"; the second is a fragment of "Roger the Ploughboy." - BS
Is it just me, or does this sound like someone is trying to stick a happy ending on "Oh, Dear, What Can the Matter Be?"
File: BdRotPlo
===
NAME: Roger the Tinker Man: see Jolly Old Roger (File: R496)
===
NAME: Roger's Courtship
DESCRIPTION: Roger's father instructs the boy in how to find a wife. He should dress in his best and kiss each pretty girl he meets. He meets (Grace/Nell), and tries his procedure. She slaps him. He asks how she dare reject such a fine specimen as he, then goes home
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: courting rejection father clothes
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H820, pp. 257-258, "Roger's Courtship" (1 text, 1 tune)
Roud #575
ALTERNATE_TITLES:
Jan's Courtship
Roger and Nell
Robin's Courtship
File: HHH520
===
NAME: Rogers The Miller: see The Gray Mare [Laws P8] (File: LP08)
===
NAME: Rogue, The
DESCRIPTION: The girl walks down the street "like a good girl should" followed by a rogue, a sailor, a knave or some such. She rather coyly seduces him. (He coyly gets her pregnant.)
AUTHOR: unknown
EARLIEST_DATE: 1620 (in Bishop Percy Folio Manuscript as the fragmentary "A Dainty Ducke")
KEYWORDS: bawdy sex seduction pregnancy
FOUND_IN: US(So) Britain(Scotland)
REFERENCES: (3 citations)
Kinloch-BBook XXVII, p. 82-83, "The Knave" (1 text)
Randolph-Legman I, pp. 187-190, "The Rogue" (2 texts, 1 tune)
DT, KNAVEKN NAVENAVE*
Roud #8156
ALTERNATE_TITLES:
A Gob Is a Gob
Knaves Will Be Knaves
File: RL187
===
NAME: Roisin Dubh (Dark Rosaleen)
DESCRIPTION: Gaelic. The singer laments being kept from his dark Rose. He warns that help is coming from the Pope but they will be apart. He would do anything if he could be with her. The end of the world will come before she would die.
AUTHOR: see notes
EARLIEST_DATE: 1963 (IRPTunney02)
KEYWORDS: foreignlanguage love war separation nonballad
FOUND_IN: Ireland
REFERENCES: (7 citations)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol II, pp. 19-21, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 143-145, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]; pp. 145-146, "Roisin Dubh" [translated by Eleanor Hull];  pp. 146-148, "Roisin Dubh" [translated by Padraic Pearse]
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 134-135, 500, "Roisin Dubh" [translated by Thomas Furlong (1794-1827)]; pp. 136-139, 504, "Dark Rosaleen" [translated by James Clarence Mangan (1803-1849)]
Charles Sullivan, ed., Ireland in Poetry, p. 60, "Dark Rosaleen (1 text) [translated by James Clarence Mangan (1803-1849)]
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 56-58, "Dark Rosaleen" (1 text) [translated by James Clarence Mangan (1803-1849)]
Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), pp. 273-275, "Dark Rosaleen" (1 text) [translated by James Clarence Mangan]
Walter de la Mare, _Come Hither_, revised edition, 1928; #192, "Dark Rosaleen" (1 text)  [translated by James Clarence Mangan (1803-1849)]
RECORDINGS:
Paddy Tunney, "Roisin Dubh" (on IRPTunney02)
NOTES: Hayes: "This impassioned ballad, entitled in the original 'Roisin Dubh' (or The Black Little Rose), was written in the reign of Elizabeth by one of the poets of the celebrated Tirconnellian chieftain, Hugh the Red O'Donnell. It purports to be an allegorical address from Hugh to Ireland, on the subject of his love and struggles for her, and his resolve to raise her again to the glorious position she held as a nation before the irruption of the Saxon and Norman spoilers."
Sparling: "Mangan ... always maintained that it was in reality a love-song with an infusion, but no more, of allegorical meaning."
Sparling p. 136 states that "Furlong's version is much more literal but this [Mangan's version] conveys a better idea of the intense fire and passion of the original."
Paddy Tunney sings a Gaelic three verse version on IRPTunney02. The notes to that album have a translation by either Tunney or Peter Boyle. The published translation among ADDITIONAL references closest to that translation is Eleanor Hull's seven verse translation [Hoagland pp. 145-146], though parts of other translations are recognizable. The description is based on Eleanor Hull's and James Clarence Mangan's version. - BS
Hoagland attributes this to Owen Row Mac Ward, who presumably is the poet of Red Hugh O'Donnell mentioned by Hayes. (For Red Hugh, see the notes to "O'Donnell Aboo (The Clanconnell War Song)"). It seems reasonable to attribute the poem to the sixteenth century, given the references to religious persecution, but while that is surely the earliest possible date, there is nothing in the song to prevent a seventeenth century date, or even one from the early eighteenth, I think. (Sullivan attributes it to the nineteenth century, which seems improbable.) Kinsella says that Mangan's translation is "from the Irish of Costello."
The translations are so diverse that it is sometimes difficult to see them as from the same original. Some of this may be because the translators (notably Paidraic Pearse) had axes to grind. - RBW
File: RcRoiDub
===
NAME: Roll and Go
DESCRIPTION: Capstan shanty. "O Sally Brown she promised me, a long time ago. She promised for to marry me, Way-ay roll and go." Combination of "Sally Brown" and "A Long Time Ago" with an entirely different tune.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty sailor courting parting
FOUND_IN: Britain
REFERENCES: (2 citations)
Hugill, p. 167, "Roll and Go" (1 text, 1 tune -- quoted from Sharp-EFC) [AbEd, p. 134]
Sharp-EFC, X, p. 12, "Roll and Go" (1 text, 1 tune)
Roud #2628
CROSS_REFERENCES:
cf. "A Long Time Ago" (refrain)
cf. "Sally Brown" (verses)
NOTES: Sharp seems to be the only source for this. Hugill classed it as separate from it relatives ("Sally Brown" and "Long Time Ago") though if it had to be declared one or the other, I'd put it with "Sally Brown" as they are both usually used as capstan shanties. - SL
File: Hugi167
===
NAME: Roll Down Dem Bales o' Cotton
DESCRIPTION: "Roll down dem bales o' cotton (x3), I ain't got long to stay here now."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 243, "Roll Down Dem Bales o' Cotton" (1 short text)
File: Br3243
===
NAME: Roll Down the Line: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Roll In My Sweet Baby's Arms
DESCRIPTION: Chorus: "Roll in my sweet baby's arms (2x)/Lay around the shack till the mail train comes back/Roll in my sweet baby's arms." Floating verses, e.g. "Ain't gonna work on the railroad/Ain't gonna work on the farm"; "Where was you last Friday night...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Buster Carter & Preston Young)
KEYWORDS: humorous nonballad floatingverses separation
FOUND_IN: US(Ap,SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 178, "I'll Roll In My Sweet Baby's Arms" (1 text, 1 tune)
Silber-FSWB, p. 159, "Roll In My Sweet Baby's Arms" (1 text)
DT, ROLLBABY*
RECORDINGS:
Buster Carter & Preston Young, "I'll Roll In My Sweet Baby's Arms" (Columbia 15690-D, 1931)
Lester Flatt & Earl Scruggs, "Roll In My Sweet Baby's Arms" (Mercury 6372, c. 1951)
Monroe Brothers, "Roll In My Sweet Baby's Arms" (Bluebird B-6773, 1937)
New Lost City Ramblers, "I'll Roll In My Sweet Baby's Arms" (on NLCR03)
CROSS_REFERENCES:
cf. "Late Last Night When Willie Came Home" (words)
cf. "My God, How the Money Rolls In" (words)
NOTES: Paul Stamler lists this as a humorous song. I thought I should add that the versions I've heard have been done "straight," often with a blues feel. - RBW
File: CSW178
===
NAME: Roll Me From the Wall
DESCRIPTION: The singer is courted by young men who wish to roll her from the wall. Her parents force her to marry an impotent old man. He dies and leaves her land and money. She marries a young man who does roll her from the wall but spends all her money.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: age marriage sex death money
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 11, "Roll Me From the Wall" (1 text, 1 tune)
Roud #8302
CROSS_REFERENCES:
cf. "The Foot of the Mountain Brow (The Maid of the Mountain Brow)" [Laws P7] (tune)
cf. "Maids When You're Young Never Wed an Old Man" (theme) and references there
NOTES: Jim Carroll's notes to IRTravellers01: "Arranged or 'made' marriages were very much an accepted part of rural life in Ireland up to comparatively recent times... Women from poor house-holds which were unable to support the whole family would readily marry older farmers looking for a housekeeper, or maybe widowers with young children to care for." - BS
There was an additional reason for this well-attested problem: The shortage of land in pre-famine Ireland. Since a boy could not marry until he had land to support his family, he had to wait until his father died -- and even that might not leave enough property for marriage. So there was a shortage of eligible young men, forcing the women either to wait themselves (which meant more burdens on their parents) or to marry a widower. - RBW
File: MorU011
===
NAME: Roll Me Over
DESCRIPTION: The singer begins with number one, "when the fun has just begun," and progressing to number ten, when "it's time to start again."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy shanty humorous
FOUND_IN: Australia Britain(England) US(ubiquitous) New Zealand
REFERENCES: (2 citations)
Cray, pp. 325-327, "Roll Me Over" (2 texts, 1 tune)
Randolph-Legman I, pp. 389-392, "Roll Me Over" (4 texts, 1 tune)
Roud #10133
RECORDINGS:
Larry Vincent's Pearl Trio, "Roll Me Over" (Pearl 50, c. 1949)
CROSS_REFERENCES:
cf. "Yo Ho, Yo Ho"
cf. "Drive It On"
cf. "Put Your Shoulder Next to Mine and Pump Away" (tune)
cf. "Kissing Song (II -- She Just Kept Kissing On)" (form)
SAME_TUNE:
Put Yer Shoulder Next to Mine and Pump Away (File: Hugi508)
ALTERNATE_TITLES:
Roll Me Over in the Clover
NOTES: This is perhaps the most popular formula song in the English language. - EC
Hugill thinks this derived from the shanty "Put Yer Shoulder Next to Mine and Pump Away," with which it shares a tune. I wouldn't be surprised if the kinship goes the other way. Even more likely to be a descendant is "Kissing Song (II -- She Just Kept Kissing On)." - RBW
File: EM325
===
NAME: Roll Me Over in the Clover: see Roll Me Over (File: EM325)
===
NAME: Roll on the Ground (Big Ball's in Town)
DESCRIPTION: Floating verses: "Let's have a party, let's have a time/Let's have a party, I've only a dime"; "Work on the railroad, sleep on the ground/Eat soda crackers, ten cents a pound." Chorus: "Roll on the ground, boys, roll on the ground (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1899 (recording, Billy Golden)
LONG_DESCRIPTION: Floating verses, mostly concerning high life: "Get on your big shoes, get on your gown/Shake off those sad blues, Big Ball's in town"; "Let's have a party, let's have a time/Let's have a party, I've only a dime"; "My love's in jail, boys, my love's in jail/My love's in jail, boys, who's going her bail?" And "Work on the railroad, sleep on the ground/Eat soda crackers, ten cents a pound." Chorus: "Big Ball's in Boston [Nashville], Big Ball's in town/Big Ball's in Boston, we'll dance around." Or, in the other common version, "Roll on the ground, boys, roll on the ground (x2)."
KEYWORDS: prison dancing drink humorous nonballad floatingverses dancetune
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
BrownIII 234, "Working on the Railroad" (1 text plus two unrelated fragments, the "B" and "C" fragments probably belong here; the "A" text is a jumble starting with "Working on the Railroad" but followed up by what is probably a "Song of All Songs" fragment)
Cohen/Seeger/Wood, p. 200, "Big Ball's In Town" (1 text, 1 tune)
Silber-FSWB, p. 199, "Roll On The Ground" (1 text)
DT, ROLLGRND*
Roud #12114 (and probably others)
RECORDINGS:
Warren Caplinger's Cumberland Mountain Entertainers, "Big Ball in Town" (Brunswick 241, 1928)
Georgia Yellow Hammers, "Big Ball in Memphis" (Victor V-40138, 1929)
Billy Golden, "Roll on the Ground" (Berliner 0539, c. 1900; Victor A-616, c. 1901; rec. 1899) (CYL Albany 1131 [as "Roll On de Ground"], n.d.) (CYL: Lambert 5077 [as "Roll on de Ground"], n.d. but c. 1900) (Victor 16804, 1911 [as "Roll on de Ground"]; rec. 1905)
Al Hopkins & his Buckle Busters, "Roll on the Ground" (Brunswick 186, 1927)
J. E. Mainer's Mountaineers, "Big Ball's in Town" (King 622, 1947)
Fate Norris & his Playboys, "Roll 'em on the Ground" (Columbia 15435-D, 1929)
Gid Tanner & His Skillet Lickers, "Big Ball In Town" (Columbia 15204-D, 1927)
Taylor-Griggs Louisiana Melody Makers, "Big Ball Up Town" (Victor 21768, 1928)
Thaddeus C. Willingham, "Roll on the Ground" (AFS, 1939; on LC02, LCTreas)
Unidentified artist [label reads "Negro Shout"], "Roll on the Ground" (Busy Bee 67, c. 1904)
ALTERNATE_TITLES:
Big Ball's in Boston
NOTES: Harry Oster has reported an anti-Semitic variant from Louisiana, "Hook Nose In Brooklyn." - PJS
Cohen/Seeger/Wood report "This tune is the sort that exists only for itself and its suitability on the banjo, the words being only very freely attached and often with reference to a drunken state." This seems to be true of most variants, except perhaps for the prejudiced version mentioned by Paul. - RBW
Maybe so; the piece, however, seems to have begun life as a "coon song" -- a popular minstrel piece. - PJS
File: CSW200
===
NAME: Roll On, Boys
DESCRIPTION: "Roll on, boys, You make your time; I am so broke down, I can't make mine." "I once was young, As you must see; But age has got The best of me." "Someday you'll think Of me I know When you are old And cannot go." Other verses of hard work and old age
AUTHOR: adapted by John Daniel Vass?
EARLIEST_DATE: 1960 (collected by Shellans from John Daniel Vass)
KEYWORDS: work hardtimes age nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, p. 47, "Roll On, Boys" (1 text, 1 tune)
Roud #7329
CROSS_REFERENCES:
cf. "Take This Hammer" (lyrics, theme)
NOTES: This song is quite a conundrum. It seems clearly related to the "Roll On, Buddy" versions of "Take This Hammer," but it never uses either the words "Roll on, buddy" or "take this hammer," and much of the song is about the worker failing because of age.
Plus we know that the informant, John Daniel Vass, was capable of rewriting a song; Shellans has several instances of items Vass reworked from traditional materials. Shellans does not say that that happened here, but it seems the best explanation. On that basis, I'm classifying this very tentatively as its own song, but one that clearly should be linked with the extended "Take This Hammer" family. - RBW
File: Shell047
===
NAME: Roll On, Buddy (I): see Take This Hammer (File: FR383)
===
NAME: Roll On, Buddy (II) [Roll On, Buddy, Roll On]
DESCRIPTION: Assorted verses: "I'm going to the East, Karo" "You'd better quit your rowdy ways/You'll get killed some day" "My home's down in Tennessee." Cho: "Roll on, buddy, roll on...You wouldn't roll so slow/If you know what I know/Yes, roll on, my buddy, roll on"
AUTHOR: Lyrics: Charles Bowman/tune: traditional
EARLIEST_DATE: 1928 (recording, Charlie Bowman & his Brothers)
KEYWORDS: travel death floatingverses nonballad home wife homesickness
FOUND_IN: US(Ap,SE)
REFERENCES: (0 citations)
RECORDINGS:
Charlie Bowman & his Brothers "Roll On, Buddy" (Columbia 15357-D, 1929; rec. 1928)
Monroe Bros. "Roll On Buddy" (Bluebird B-6960, 1937)
Sam & Kirk McGee, "Roll On, Buddy"(on McGeeSmith1)
CROSS_REFERENCES:
cf. "Roll In My Sweet Baby's Arms"
cf. "Rock About My Saro Jane" (tune)
cf. "Take This Hammer" (chorus -- the "Roll On, Buddy" variant)
NOTES: This should not be confused with the "Roll On, Buddy" variant of "Take This Hammer"; although it was assembled by Charlie Bowman, who also was involved in assembling "Nine-Pound Hammer" as a delimited song when he was a member of Al Hopkins & his Buckle Busters, this is an entirely separate song. I use "floatingverses" as a keyword mostly because of the "rowdy ways" verse; the rest don't seem to have exact analogues elsewhere. - PJS
Further research shows that the author, Charlie Bowman, was not only familiar with the other "Roll On, Buddy," but held the copyright on that song, having assembled it from traditional fragments in collaboration with Al Hopkins. - PJS
File: RcROBRO2
===
NAME: Roll On, Columbia
DESCRIPTION: Tribute to the Columbia River, the development along it, and the Bonneville Power Administration that manages both: "Roll on Columbia, roll on (x2), Your power is turning our darkness to dawn, So roll on, Columbia, roll on."
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1941
KEYWORDS: technology nonballad river
FOUND_IN: 
REFERENCES: (4 citations)
Scott-BoA, pp. 348-349, "Roll On, Columbia" (1 text, 1 tune)
Lomax-FSNA 233, "Roll On, Columbia" (1 text, 1 tune)
Arnett, pp. 166-167, "Roll On, Columbia" (1 text, 1 tune)
DT, ROLCOLUM
RECORDINGS:
Pete Seeger, "Roll On, Columbia" (on AmHist2) (on PeteSeeger41)
CROSS_REFERENCES:
cf. "Goodnight Irene" (tune)
NOTES: I've seen people claim that the tune Woody used was "Goodnight Irene"; others say it's "My Bonnie." I guess he managed to modify it enough to fool at least a few people.... - RBW
"My Bonnie"? Naah. This is "Goodnight Irene", almost unchanged. - PJS
Obviously true of the chorus. The verse has been altered to a greater degree. Not that it really matters. - RBW
File: SBoA348
===
NAME: Roll On, Little Dogies: see The Cowboy's Dream (File: R185)
===
NAME: Roll Over
DESCRIPTION: "There were ten in the bed, and the little one said, 'Roll over, roll over.' So they all rolled over and one fell out." "There were nine in the bed..." "There was one in the bed And the little one said, 'Good night.'"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: nonballad humorous
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 386, "Roll Over" (1 text)
File: FSWB386C
===
NAME: Roll the Boat Ashore (Hog-eye I)
DESCRIPTION: Tales of sailing or mountain life, held together with a chorus such as "With a hog-eye! Roll the boat ashore and a hog-eye (x2). All she wants is a hog-eye man." Typical verse: "Who's been here since I been gone? (Someone) with his sea-boots on."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonballad shanty
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 186, "Row the Boat Ashore" (1 text, with all the verses changed to land pursuits)
Botkin-AmFolklr, p. 836, "The Hog-Eye Man" (1 text, 1 tune)
Sandburg, p. 380, "Hog-Eye" (1 fragment, seemingly a ruined version of the chorus, 1 tune)
ST San380 (Partial)
Roud #331
CROSS_REFERENCES:
cf. "Sally in the Garden" (many floating verses)
NOTES: Paul Stamler points out a connection between this and "Sally in the Garden," which often mentions Sally being involved with a hog-eye man. Given that both songs are rather amorphous, it can be difficult in the case of short or excerpted texts to tell which is which (and, indeed, Roud appears to lump them).
Nonetheless I would maintain that they are separate songs, based on form. This one is a shanty. Colcord's version is perhaps typical; it has a long (three and a half line) chorus, and the verses have more syllables than "Sally in the Garden." For an example, see the Supplemental Tradition.
Whall suggests that "hog-eye" in this case has nothing to do with the usual sexual meaning; a "hog-eye" reportedly was a California coastal barge, and the reference to the Gold Rush. - RBW
File: San380
===
NAME: Roll the Chariot: see We'll Roll the Old Chariot Along (File: Doe049)
===
NAME: Roll the Cotton Down
DESCRIPTION: Shanty. Characteristic line: "Roll the cotton down." The young man (from Alabama) joined the (Black Ball) line (and now looks back and describes the curious doings on a Black Ball vessel)
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: shanty sailor floatingverses
FOUND_IN: US(MA)
REFERENCES: (6 citations)
Doerflinger, pp. 33-34, "Roll the Cotton Down" (3 texts, 1 tune)
Bone, pp. 84-86, "Roll th' Cotton Down" (1 text, 1 tune)
Colcord, p. 62, "Roll the Cotton Down" (1 text, 1 tune)
Harlow, pp. 144-145, "Roll the Cotton Down" (1 text, 1 tune)
Hugill, pp. 152-158, "Roll the Cotton Down," "De Runer Von Hamborg (The Runners of Hamburg)" (9 texts-2 in German, 1 tune. The fifth version is basically "Paddy Works on the Railway," sixth is "A Long Time Ago." In the German versions the characteristic line "roll the cotton down" is frequently replaced with "Oh, come, a beer for me.") [AbEd, pp. 123-126]
DT, ROLLCTTN* ROLLCOTT2*
Roud #2627
RECORDINGS:
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Roll the Cotton Down" (AFS 4232 B2, 1939; on LC27, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "A Long Time Ago" (tune, floating lyrics)
cf. "Roll, Alabama, Roll" (tune)
cf. "Lower the Boat Down" (similar tune)
cf. "Run, Let the Bullgine Run" (tune)
File: Doe033
===
NAME: Roll the Old Chariot Along: see We'll Roll the Old Chariot Along (File: Doe049)
===
NAME: Roll the Tater (Rolly Rolly)
DESCRIPTION: "Don't you think he's a nice young man? Don't you think he's clever? Don't you think that him and me Would make a match forever? Rolly roll, rolly roll, Rolly roll the 'tater." The singer likes music/dancing so much that she wants to join the Shaker band
AUTHOR: unknown
EARLIEST_DATE: 1915 (JAFL 28)
KEYWORDS: courting dancing food
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 582, "Roll the 'Tater" (1 text)
Roud #7670
CROSS_REFERENCES:
cf. "Weevily Wheat" (floating lyrics, meter)
NOTES: Randolph believes this song completely unconnected to "Weevily Wheat." But my immediate reaction on reading the piece was to think of that song.  No wonder ballad indexing is so hard! - RBW
File: R582
===
NAME: Roll the Union On
DESCRIPTION: "We're going to roll, we're going to roll, we're going to roll the union on." Verse: "If the (boss, scabs, etc.) get(s) in the way, we're going to roll right over him (them)...we're going to roll the union on"
AUTHOR: Probably John Handcock/Handcox
EARLIEST_DATE: 1937 (recording, John Handcock)
KEYWORDS: labor-movement nonballad boss scab worker
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, ROLUNION*
RECORDINGS:
John Handcock, "Going to Roll the Union On" (AFS 3237 A2, 1937)
Pete Seeger & Chorus, "Roll the Union On" (on PeteSeeger01)
NOTES: John Handcox (with an X) was a sharecropper and organizer; he apparently based the song on the hymn "Roll the Chariot On" (which seems to be not the same as "We'll Roll the Old Chariot Along" as found in Sandburg; they share a verse, but not the tune or meter). I have been unable to find a copy of "Roll the Chariot On". - PJS
File: DTroluni
===
NAME: Roll the Woodpile Down
DESCRIPTION: Pumping or capstan shanty. Verse lines end with "way down in Florida" and "an' we'll roll the woodpile down." Full chorus: "Rollin' rollin' rollin' the whole world round. That brown gal o' mine's down the Georgia Line, an' we'll roll the woodpile down."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong
FOUND_IN: West Indies US
REFERENCES: (2 citations)
Hugill, pp. 160-161, "Roll the Woodpile Down" (1 text, 1 tune) [AbEd, p. 128]
DT, WOODPLDN*
Roud #4443
ALTERNATE_TITLES:
Haul the Woodpile Down
NOTES: Hugill states that this is the sea version of "Haul the Woodpile down." [Indexed as "Hold the Woodpile Down," which is a more Dave Macon-ish version of the title. - RBW] Probably originated in the West Indies of American south, and was popular at sea right up to the end, one of Hugill's sources remembers it sung on board as late as 1920. Technically this could have been entered under "Hold the Woodpile Down"; however that entry kept making references to "Roll the Woodpile Down" and there was no entry for that cross-reference so I decided to add one, especially since this is likely the original that Uncle Dave Macon's version came from. - SL
Since this song seems to predate "Roll the Woodpile Down," and is also more coherent, it seems reasonable to consider this the original. - RBW
File: Hugi160
===
NAME: Roll Them Simelons
DESCRIPTION: "O Miss Mary, I am so sorry, Bound for Texas, I am so sorry. Roll them simelons, roll 'em round, Keep them simerlons rollin' down. Roll them simelons, roll 'em down, All them pretty girls down town."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Hudson 157, p. 302, "Roll Them Simelons" (1 short text)
Roud #4511
File: Hud157
===
NAME: Roll Your Leg Over
DESCRIPTION: In this quatrain ballad, singers hypothecate that if the girls were ducks, rabbits, bricks, etc., they would be drakes, hares, masons, and euphemistically enjoy lustful pleasures.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous nonballad animal
FOUND_IN: Australia [from an American student] Canada US(MW,So,SW)
REFERENCES: (3 citations)
Cray, pp. 301-309, "Roll Your Leg Over" (5 texts, 1 tune)
Randolph-Legman II, pp. 643-647, "Roll Your Leg Over" (2 texts)
DT, ROLYRLEG
Roud #10410
CROSS_REFERENCES:
cf. "Hares on the Mountain"
cf. "Creepin' and Crawlin'"
cf. "The Twa Magicians" [Child 44]
NOTES: This more or less recently composed bawdy song -- the earliest text recovered dates from the second world war -- is ultimately descended from "The Twa Magicians" (Child 44). See Cray, pp. 306 ff. - EC
G. Legman offers extensive notes in Randolph-Legman II. - EC
Paul Stamler suggests that this is a strongly bawdy version of "Hares on the Mountain." The dependence, in lyrics and form, is obvious, but this text apparently has taken on a life of its own in army circles. I must admit that I question the connection with "The Twa Magicians." Cray concedes there are no intermediaries between "The Twa Magicians" and the "Hares on the Mountain/Sally My Dear" complex. - RBW
File: EM301
===
NAME: Roll, Alabama, Roll
DESCRIPTION: The Alabama is built in Birkenhead by Jonathan Laird. After a long career of commerce-raiding, the Kearsarge catches her off Cherbourg and sinks her
AUTHOR: unknown
EARLIEST_DATE: 1925
KEYWORDS: shanty battle navy Civilwar
HISTORICAL_REFERENCES: May 15, 1862 - Launching of the C.S.S. Alabama
June 19, 1864 - The Alabama sunk by the U.S.S. Kearsarge
FOUND_IN: US(MA) New Zealand
REFERENCES: (7 citations)
Doerflinger, pp. 35-37, "The Alabama" (2 texts, 1 tune)
Colcord, p. 65, "Roll, Alabama, Roll" (1 text, 1 tune)
Hugill, p. 159, "Roll, Alabama, Roll!" (1 text, 1 tune) [AbEd, pp. 126-127]
Scott-BoA, pp. 245-247, "Roll, Alabama, Roll" (1 text, 1 tune)
Darling-NAS, pp. 350-351, "The Alabama" (1 text)
Silber-CivWar, p. 70, "Roll, Alabama, Roll" (1 text, 1 tune)
DT, ROLLALAB*
Roud #4710
CROSS_REFERENCES:
cf. "Roll the Cotton Down" (tune)
NOTES: When the Civil War began, the Confederates had neither navy, nor merchant fleet, nor significant shipbuilding capability; all rested in the hands of the North. Facing economic strangulation, the South explored every avenue to build a fleet.
Early in the war, the British were willing to help the Confederates build a navy. One of the ships built for this purpose was the _Alabama_, a fast commerce-raider. Built by Jonathan Laird, Ltd. at Birkenhead near Liverpool, the Federals protested her building from first to last, but somehow the papers never quite came through in time.
After the completion of the hull in 1862, the _Alabama_ sailed for the Azores to pick up arms and her Captain, Raphael Semmes (brother of the Confederate General Paul Semmes, killed at Gettysburg).
Over the next two years, the _Alabama_ sank a total of 69 Union merchant vessels, formally valued at $6,547,609.
Although she once ran the blockade to enter the Confederate port at Galveston, the _Alabama_ was generally unable to stop at Confederate ports; when she needed repairs in 1864, she stopped at the French port of Cherbourg. An American got off word of her presence there, and the _Kearsarge_ was waiting when the _Alabama_ sailed. Soon after the _Alabama_ crossed the three mile limit, the _Kearsarge_ moved in; the Confederate ship sank some forty minutes later. Her crew was rescued by a British yacht.
According to Fletcher Pratt, _A Compact History of the United States Nacy_, pp. 151-152, there wasn't much difference in actual fighting power between the _Alabama_ and the _Kearsarge_. But the _Kearsarge_ was a well-drilled ship with properly-trained gunners. _Alabama_, which constantly had to change bases, could never lay in an adequate supply of powder and shot, so her gunners were much less accurate. And _Kearsarge_ had two very heavy 11-inch guns. As a result, Kearsarge was able to score many more damaging hits and destroy her opponent while taking very little damage.
The _Alabama_ was a great success, but few ships followed her. The Americans demands for reparation, known as the "Alabama Claims," caused the British to stop building ships for the Confederacy. (In fact the claims covered the damage done by eleven ships; the total bill was $19,021,000, largely due to the _Alabama_, the _Shenandoah_, $6,488,320; and the _Florida_, $3,698,609). The Americans were finally paid some $15.5 million in 1873.
According to James P. Delgado, _Lost Waships: An Archaeological Tour of War at Sea_, Checkmark, 2001, p. 122, the wreck of the _Alabama_ was found off Cherbourg in 1984, and some artifacts have been recovered.- RBW
For a broadside on the same subject see
LOCSinging, as112570, "The Sinking of the Pirate Alabama," J. Magee (Philadelphia), 1864; also hc00026b, "The Sinking of the Pirate Alabama"; cw103190, "Kearsarge and Alabama" 
attributed to Silas S. Steele, "Tune: 'Teddy the Tiler,' or 'Cannibal Islands.'"  - BS
File: Doe035
===
NAME: Roll, Boys, Roll
DESCRIPTION: Shanty. Oh Sally Brown she's the gal for me, boys Roll, boys roll boys roll. Sally Brown she's the gall for me boys, Way high Miss Sally Brown."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty sailor
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 170, "Roll, Boys, Roll!" (1 text, 1 tune) [AbEd, pp. 137-138]
NOTES: Hugill got this from his friend "Harding the Barbarian," a black sailor and shantyman from Barbados. Harding said it originated in the West Indies and was popular in ships which carried chequerboard crews. - SL
File: Hugi170
===
NAME: Roll, Jordan, Roll (I)
DESCRIPTION: "My brother sitting on the tree of life And he heard when Jordan roll, Roll, Jordan, Roll, Jordan, Roll, Jordan, Roll.""O preacher, you oughta been there."  "My sister sitting on the tree of life." "He comes, he comes, the Judge severe." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1867
KEYWORDS: river freedom religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
BrownIII 631, "Roll, Jordan, Roll" (2 short texts plus a fragment)
Scott-BoA, pp.195-196 , "Roll, Jordan, Roll" (1 text, 1 tune)
Lomax-FSNA 240, "Roll, Jordan, Roll"; 241, "Roll, Jordan, Roll" (2 texts, 2 tunes)
Silber-FSWB, p. 369, "Roll, Jordan, Roll" (1 text)
Roud #6697
RECORDINGS:
Elizabeth Bivens, "Roll, Jordan, Roll" (on HandMeDown2)
Fisk University Jubilee Quartet, "Roll Jordan Roll" (Victor 16453, 1910; rec. 1909); "Roll Jordon [sic] Roll" (CYL: Edison [Amb.] 980, rec. 1912)
Lt. Jim Europe's Singing Serenaders, "Roll Jordan Roll" (Pathe 22105, 1919) (Pathe 020851, 1923 [as Jim Europe's Singing Serenaders])
Tuskegee Institute Singers, "Roll, Jordan Roll" (Victor 18237, 1917; rec. 1915)
NOTES: The texts of this piece differ significantly; the verse lines quoted above are typical but by no means universal. There seem to have been adaptions for particular situations. The line "Roll, Jordan, Roll" is, of course, characteristic. - RBW
File: SBoA195
===
NAME: Roll, Jordan, Roll (II)
DESCRIPTION: Humorous verses for "Roll, Jordan, Roll," e.g. "Kate went a-fishing the other night, Roll sweet Jordan roll, She broke eleven hooks and never got a bite..." "[A chicken] sneezed so hard with the whooping cough It sneezed its head and tail both off."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: humorous nonballad religious
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 303, "Roll, Jordan, Roll" (1 text)
BrownIII 469, "Way Down Yonder on Cedar Street" (1 short text)
Roud #6697
NOTES: Brown's six-line fragment is not in the same form as Randolph's song, and doesn't mention the Jordan. But they start with the same lines; in the absence of real data to classify the Brown text, I lump them. - RBW
File: R303
===
NAME: Roll, Julia, Roll: see The Liverpool Judies (Row, Bullies, Row; Roll, Julia, Roll) (File: Doe106)
===
NAME: Rolled the Stone Away
DESCRIPTION: "In ancient days, when Israel's host In darkest bondage lay, The mighty power of God was shown, He rolled the stone away. He rolled the sea away, He rolled the sea way. With Jesus ever near, No foe I have to fear. He rolls the sea away."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Bible religious Jesus nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 630, "Rolled the Stone Away" (1 fragment)
Roud #11930
NOTES: The Brown text looks very composite (what exactly was rolled away -- the Red Sea or the stone closing Jesus's tomb?) -- but with so little text, we can hardly separate the components. - RBW
File: Br3630
===
NAME: Roller Bowler
DESCRIPTION: Shanty. Short refrain: "Hooray you roller bowler." Full refrain: Timme high-rig-a-jig and a ha ha ha, Good morning ladies all." Verses concern courting or at least chasing women.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty courting
FOUND_IN: Britain West Indies
REFERENCES: (2 citations)
Hugill, pp. 348-349, "Roller Bowler" (3 texts, 1 tune) [AbEd, pp. 260-263]
Sharp-EFC, XII, pp. 14-15, "Roller, Bowler" (1 text, 1 tune)
Roud #8283
ALTERNATE_TITLES:
Good Morning, Ladies All
File: Hugi348
===
NAME: Rollicking Bill the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Rollicking Boys Around Tandragee, The
DESCRIPTION: The song is about Tandragee, its "darling colleens" and "rollicking boys." Other places have their fine points but Tandragee has its wonderful dancers, bold men and rare singers. "The gem of oul' Ireland is Tandragee"
AUTHOR: unknown
EARLIEST_DATE: 1952 (IRTunneyFamily01)
KEYWORDS: dancing music Ireland nonballad home
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 91-92, "The Rollicking Boys Around Tandragee" (1 text)
Roud #3106
RECORDINGS:
Michael Gallagher, "The Rollicking Boys Around Tandaragee" (on IRTunneyFamily01)
CROSS_REFERENCES:
cf. "The Bunch of Green Rushes that Grew on the Brim" (tune, according to Tunney-StoneFiddle)
NOTES: This song strings together references to other songs: "The House That Jack Built," "The Praties They Grow Small," "Donnybrook Fair," "Irish Jaunting Car," "The Rakes of Kildare," ...; and famous men: Robert Emmet, Burke, Dan O'Connell and Thomas Moore.
Tunney-StoneFiddle: .".. a good-humoured swipe is made at quite a few sacred cows.... 'That', he [the singer] maintained, 'is the satire to slay all stage-Irishmen!'" - BS
File: TSF091
===
NAME: Rollin' Down the Line: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Rollin' Home by the Silvery Moon
DESCRIPTION: Shanty. Chorus: "Rollin' home (x4) by the light of the silvery moon. Happy is the sailor who has shipped aboard a whaler, when she's rollin', rollin', rollin', rollin' home."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Shanty. Chorus: "Rollin' home (x4) by the light of the silvery moon. Happy is the sailor who has shipped aboard a whaler, when she's rollin', rollin', rollin', rollin' home." Verses run "Here's to the good ol' beer (claret, rum, etc) mop it down" (also x4). The verses get more bawdy after finishing with the available beverages.
KEYWORDS: drink sailor shanty bawdy
FOUND_IN: US Britain
REFERENCES: (1 citation)
Hugill, pp. 180-81, "Rollin' Home by the Silvery Moon" (1 text, 1 tune)
File: Hugi 180
===
NAME: Rolling a-Rolling: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Rolling Down to Old Maui (Mohee)
DESCRIPTION: The sailors, having spent many months in Kamchatka and the Bering Sea, are happy to flee the northern gales and return to temperate climes in Maui/Mohee. The look forward to seeing the girls
AUTHOR: unknown
EARLIEST_DATE: 1858 (Journal from the Atkins Adams)
KEYWORDS: whaler return sailor sea 
FOUND_IN: US
REFERENCES: (4 citations)
Huntington-Whalemen, pp. 27-28, "Rolling Down to Old Mohee" (1 text, 1 tune)
Colcord, pp. 197-198, "Rolling Down to Old Maui" (1 text, 1 tune)
Harlow, pp. 228-230, "Rolling Down to Old Maui" (1 text, 1 tune)
DT, MAUI1* MAUI2* MOHEE3*
Roud #2005
File: SWMS027
===
NAME: Rolling Home
DESCRIPTION: The sailors are "Rolling home, rolling home, rolling home across the sea, Rolling home (to wherever home is)." They describe they voyage, the girls or whatnot they have left behind, and the joys of returning to home (and sweethearts)
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: ship travel return reunion
FOUND_IN: US(MA,NE) Australia Canada(Mar,Newf)
REFERENCES: (10 citations)
Doerflinger, pp. 155-160, "Rolling Home" (2 texts, 2 tunes)
Harlow, pp. 133-136, "Rolling Home" (2 texts, 1 tune)
Hugill, pp. 182-191, "Rolling Home" (4 texts- 3 English, 1 German; 3 tunes) [AbEd, pp. 146-149]
Shay-SeaSongs, pp. 141-143, "(Rolling Home)" (1 text, 1 tune)
Fahey-Eureka, pp. 54-55, "Rolling Home" (1 text, 1 tune)
Meredith/Covell/Brown, p. 95, "Rolling Home" (1 text, 1 tune)
Smith/Hatt, p. 40, "Rolling Home to Merry England" (1 text)
Darling-NAS, pp. 320-321, "Rolling Home" (1 text)
Silber-FSWB, p. 96, "Rolling Home" (1 text)
DT, ROLLHOME ROLLHOM2 ROLLHOM3
Roud #4766
RECORDINGS:
Morris Houlihan, "Rolling Home" (on NFMLeach)
Capt. Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Rolling Home" (AFS 4230 A, 1939; on LC27; on LC27, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "Kevin Barry" (tune)
cf. "Magelhan" (adaption of text)
NOTES: Silber credits this to Charles Mackay, but the variety of verses known to me (most of which do not occur in Silber) implies that this is a genuinely traditional song. - RBW
Hugill in _Shanties from the Seven Seas_ (Mystic Seaport,1994) p. 145 says "Its origin is a bit doubtful, but most collectors seem to think it is based on a poem of Charles Mackay, written on board ship in 1858.... No one has discovered as to whether it is mentioned in any books prior to 1858; if this was the case it would more or less prove that the shanty came first."
Mackay's chorus is "Rolling home, rolling home, rolling home, dear land to thee, Rolling home to merry England, rolling home across the sea" per Leach in notes to NFMLeach. Leach thinks "MacKay used the chantey refrain [rather] than that he contributed it. Certainly the Newfoundlanders think that this chantey is older than the middle of the [19th] century." - BS
File: Doe155
===
NAME: Rolling Home to Merry England: see Rolling Home (File: Doe155)
===
NAME: Rolling in the Dew (The Milkmaid)
DESCRIPTION: Boy: Where are you going? Girl: Milking. Boy: May I come? Girl: Why not? Boy: What if I lay you down? Girl: Then you'll help me up. Boy: What if you get pregnant? Girl: You'll be the father....
AUTHOR: unknown
EARLIEST_DATE: 1842 (Halliwell), according to Kennedy
KEYWORDS: dialog seduction
FOUND_IN: US(Ap,MW,So) Britain(England(Lond,South)) Canada(Mar)
REFERENCES: (17 citations)
Randolph 79, "The Milking Maid" (1 short text, 1 tune)
Eddy 52, "The Milkmaid" (1 text)
Hudson 132, pp. 277-278, "The Milkmaid" (1 text plus mention of "numerous" others)
Ford-Vagabond, pp. 137-138, "Where Are You Going, My Pretty Fair Maid?" (1 text)
Doerflinger, pp. 68-70, "Sacramento" (3 texts, 2 tunes, with the third text deriving its tune from this piece; the other two texts are independent)
Hugill, pp. 92, 210-211, "Rio Grande" (1 fragment, version "c" of "Rio Grande," with the text of this song and the chorus of "Rio Grande") [AbEd, p. 85]; "Blow the Man Down" (1 text, version "e" of "Blow the Man Down" sung to the that tune as well as those of "Rio Grande" and "Goodbye, Fare-ye-well") [AbEd, pp. 165-166]
Sharp-100E 44, "Dabbling in the Dew" (1 text, 1 tune)
Copper-SoBreeze, pp. 238-239, "Rolling in the Dew" (1 text, 1 tune)
Kennedy 189, "Rolling in the Dew" (1 text, 1 tune); also 94, "Pelea era why moaz, moes fettow teag? [Where Are You Going To, My Pretty Maid?" (1 text + Cornish translation, 1 tune)
Leather, p. 205, "The Milkmaid's song" (1 censored excerpt, 1 tune)
LPound-ABS, 112, pp. 228-229, "The Milkmaid"; p. 230, "The Pretty Milkmaid" (2 texts, neither of which recounts the seduction)
JHCox 125, "The Milkmaid" (2 texts)
Creighton-SNewBrunswick 46, "My Pretty Maid" (1 text, 1 tune)
Opie-Oxford2 317, "Where are you going to, my pretty maid?" (3 texts)
BBI, ZN242, "As I walked forth one summers day" ("Dreadful expansion of 'Where are you going my pretty maid, I'm going milking sir, she said'")
DT, DABBLDEW* MILKMDFR*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #219, "Dabbling in the Dew" (1 text, probably cleaned up)
Roud #298
RECORDINGS:
George Maynard, "Rolling in the Dew" (on FSB2CD, Maynard1, Voice10)
BROADSIDES:
Bodleian, Firth b.26(348), "Where Are You Going My Pretty Maid?," H. Such (London), 1863-1885; also Firth b.34(275) View 2 of 2, "Where Are You Going My Pretty Maid"
LOCSheet, sm1882 21563, "O Where Are You Going, My Pretty Maid?," J. M. Russell (Boston), 1882 (tune)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17]
cf. "The New-Mown Hay"
ALTERNATE_TITLES:
Where Are You Going, My Pretty Fair Maid?
NOTES: A number of the versions of this piece, such as Pound's two, end seemingly BEFORE the seduction; the man asks the girl about her wealth, and she replies, "My face it is my fortune," whereupon he abandons her. I suspect, however, that these versions are bowdlerized, with the seduction eliminated from the middle.
In some cases this may be editors' bowdlerization, but it may have happened naturally in a few instances (note that Laura Ingalls Wilder actually quotes such a version in chapter 13 of _By the Shores of Silver Lake_!). - RBW
One of the reasons milkmaids were held in such romantic esteem was for their smooth, fair, and un-pockmarked skin, which came from their contact with cowpox and resultant immunity to smallpox -- thus the milkmaid's remark, "My face is my fortune."
Kennedy's Cornish words are a revivalist translation from the English. - PJS
There seem to be several pieces of this sort floating about. _Gammer Gurton's Garland_ and others have one running,
Little maid, pretty maid, whither goes thou?
Down in the (forest/meadow) to milk my cow.
Shall I go with thee? -- No, not now;
When I send for thee, then come thou.
(See Baring-Gould-MotherGoose #101, p. 90.) I suspect it is actually this, not "Rolling in the Dew," that Kennedy is citing for his date. - RBW
File: R079
===
NAME: Rolling King: see South Australia (File: Doe071)
===
NAME: Rolling Neuse, The
DESCRIPTION: "When Greene's horn blew a long, loud blast, At early day's bright dawning, In slumber my heart was pulsing fast. I was dreaming of the morning When Nancy would be my youthful bride." As he prepares to fight, he prays for her happiness
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: battle love courting dream
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 366, "The Rolling Neuse" (1 short text)
Roud #11746
CROSS_REFERENCES:
cf. "Wind That Shakes the Barley" (subject)
NOTES: Brown's informant listed this as a fragment, and so it appears to be. As it stands, it looks rather like "The Wind That Shakes the Barley," though whether that comparison would stand in a full-length version is not clear.
Greene is doubtless Nathaniel Green (1742-1786), who had a long career in the Continental (American Revolutionary) army. In October 1780 he was given command of what would now be called something like the southern theatre of the war. He successfully lead Cornwallis around by the nose, and despite minor setbacks, captured most southern cities by the end of 1781.
The Neuse River flows into Pamlico Sound in North Carolina, but this cannot be used to date the song more precisely; the soldier seemingly is not serving on the Neuse but thinking of his home near it. - RBW
File: Br3366
===
NAME: Rolling of the Stones, The: see The Twa Brothers [Child 49] (File: C049)
===
NAME: Rolling River: see Shenandoah (File: Doe077)
===
NAME: Rolling Stone, The [Laws B25]
DESCRIPTION: Hard times leave a husband wanting to move to (California); his wife wishes to stay at home. She wins the argument by pointing out that they might be killed by Indians on their way
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: poverty hardtimes travel settler
FOUND_IN: US(Ap,MA,So)
REFERENCES: (8 citations)
Laws B25, "The Rolling Stone"
Belden, pp. 351-352, "The Rolling Stone" (1 text plus mention of 1 more)
Randolph 194, "The Rolling Stone" (4 texts, 1 tune)
Randolph/Cohen, pp. 186-188, "The Rolling Stone" (1 text, 1 tune -- Randolph's 194A)
Fuson, p. 100, "The Stone that Is Rolling" (1 text)
FSCatskills 87, "The Rolling Stone" (1 text, 1 tune)
Scott-BoA, pp. 161-163, "The Wisconsin Emigrant" (1 text, 1 tune)
DT 387, ROLLNGST*
Roud #710
CROSS_REFERENCES:
cf. "The Husband's Departure" (form, lyrics)
File: LB25
===
NAME: Rolly Roll: see Roll the Tater (Rolly Rolly) (File: R582)
===
NAME: Rolly Trudam: see Lolly-Too-Dum (File: LxU012)
===
NAME: Rolly Trudum: see Lolly-Too-Dum (File: LxU012)
===
NAME: Romish Lady, The [Laws Q32]
DESCRIPTION: A young woman is a closet Protestant (she reads the Bible and refuses to worship angels). Her Catholic mother has her imprisoned. Tried before the Pope, she is burned at the stake. She pardons her tormentors while blaming her mother for her fate
AUTHOR: unknown
EARLIEST_DATE: 1586 (stationer's register)
KEYWORDS: religious death execution
FOUND_IN: Britain(England) US(MW,SE,So)
REFERENCES: (13 citations)
Laws Q32, "The Romish Lady"
Belden, pp. 450-455, "The Romish Lady" (5 texts; it appears that Laws omits version "C" from his list, but it is clearly the same piece)
Eddy 97, "The Romish Lady" (1 text)
Gardner/Chickering 149, "An Account of a Little Girl Who Was Burnt for Her Religion" (1 text)
Randolph 604, "The Death of a Romish Lady" (1 text, 1 tune)
BrownII 56, "The Romish Lady" (1 text with variant readings)
Hudson 28, pp. 137-139, "The Death of a Romish Lady" (1 text)
Scarborough-SongCatcher, pp. 175-178, "A Lady's Daughter of Paris," with local title "There Was a Romish Lady" (1 text; tune on p. 404)
Brewster 49, "The Death of a Romish Lady" (1 text plus a fragment)
McNeil-SFB2, pp. 94-97, "The Romish Lady" (1 text, 1 tune)
LPound-ABS, 25, pp. 63-66, "The Death of a Romish Lady" (1 text)
BBI, ZN1518, "It was a Ladies Daughter, of Paris properly"
DT 540, ROMSHLDY*
Roud #1920
NOTES: This song obviously dates to a time when Catholic-Protestant tensions were high, though it is not clear whether this dates it from before Henry VIII's break with Rome (1533), or during the reign of Mary I (1553-1558).
The song is known to have been in existence in the time of Charles II, 1660-1685, and a fragment is apparently found in John Fletcher and Francis Beaumont's 1611 play "The Knight of the Burning Pestle." (I say "apparently" because the reference is extremely brief. All that we have are the title -- "A Lady's Daughter of Paris, Properly" -- and
part of the first line -- "It was a lady's daughter..."; it is unusual in that it is a ballad *not* sung by Merrythought.)
Many of the charges leveled here are, sadly, true though overblown. The statute "De heretico comburendo"  was enacted in England in 1401 (it had passed earlier in most continental countries) -- but very few English martyrs other than Tyndale were burned.
The Catholic laity was long forbidden to read scriptures -- but Catholic translations of the Bible into English first appeared in 1582.
Most of the other implied charges (e.g. worship of idols, slavish adherence to priests) are traits shared with at least some Protestant churches.
Curiously, in a piece so clearly controversial, there are no direct scriptural quotations. The claim "I'll live by faith forever" obviously is based on Romans 1:17 and its host of parallels; the phrase "the pride of life" is an allusion to 1 John 2:16 (KJV; NRSV renders "pride in riches"); the injunction "shed not a tear for me" may hark back to Luke 23:28; the statement "while my poor body is burning, my soul the Lord shall see" is reminiscent of the last minutes of Stephen (Acts 7:55f.); her forgiveness of her persecutors also refers back to Stephen (Acts 7:60) as well as Jesus's pardon of his killers (Luke 23:34 in the KJV; many early Bible manuscripts omit this verse). - RBW
File: LQ32
===
NAME: Rookery, The
DESCRIPTION: The singer meets a maid and accompanies her home "in Blarney Lane, convenient to the Rookery." She invites him to her room for sport and whisky punch. He wakes drunk, minus twenty pounds, a watch and coat. The neighbors laugh. Young men be warned
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: sex seduction robbery drink whore warning
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 42-43, "The Rookery" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Gold Watch" [Laws K41] (plot) and references there
File: OCan042
===
NAME: Rookhope Ryde [Child 179]
DESCRIPTION: The singer curses those who raid Rookhope. Northern thieves descend upon Rookhope when most of the high officials were away. But the raiders are seen, pursued, and taken in battle. The singer praises those who repelled the raid
AUTHOR: unknown
EARLIEST_DATE: 1792 (Ritson, "The Bishopric Garland")
KEYWORDS: poaching robbery punishment
FOUND_IN: Britain
REFERENCES: (1 citation)
Child 179, "Rookhope Ryde" (1 text)
Roud #4008
NOTES: Child dates this "ryde" (raid) to the time of the Rising in the North (for background, see "The Rising in the North" [Child 175]), and this seems likely enough. However, neither the song itself nor outside sources give enough details to make this verifiable. The only other evidence is implicit: The Rising distracted or removed so many lords, sheriffs, and bailiffs that it made such a vast raid possible. - RBW
File: C179
===
NAME: Rookie's Lament
DESCRIPTION: "I ain't been long in this here army, Just a few days since I arrive." The new recruit complains about sergeants, drill, hiking, cavalry, cavalry horses, military medicine, military discipline, and anything else that springs to mind
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: army soldier hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 548-551, "A Rookie's Lament" (1 text, 1 tune)
Roud #15543
NOTES: All this whining and he didn't even mention military food. - RBW
File: LxA548
===
NAME: Room Was So Cold and Cheerless, The
DESCRIPTION: "The room was so cold and cheerless and bare," almost without furniture and with broken windows. The cradle sits empty, the woman is dying of hunger and cold. Her husband is a drunkard and will not reach Heaven
AUTHOR: unknown
EARLIEST_DATE: 1931 (Henry, collected from Rachel Brackett)
KEYWORDS: death abandonment husband wife drink clergy Bible Hell warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 116-117, "The Room Was So Cold and Cheerless" (1 text)
NOTES: The song states in the final stanza, "A verse in the Bible, the minister read, 'No drunkard shall reach heaven," it said."
There is no verse in the Bible which uses those precise words. The reference is, I believe, to 1 Corinthians 6:[9-]10, which reads, "Fornicators, odolators, adulterers, male prostitutes, sodomites, [10] thieves, the freedy, the drunk, the ill-tongued, bandits -- none of these will inherit the Kingdom of God." However, it also goes on to say that the readers *used to be* these things, but were freed by the work of Jesus. Although all of these things are (seemingly) sinful, as I read the passage, it is not the sin but the attitude of the sinner which determines salvation. I grant that this is a fairly subtle distinction -- clearly it was lost on the author of this song. - RBW
File: MHAp116
===
NAME: Root, Abe, or Die: see Root, Hog, or Die (Confederate Version) (File: R248)
===
NAME: Root, Hog, or Die (Confederate Version)
DESCRIPTION: Various cracks about the incompetence or cowardice of the Yankees, ending by saying "We'll make the Dutch (or Old Abe, or any other tempting target) root hog or die." Also praises the confederate armies in extravagant terms
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: Civilwar parody patriotic
HISTORICAL_REFERENCES: Aug 10, 1861 - Battle of Wilson's Creek
FOUND_IN: US(So,SE)
REFERENCES: (4 citations)
Belden, pp. 361-362, "Root, Abe, or Die" (1 text)
Randolph 248, "Root Hog or Die" (1 text, with an element of "The Bonnie Blue Flag" mixed in)
BrownIII 372, "Root Hog or Die" (1 short text, perhaps mixed)
DT, ROOTHOG2*
Roud #7829
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
cf. "The Jolly Union Boys" and references there (concerning Battle of Wilson's Creek)
NOTES: Randolph's version of this song is very specific to Missouri; see his notes.
Belden's version, at first glance, has almost nothing in common with Randolph's brief and mixed-up version. But both are from the Ozarks, and both involve the Missouri campaigns of Nathaniel Lyon and the Battle of Wilson's Creek. If they aren't the same piece, they are communal efforts on the same theme. Close enough.
Brown's short text is another matter; it seems more generically Confederate, and refers to Fort Sumter. But it's too short to file separately.
For the complex background to the Battle of Wilson's Creek, see the notes to songs in the cross-references, notably "The Jolly Union Boys" and "Joe Stiner." - RBW
File: R248
===
NAME: Root, Hog, or Die (V)
DESCRIPTION: Minstrel song? "Root, Hog, or Die," with some "Walkin' in the Parlor" verses: "The greatest ole nigger that I eva' did see, Looked like a sick monkey...." "I come from Alabama with a pocketful of news..." Cho: "Chief cook and bottle washer...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Allsopp)
KEYWORDS: cook work nonballad floatingverses food
FOUND_IN: US(So)
REFERENCES: (1 citation)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 161, ("Root, Hog, or Die")
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
cf. "Walkin' in the Parlor" (lyrics)
File: FWA161A
===
NAME: Root, Hog, or Die (VI -- Cowboy Bawdy variant)
DESCRIPTION: The singer heads to Arizona to punch cattle. He takes a holiday in Phoenix, where was pretty girl says she will "see what I can do for your root, hog, or die." He contracts a venereal disease; "that's why I lost the head of my root, hog, or die."
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: bawdy cowboy sex disease disability
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 22, pp. 140-142, "Root, Hog, or Die" (1 text, 1 tune)
Roud #3242
CROSS_REFERENCES:
cf. "The Gay Caballero" (theme of disease destroying sexual organs)
cf. "The Fire Ship" (plot) and references there
File: Logs022
===
NAME: Root, Hog, or Die [Laws B21]
DESCRIPTION: The singer arrives in California broke and takes a job making hay. He soon gambles his pay away, gets drunk, and lands in jail. A friend pays his fine; he warns against the dangers of playing poker
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: poverty drink gambling prison reprieve
FOUND_IN: US(So)
REFERENCES: (5 citations)
Laws B21, "Root Hog or Die"
Randolph 422, "Root Hog or Die" (5 texts, mostly short and perhaps excerpted, 3 tunes)
Randolph/Cohen, pp. 347-349, "Root Hog or Die" (1 text, 1 tune -- Randolph's 422C)
Silber-FSWB, p. 57, "Root, Hog, Or Die" (1 text)
DT 598, ROOTHOG3
Roud #3242
CROSS_REFERENCES:
cf. "Root, Hog, or Die (II)"
cf. "Root, Hog, or Die (III)"
cf. "Root, Hog, or Die (IV)"
cf. "Root, Hog, or Die (V)"
cf. "Root, Hog, or Die (Confederate Version)"
File: LB21
===
NAME: Root, Hog, or Die! (II)
DESCRIPTION: A bull-whacker recalls good times in Salt Lake City when his Chinese whore could roll her hog eye, and he would root hog or die.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy whore foreigner
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph-Legman I, pp. 576-582, "Root, Hog or Die!" (4 texts, 1 tune)
Fife-Cowboy/West 11, "Root Hog or Die" (2 texts, 1 tune, with the "A" and "B" texts being different forms of the song. "A" appears to be a cleaned-up version of this form.)
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
NOTES: The supplemental texts supplied by Legman in Randolph-Legman I are more interesting than the one stanza fragment that Randolph collected. - EC
[Note: Randolph actually collected five "clean" versions of this piece, but all -- except that listed as "Root Hog or Die (Confederate Version)" -- are quite fragmentary. - RBW]
I am not entirely sure that the Fife "A" text is a variant of this piece (though it starts in the same way). But if it isn't, it needs its own entry -- and I'm tired of the proliferation of "Root Hog or Die" versions.... - RBW
File: RL576
===
NAME: Root, Hog, or Die! (III -- The Bull-Whacker)
DESCRIPTION: A "Western" "Root Hog" version, with the singer herding cattle and keeping an eye out for local wildlife. He complains about the hard life and bad food, but also talks about the pretty girls
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work travel animal whore
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 171, "Root, Hog, or Die" (1 text, 1 tune)
Lomax-ABFS, pp. 430-432, "The Bull-Whacker" (1 text)
Fife-Cowboy/West 11, "Root Hog or Die" (2 texts, 1 tune, of which the "B" text, "The Philosophical Cowboy," appears to belong here)
DT, ROOTHOG1*
Roud #4292
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
ALTERNATE_TITLES:
The Philosophical Cowboy
NOTES: The final verses of this version resemble the bawdy text (Root, Hog, or Die II), and one wonders if this version might not have been cleaned up.  But the lead-in is completely different. - RBW
File: LoF171
===
NAME: Root, Hog, or Die! (IV)
DESCRIPTION: "I'll tell you all a story that happened long ago, When the English came to America... The Yankees boys made 'em sing 'Root hog or die.'" The singer describes various English defeats: the Tea Party, Bunker Hill, Yorktown, Baltimore, New Orleans
AUTHOR: unknown
EARLIEST_DATE: 1909 (a text reported by Belden to be this was found in the 1859 Dime Song Book)
KEYWORDS: battle patriotic
HISTORICAL_REFERENCES: Dec. 16, 1773 - Boston Tea Party. Americans protest the British tax on tea by dumping a shipload into Boston Harbor
June 17, 1775 - Battle of Bunker Hill (fought on Breed's Hill, and won by the British, though at heavy cost)
Oct 19, 1781 - Cornwallis surrenders at Yorktown (not really as a result of being defeated; his supply line had been cut by the French navy)
Aug 24, 1814 - A British force under Robert Ross captures Washington, D.C. after brushing aside the incompetent defenders. (Madison's administration had already fled). Two days later the British leave for Baltimore.
Sept 13, 1814 - Battle of Fort McHenry, which saves Baltimore from the British attack.
Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which British General Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulse Pakenham.
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 334, "Root Hog or Die" (1 text)
Roud #4734
CROSS_REFERENCES:
cf. "Root, Hog, or Die" [Laws B21] and references there
File: Beld334
===
NAME: Rory O'Moore: see Rory O'More (File: OCon090)
===
NAME: Rory O'More
DESCRIPTION: "Young Rory O'More courted young Kathleen Bawn." He teases her. She says Mike loves her and dreams of hating Rory. Rory says "drames always go by contraries," After thrashing Dinny Grimes and Jim Duff he asks her to marry. They marry and retire to bed.
AUTHOR: Samuel Lover (1797-1868)
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3313))
KEYWORDS: courting marriage fight dream
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 90, "Rory O'More" (1 text)
Roud #6125
BROADSIDES:
Bodleian, Harding B 11(3313), "Rory O'More", J. Catnach (London), 1813-1838; also Firth b.27(136), Harding B 11(1513), Firth c.17(129) [only partly legible], Harding B 11(2596), Harding B 25(72), 2806 b.11(243), Harding B 16(233c), Harding B 11(3312), Firth b.34(212) View 2 of 2, 2806 c.16(297), Johnson Ballads 342, 2806 c.15(328), "Rory O'More"
SAME_TUNE:
Too-Ril-Te-Too (The Robin and the Cat) (File: Lins293)
ALTERNATE_TITLES:
Rory O'Moore
NOTES: Since O'Conor omits the fourth(final) stanza broadside Bodleian Harding B 11(3313) was used for the Description. - BS
At least one source sub-titles this "Good Omens."
There was an Irish nationalist, Rory O'More, who was a leader of the 1641 rebellion (and a grandfather of Sarsfield, for whom see "After Aughrim's Great Disaster." It doesn't appear he is connected with this song, though. - RBW
File: OCon090
===
NAME: Rory of the Hill
DESCRIPTION: The bold Tip mountaineer" "Rory of the Hill" asks if Scully is dead." Rory tells how Scully and the agent turned him and his mother out. Since then he, like Michael Hayes, shot a landlord or agent. He fled to New York, but has returned to Ireland.
AUTHOR: Thomas Walsh (according to broadside Bodleian 2806 b.10(137)) or I. Walsh (according to broadsides Bodleian Firth b.26(102), Bodleian Firth c.26(154) and Bodleian 2806 c.8(278))
EARLIEST_DATE: 1868 (Zimmermann)
KEYWORDS: emigration return homicide America Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 75, "Rory of the Hill" (1 text)
BROADSIDES:
Bodleian, Firth b.26(102), "Rory of the Hills" ("At Slievenamon the man who asked me was Scully dead?"), T. Pearson (Manchester), 1850-1899 ; also Firth c.26(154), "Rory of the Hills"; 2806 b.10(137), "Rory of the Hill"; 2806 c.8(278), "Roary of the Hill"
CROSS_REFERENCES:
cf. "The Whole Hog or None" (tune, per broadsides Bodleian 2806 b.10(137) and Bodleian 2806 c.8(278))
cf. "The Battle of Ballycohy" (subject: the shooting of Billy Scully)
cf. "The Gallant Farmers' Farewell to Ireland" (subject: Michael Hayes)
File: Zimm075
===
NAME: Rory of the Hills
DESCRIPTION: A son asks why a "rake up near the rafters" is not used to make hay. His father, Rory of the Hill, takes him to meet his old comrades and then reveals that the rake hides a sword. He does his soldier's drill and says "You'll be a Freeman yet, my boy"
AUTHOR: Charles J. Kickham (1828-1882) (See Notes)
EARLIEST_DATE: before 1885 (broadside, Bodleian Harding B 40(2) View 1 of 4)
KEYWORDS: rebellion patriotic father farming
FOUND_IN: 
REFERENCES: (4 citations)
O'Conor, pp. 74-75, "Rory of the Hills" (1 text)
Healy-OISBv2, pp. 128-130, "Rory of the Hill" (1 text)
DT, RORYOMOR*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 525-526, "Rory of the Hill" (1 text)
BROADSIDES:
Bodleian, Harding B 40(2) View 1 of 4, "Rory of the Hill" ("That rake up near the rafters"), J.F. Nugent and Co.? (Dublin?), 1877-1884
NOTES: Broadside Harding B 40(2) View 1 of 4 has the lines strangely rearranged and some of the text is missing. _Irish Minstrelsy_ by H. Halliday Sparling (London, 1888), pp. 28-30, 502, "Rory of the Hills" makes the attribution to Kickham. [Supported by Hoagland.  - RBW] - BS
For the career of Kickham, an Irish nationalist who helped organize the Irish Republican Brotherhood, see the notes to "Patrick Sheehan [Laws J11]."
Healy, pp. 130-131, has a second "Rory of the Hill" song. It appears related only by title. - RBW
File: OCon074
===
NAME: Rosa Becky Diner: see Lead Her Up and Down (Rosa Becky Diner, Old Betsy Lina) (File: R552)
===
NAME: Rosa Betsy Lina: see Lead Her Up and Down (Rosa Becky Diner, Old Betsy Lina) (File: R552)
===
NAME: Rosa Lee McFall
DESCRIPTION: Singer loves Rosa Lee McFall and sings her praises. He proposes to her; she accepts, but then dies. He vows to roam the world alone "'till God prepares my place in heaven With my Rosa Lee McFall"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: grief courting love death mourning travel
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Charlie Monroe & His Kentucky Pardners, "Rosa Lee McFall" (RCA Victor 21-0054, 1949)
New Lost City Ramblers, "Rosa Lee McFall" (on NLCR13)
NOTES: This plot shows up enough times that I have the sneaking suspicion "Rosa Lee McFall" is a variant of another song. Since I don't know which, however, I've indexed it on its own. - PJS
File: RcRLMcF
===
NAME: Rosabella Fredolin
DESCRIPTION: Sailor sings about his "greatest delight," a rope maker's daughter who betrayed him when he sailed away. She tore up his letters to use as hair curlers. When he hears of this he writes a farewell to her and adds mention of her drinking and smoking habits.
AUTHOR: unknown
EARLIEST_DATE: 1844
LONG_DESCRIPTION: Sailor sings about his "greatest delight," a rope maker's daughter who betrayed him when he sailed away. She tore up his letters to use as hair curlers. When he hears of this he writes a farewell to her and adds mention of her drinking and smoking habits. This was often sung to the tune of "Ane Madam," a Swedish version of "Blow the Man Down."
KEYWORDS: foreignlanguage sailor courting rejection farewell hair drink
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 216-219, "Rosabella Fredolin" (2 texts-English & Swedish, 1 tune)
CROSS_REFERENCES:
cf. "Ane Madam" (tune)
NOTES: Hugill took this from _Sang under Segel_ (1935) where the compiler (Sternvall) says that it came from a seaman's song-book dated 1844. - SL
File: Hugi216
===
NAME: Rosaleen Bawn
DESCRIPTION: The singer wishes Rosaleen Bawn to come away with him. He tells how the May moon is the perfect time to escape. He tells her she will soon forget her home, and that he will make her happy and, apparently, rich
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting nightvisit elopement
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H63, p. 247, "Rosaleen Bawn" (1 text, 1 tune)
Roud #13337
NOTES: It is by no means clear, from the song, whether the singer is rich, is handing the girl a line, or is just given to hyperbole. Sam Henry reports that the singer was courting the daughter of his employer, and had nothing to offer her. This doesn't really seem to suit the song. - RBW
File: HHH083
===
NAME: Rosalie: see Little Old Log Cabin by the Stream (Rosalie) (File: R710)
===
NAME: Rosamond's Downfall: see Fair Rosamond (File: Lins193)
===
NAME: Rosamund Clifford
DESCRIPTION: King Henry II loves Rosamund Clifford, and constructs a bower at Woodstock to guard her from Queen Eleanor's jealousy. The King and Rosamund talk at length. He departs for the wars. Queen Eleanor poisons Rosamund
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy) (Broadside registered 1656)
KEYWORDS: love separation death poison royalty
HISTORICAL_REFERENCES: 1154-1189 - Reign of Henry II
c. 1176 - Death of Rosamund Clifford
FOUND_IN: 
REFERENCES: (3 citations)
Percy/Wheatley II, pp. 154-164, "Fair Rosamund" (1 text)
BBI, ZN2820, "When as King Henry rul'd this Land/"; cf. BBI, ZN2442, "Sweet youthful charming ladies fair"
cf. Chappell/Wooldridge I, pp. 163-164, "Rosamund" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Queen Eleanor's Confession" [Child 156] (subject)
cf. "Fair Rosamond" (subject)
SAME_TUNE:
When Anne, a Princess of renown/The Glorius Warriour (BBI ZN2817)
NOTES: Romantic pieces based on the tale of Rosamund Clifford seem to have been fairly common, but I have lumped them all here, excerpt for "Fair Rosamund," on the grounds that few can be demonstrated to be traditional. 
The versions listed above seem to fall into two families; the Percy text goes with the broadside "When as King Henry Ruled this Land"; Chappell's version is a "Sweet Youthful Charming Ladies Fair" type of text.
There are traditional elements to the songs, however, as the folk accounts do not match the actual facts. This possibly justifies their inclusion here.
The facts are these: Henry II truly did marry Eleanor of Aquitaine, and he truly did have an affair with Rosamund Clifford. Rosamund seems to have been the true love of Henry's life.
Beyond this, all is conjecture. We do not have dates of Rosamund's romance with Henry, and the evidence conflicts. Geoffrey, Bishop of Lincoln, is said to have been their (second) son, born in 1159. But this conflicts with other evidence about Henry's amours. Also, Henry was still busily having children by Eleanor at that time. The last child of Henry and Eleanor was the future King John, born 1166/67. Henry was still a relatively young man of about 34, while Eleanor was about 45 and probably incapable of bearing further children.
Rosamund was the daughter of Walter FitzPonce, who took the surname Clifford upon gaining the title of Clifford Castle (by marriage) some time before 1138. The date of Rosamund's birth is uncertain. She died around 1176, but the death was the result of natural causes. Indeed, by the 1170s, Henry had Eleanor under virtual house arrest; even had she wanted to, she probably could not have arranged Rosamund's death. - RBW
File: Perc2154
===
NAME: Rosanna: see Farewell, Dear Rosanna [Laws M30] (File: LM30)
===
NAME: Rose and the Thyme, The: see The Rue and the Thyme (The Rose and the Thyme) (File: Ord187)
===
NAME: Rose Blanche, La (The White Rose)
DESCRIPTION: French: "Par un matin je me suis leve (x2), Plus mantin que ma tante (x2)." The singer enters a garden and is picking white roses when her lover approaches. She falls and "breaks her ankle." The "doctor" tells her to bathe it in water and white roses
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: love flowers courting injury foreignlanguage
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 118-119, "La Rose Blanche" (1 text, 1 tune)
File: FMB118
===
NAME: Rose Conley: see Rose Connoley [Laws F6] (File: LF06)
===
NAME: Rose Connoley [Laws F6]
DESCRIPTION: The singer kills Rose by drugging her (with "burglar's wine"), stabbing her, and throwing her in the river. He commits the crime on his father's assurance that "money would set [him] free," but the assurance was false; he is to be hanged
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: homicide drugs river execution wine
FOUND_IN: US(Ap,SE)
REFERENCES: (9 citations)
Laws F6, "Rose Connoley"
Warner 110, "Rose Connally" (1 text, 1 tune)
BrownII 249, "Rose Connally" (1 text plus excerpts from 1 more)
Lomax-FSUSA 83, "Down in the Willow Garden" (1 text, 1 tune)
Lomax-FSNA 137, "Rose Connelly" (1 text, 1 tune)
JHCox 91, "Rose Connoley" (2 texts)
Darling-NAS, pp. 202-203, "Willow Garden" (1 text)
Silber-FSWB, p. 223, "Down In The Willow Garden" (1 text)
DT (311), WLLWGRDN*
Roud #446
RECORDINGS:
Texas Gladden with Hobart Smith, "Down in the Willow Garden" (Disc 6081, 1940s)
[G. B.] Grayson & [Henry] Whitter, "Rose Conley" (Victor 21625, 1927; on GraysonWhitter01)
Charlie Higgins, Wade Ward & Dave Poe, "Willow Garden" [instrumental] (on LomaxCD1702)
J. E. Mainer's Mountaineers [or Wade Mainer & Zeke Morris], "Down in the Willow" (Bluebird B-7298/Montgomery Ward M-7307, 1937)
Charlie Monroe & His Kentucky Pardners, "Down in the Willow Garden" (Victor 20-2416, 1947)
New Lost City Ramblers, "Down in the Willow Garden" (on NLCR16)
Osborne Brothers & Red Allen, "Down in the Willow Garden" (MGM 12420, 1957)
NOTES: Almost every version of this song contains a crux: Just *what* did the killer cause Rose to drink? Burglar's wine? Burgundy wine? Something else (Texas Gladden sung either "virgin" or "Persian"; one of Cox's informants had something like "merkley").
Burgundy, frankly, makes no sense. The usual tune (as sung, e.g., by Grayson and Gladden) calls for two syllables, and burgundy isn't going to knock a girl out, either.
Problem is, no one knows what "burglar's wine" is. But that, of course, invites correction, perhaps to "burgundy." It makes no sense to assume that "burgundy" is original and corrected to "burglar's"; this produces a paradox. If "burglar's wine" is meaningless, a listener is not likely to  hear the song as to make nonsense (it might happen once, but not several times, and Cox and Grayson show "burglar's wine" to be widespread). And if "burglar's wine" does exist, then it could be an original reading.
Thus I do not doubt that "burglar's wine" is the earliest extant reading in the tradition. It may even be original; I seem to recall reading somewhere that it was a drugged wine. But I can't find the reference.
Lyle Lofgren, who has studied the piece, proposed an emendation which makes reasonable sense: "[Russell Bartlett's "Dictionary of Americanisms"] gave me a candidate:  'burgaloo,' a popular pear variety at the time, identified in the dictionary as a variant of  'virgelieu.'" - RBW
File: LF06
===
NAME: Rose in June
DESCRIPTION: "Was down in the valleys, the valleys so deep, To pick some plain roses to keep my love sweet, So let it come early, late or soon, I will enjoy my rose in June." "O, the roses are red, the violets blue." "O love, I will carry the sweet milking pail."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: love courting flowers lyric 
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 256-257, "Rose in June" (1 text, 1 tune)
Roud #1202
File: CoSB256
===
NAME: Rose in the Garden, The: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Rose O'Grady: see Sweet Rosie O'Grady (File: Dean062A)
===
NAME: Rose of Alabama, The
DESCRIPTION: "Away from Mississippi's vale, With my old hat there for a sail, I crossed upon a cotton bale To Rose of Alabama." The singer courts Rose. His banjo falls into the stream. "And every night... To hunt my banjo for an hour... I meet... my flower."
AUTHOR: Words: Silas S. Steele
EARLIEST_DATE: 1846
KEYWORDS: music courting love trick river
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 214-215, "The Rose of Alabama" (1 text, 1 tune)
File: SBoA214
===
NAME: Rose of Allandale, The
DESCRIPTION: "The sky was clear, the morn was fair, Not a breath came over the sea When Mary left her highland home And wandered forth with me." The singer recounts his travels and hardships, noting that the love of Mary, the Rose of Allandale, helped him through
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: love travel
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 257-260, "The Rose of Allendale" (1 text, 1 tune); also p. 260, "(Mary's Cot)" (1 text, with the first verse belonging here though the rest is from "Adieu Sweet Lovely Nancy")
DT, ALANDAL*
Roud #1218
BROADSIDES:
Murray, Mu23-y1:118, "The Rose of Allandale," unknown, 19C; also Mu23-y4:036, "The Rose of Allendale," unknown, 19C
ALTERNATE_TITLES:
Sweet Rose of Allandale
Sweet Rose of Allendale
File: SWMS257
===
NAME: Rose of Allendale, The: see The Rose of Allandale (File: SWMS257)
===
NAME: Rose of Britain's Isle, The [Laws N16]
DESCRIPTION: Jane falls in love with a servant, who is then sent to sea. She follows him in disguise and is wounded in battle. Her secret having been revealed, her lover marries her. They return home to find her father willing to forgive
AUTHOR: unknown
EARLIEST_DATE: 1883 (Smith/Hatt)
KEYWORDS: exile cross-dressing sea marriage father
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (8 citations)
Laws N16, "The Rose of Britain's Isle"
Greenleaf/Mansfield 29, "The Rose of Britain's Isle" (1 text, 1 tune)
Karpeles-Newfoundland 50, "The Rose of Britain's Isle" (1 text, 1 tune)
Smith/Hatt, pp. 61-63, "The Rose of Britain's Isle" (1 text)
Creighton-NovaScotia 48, "Rose of Britain's Isle" (1 text, 1 tune)
Mackenzie 37, "The Rose of Britain's Isle" (1 text)
Manny/Wilson 90, "The Rose of Britain's Isle" (1 text, 1 tune)
DT 447, ROSEBRIT
Roud #1796
File: LN16
===
NAME: Rose of England, The [Child 166]
DESCRIPTION: A rose springs up in England, but is rooted up by a boar. The rose returns via Milford Haven, gathers his forces, wins the field, becomes king, and receives great praise.
AUTHOR: unknown
EARLIEST_DATE: before 1750 (Percy folio)
KEYWORDS: royalty rebellion flowers political
HISTORICAL_REFERENCES: 1485 - Death of Richard III. Accession of Henry VII
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Child 166, "The Rose of England" (1 text)
Flanders/Olney, p. 91, "The Rose of England" (1 fragment, with lyrics somewhat resembling Child's but so short that it may not be the same song)
Flanders-Ancient3, pp. 149-150, "The Rose of England" (1 text, the same fragment as Flanders/Olney)
Roud #4001
NOTES: To tell the history of the Wars of the Roses in less than thirty thousand words is impossible (especially since it involves the story of Richard III, who is perhaps the most controversial figure in all of human history), but here goes anyway:
In 1399, King Richard II was deposed (with good reason; he was an inept despot).
The throne, however, did not pass to his heir (his great-grand-nephew, a Mortimer) but to his cousin Henry IV. This was acceptable as long as Henry IV and his son Henry V were alive. But in 1422, just after he had been declared heir to the kingdom of France, Henry V died, leaving as his only heir a nine month old boy, Henry VI.
Without a strong king, England soon lost control of France (the last possessions outside Calais were lost by 1453). To make matters worse, Henry VI was feeble-minded, and was married to a tremendously ambitious queen, Margaret of Anjou. Their inept government descended into chaos when Henry went mad.
Eventually a civil war arose between Henry's partisans and the partisans of Richard Duke of York (the legitimate heir of Richard II). Richard of York probably didn't really want the throne, but when Margaret had him killed, Richard's son Edward had no choice but to seize power (1461). It took Edward (IV) ten years to gain a firm grip on power (it is probably not coincidence that Edward gained firm control in 1471, when his brother Richard turned 18. Richard was Edward's chief support in the last years of his reign). Edward reigned for another twelve peaceful years. Then disaster struck. Edward died young in 1483, leaving as his heir a twelve year old boy (Edward V) who was in the hands of a rapacious faction. When a rumor arose that Edward V was illegitimate, Richard seized the throne. (The fact that his seizure cost a couple of people their heads should not conceal the fact that it was arguably legal and undoubtably the best thing for England.)
The Lancastrian faction (which had earlier supported Henry VI) managed to find a new candidate for the throne in Henry Tudor, a semi-illegitimate descendent of Henry IV's father John of Gaunt. By a minor miracle, Henry defeated Richard III at the Battle of Bosworth in 1485 and became king as Henry VII. (Despite the song, it should be noted that Richard III was far more legitimate than Henry VII, was probably a better soldier, gave every evidence of being a decent man when politics wasn't involved, and was *not* deformed. Henry, by contrast, was a cheap, rather ugly coward.) To firm up his claim, Henry also had to marry Edward IV's daughter Elizabeth.
It is ironic to note that Henry was often proclaimed as a gift from God designated to rescue England from Richard. But Henry's arrival corresponded to the arrival of the "Sweating Sickness," which apparently killed tens of thousands of people by the time of the last known outbreak in 1551. (According to _The Wordsworth Encyclopedia of Plague & Pestilence_, there were outbreaks in 1485, 1507-1508, 1516-1517, 1529, and 1551). Thus the sickness was virulent just about exactly as long as there were male Tudors on the throne. No, I don't think the facts actually related. But it's something for the "divine intervention" folks to consider.)
The title "The Rose of England" came from Henry's adopted token of the red rose -- and also from the white rose that was the token of the House of York (the family of Edward IV, Richard III, and Elizabeth). Whether Henry VII was an improvement over Richard III can be debated -- but certainly he was no rose. Perhaps the best evidence of this is the company he kept: The three men most responsible for making him king were
- Henry Percy, Earl of Northumberland, who was murdered by his own people for his behavior
- Sir William Stanley, a multiple turncoat who had been spared by Richard and who saved Henry's life -- but was executed by Henry half a dozen years later for treason! (Of which more below.)
- Lord Thomas Stanley, Sir William's brother and Henry's stepfather, another turncoat whom Richard had spared. He lived to become Earl of Derby, but Henry kicked him out of his government
Henry's Chancellor was John Morton, Bishop of Ely, whose chief accomplishment was his ability to extort money from Henry's subjects.
All in all, a man with very unpleasant associates. The best thing that can be said for Henry VII is that he was the grandfather of Elizabeth I -- but, of course, Edward IV was Elizabeth's great-grandfather, and Richard III her great-great-uncle.
The sundry references in this song include the following:
"A crowned king... ouer England, Ireland, and France": The kings of England had claimed the throne of France since the time of Edward III -- but in Henry VII's time, only Calais was still in Henry's hands, and the only use Henry made of the title was to use it to extort money for "invasions" he had no intention of carrying out. 
"Milford Hauen": Milford Haven, the town in Wales where Henry VII landed when he set out to attack Richard III.
"Sir Rice ap Thomas": Rhys ap Thomas was a Welsh chieftain who brought his forces over to Henry Tudor (in return for promises of high office).
"Erle Richmond": The closest thing Henry Tudor had to a legitimate title; his father had been appointed Earl of Richmond by Henry VI in 1452. (Though Edward IV withdrew the title while Henry was still a boy; see Elizabeth Jenkins, _The Princes in the Tower_, Coward, McCann & Geoghan, 1978, p. 22).
"Sir William Stanley": As noted above, Sir William Stanley was the brother of Lord Thomas Stanley (c. 1435-1504; second Lord Stanley and by this time first Earl of Derby), who was the third husband of Margaret Beaufort, Henry's mother. Thomas Stanley was a member of Richard's government, but (for obvious reasons) the Stanleys would have preferred the Tudor on the throne.
The Brothers Stanley, however, refused to show their colors; both brought forces to the Battle of Bosworth -- and then refused to fight! Only when Richard ordered his charge against Henry Tudor did William Stanley intervene; his forces killed Richard and probably saved Henry Tudor's life.
It surely says something about both William Stanley and Henry Tudor that, in 1495, Henry accused William Stanley of treasonable support for a pretender and had him executed. Henry's only sign of gratitute to the man who put him on the throne was to pay for Stanley's burial.
"The Erle of Oxford": John de Vere (c. 1443-1513), the (Lancastrial) Earl of Oxford, and a sort of a "yellow dog Lancastrian": He'd support a yellow dog for king as long as it wasn't a Yorkist.
"King Richard": Richard III. The reference in the song to a boar who rooted up the rose of England is probably an allusion to Richard's emblem of the White Boar.
The part about rooting up the Rose of England doubtless refers to the disappearance of Edward V. Shortly after being set aside as King, Edward and his brother Richard disappeared. Their fate was and is unknown (there are a couple of skeletons that might be theirs, but Elizabeth II has refused to allow genetic testing to find out for sure). It is likely that Richard killed them -- but even Henry VII couldn't offer any proof of that; there are those who think he killed Edward V himself, and if those unknown skeletons are really those of the Princes in the Tower, it's also possible that Edward V died of dental problems. It's a mystery that simply cannot be solved.
For additional details on Richard III's story, see the notes to "The Children in the Wood  (The Babes in the Woods) [Laws Q34]" and "The Vicar of Bray." - RBW
File: C166
===
NAME: Rose of Glenfin, The
DESCRIPTION: The singer loves Molly from Magherafin, "the Rose of Glenfin." She swears she would be his but marries another. He curses any young man "who'd shower on any woman too much affection"; when your money's gone she'll go "with some other man's son"
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: courting infidelity marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 61, "The Rose of Glenfin" (1 text, 1 tune)
Roud #10365
CROSS_REFERENCES:
cf. "Handsome Molly" (floating lyrics)
NOTES: The verse that travels from "Handsome Molly" here takes the form
Don't you mind lovely Molly when you gave me your hand,
You swore on the bible that you would be mine.
But it's now you've gone and married and you broke all those vows,
I am sorry for to leave you, farewell a stor mo chroi.
McBride added two verses of his own but I think deleting them does not leave this song to be "Handsome Molly," "Went to Church Last Sunday" or any of their relatives.
Glenfin is in Donegal. - BS
File: McB1061
===
NAME: Rose of Glenshee, The: see The Lass of Glenshee [Laws O6] (File: LO06)
===
NAME: Rose of Killarney
DESCRIPTION:  "Oh! promise to meet me where twilight is falling." A love lyric to the "sweetest and fairest of Erin's fair daughters, Dear rose of Killarney, Mavourneen Asthore."
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: love lyric nonballad
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Creighton-SNewBrunswick 18, "Sweet Rose of Killarney" (1 fragment, 1 tune)
O'Conor, p. 142, "Rose of Killarney" (1 text)
Roud #2788
File: CrSNB018
===
NAME: Rose of Tralee, The
DESCRIPTION: "The pale moon was rising above the green mountain." He describes his love's beauty. "Yet 'twas not her beauty alone that won me, Oh, no, 'twas the truth in her eyes Ever dawning, that made me love Mary, the Rose of Tralee."
AUTHOR: Words: C. Mordaunt Spencer/Music: Charles W. Glover ?
EARLIEST_DATE: 1883 (Smith/Hatt); originally published in London c. 1845
KEYWORDS: love lyric nonballad
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (5 citations)
O'Conor, p. 80, "The Rose of Tralee" (1 text)
Smith/Hatt, pp. 100-101, "The Rose of Tralee" (1 text)
Mackenzie 141, "The Rose of Tralee" (1 text)
DT, TRALEE*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 493, "The Rose of Tralee" (1 text)
Roud #1978
BROADSIDES:
Bodleian, Harding B.11(1290), "The Rose of Tralee" ("The pale moon was rising above the green mountain"), H. Such (London) , 1863-1885
LOCSheet, sm1850 660580, "Rose of Tralee," Peters, Webb and Co. (Louisville), 1850; also sm1850 482010, "Rose of Tralee" (tune)
NOTES: Source: Re author--"St Patricks Day--March 17, 2003" on the Eastern Illinois University site. - BS
The editors of _Granger's Index to Poetry_ lists two possible authors, the first possibility being William Pembroke Mulchinock (1820?-1864; this claim is supported, and perhaps derived from, Hoagland) and our listed author Spencer the second. (The latter attribution is supported by the uncredited Amsco publication _The Library of Irish Music_, which however seems to me to be a rather poor source.) Neither proposed author wrote anything else of the slightest note. - RBW
File: OCon080
===
NAME: Rose the Red and White Lily [Child 103]
DESCRIPTION: Rose and Lily are each loved by a son of their cruel stepmother, who attempts to part them. The girls disguise themselves as boys and go into service with their erstwhile loves. After much adventure they are revealed and reunited, each couple marrying.
AUTHOR: unknown
EARLIEST_DATE: 1783
KEYWORDS: love stepmother separation disguise cross-dressing reunion marriage
FOUND_IN: Britain(England,Scotland)
REFERENCES: (4 citations)
Child 103, "Rose the Red and White Lily" (3 texts)
Bronson 103, "Rose the Red and White Lily" (2 versions)
OBB 55, "Rose the Red and White Lily" (1 text)
DBuchan 21, "Rose the Red and White Lily" (1 text, 1 tune in appendix) {Bronson's #1}
Roud #3335
File: C103
===
NAME: Rose Tree, The: see The Juniper Tree (The Wicked Stepmother, The Rose Tree) (File: Cha047)
===
NAME: Rosebud in June
DESCRIPTION: Singer celebrates joys of spring, dancing on the green, and sheepshearing.
AUTHOR: unknown
EARLIEST_DATE: 1840
KEYWORDS: ritual dancing nonballad sheep
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Sharp-100E 93, "It's a Rosebud in June" (1 text, 1 tune)
DT, ROSEBUDJ*
Roud #812
ALTERNATE_TITLES:
Here's the Rosebud in June
Rosebud in June
NOTES: This song, a simple pastoral on its face, has ritual overtones. Note the chorus: "We'll pipe and we'll sing, Love/We'll dance in a ring, Love/When each lad takes his lass/All on the green grass/And the lads and the lasses to sheep-shearing go." Ring-dancing was characteristic of rituals in pre-Christian Europe. Other verses have hints of sympathetic magic as well. -PJS
File: ShH93
===
NAME: Rosedale Shores: see Rosedale Waters (The Skeptic's Daughter) (File: R601)
===
NAME: Rosedale Waters (The Skeptic's Daughter)
DESCRIPTION: The skeptic's daughter sets out to refute the Christians. She is instead converted. Her father orders her to reject the faith. She refuses his order, and is cast from his home. But soon her parents come to her, begging her to return and convert them
AUTHOR: Music: F. T. Alexander?
EARLIEST_DATE: 1897 (manuscript known to Randolph)
KEYWORDS: religious rejection separation help father children
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 601, "The Skeptic's Daughter" (1 text plus an excerpt, 2 tunes)
Randolph/Cohen, pp. 418-422, "The Skeptic's Daughter" (1 text, 1 tune -- Randolph's 601A)
Roud #4644
CROSS_REFERENCES:
cf. "The Protestant Maid" (subject: religious conversion) and references there
ALTERNATE_TITLES:
Rosedale Shores
NOTES: This piece may have been used by Holy Rollers to try to convert souls, but all I can say is that its utter banality would be likely to convert me the other way.... - RBW
File: R601
===
NAME: Rosemary and Thyme: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Rosemary Fair: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Rosemary Lane [Laws K43]
DESCRIPTION: A sailor meets a girl at an inn, and induces her to go to bed with him. In the morning he gives her gold and says, "If it's a boy, he will (fight for the king/be a sailor); if a girl, she will wear a gold ring."
AUTHOR: unknown
EARLIEST_DATE: 1924 (Chappell)
KEYWORDS: seduction separation clothes floatingverses
FOUND_IN: Australia US(Ap,MA,NE,SE,So,SW) Canada(Queb) Britain(England)
REFERENCES: (13 citations)
Laws K43, "Home, Dearie, Home (Bell-Bottom Trousers)"
Cray, pp. 72-75, "Bell Bottom Trousers" (3 texts, 1 tune)
Randolph-Legman I, pp. 81-88, "Bell Bottom Trousers" (6 texts, 1 tune)
Chappell-FSRA 34, "The Boy Child" (1 short text, which Laws calls a "ribald fragment." Fragment it is, with only two of the regular verses, including "If it be a girl...." But I suspect the other two verses are a mixture from another, heavily bawdy, song, which we might title something like "eleven inches in")
Ohrlin-HBT 72, "Button Willow Tree" (1 text, 1 tune, with a cowpuncher as the visiting man!)
Gardner/Chickering ,165 "Jack, the Sailor Boy" (1 text)
MacSeegTrav 43, "Rosemary Lane" (1 text, 1 tune)
Silber-FSWB, p. 166, "Bell-Bottomed Trousers" (1 text)
Colcord, pp. 167-168, "Home, Dearie, Home" (1 text, 1 tune)
Hugill, p. 498, "Home, Dearie, Home" (1 text, 1 tune) [AbEd, p. 366]
Shay-SeaSongs, pp. 146, "Bell-Bottom Trousers" (1 text; this follows a text and tune of "Home, Dearie, Home," i.e. "Ambletown," plus a stanza of Henley's adaption and an alternate chorus)
Fuld-WFM, p.  139, "Bell Bottom Trousers"
DT 319, BELLBTTM* HOMEBOYS* RASPLANE RASPLAN2* ROSELANE*
Roud #269
RECORDINGS:
Anne Briggs, "Rosemary Lane" (on Briggs1, Briggs3)
Liam Clancy, "Home Boys Home" (on IRLClancy01)
Jerry Colonna, "Bell Bottom Trousers" (Capitol 204, 1945)
Chris Willett, "Once I Was a Servant" (on Voice11)
BROADSIDES:
Bodleian, Johnson Ballads 624, "The Servant of Rosemary Lane" ("When I was a servant in Rosemary-lane"), J. Jennings (London), 1790-1840; also Harding B 15(279a), Harding B 11(4221), "The Servant of Rosemary Lane"; Bodleian,  Harding B 17(130a), "Home, Dear Home" (with the "Home, Dear Home" chorus, several verses of this, and perhaps a rewritten ending)
CROSS_REFERENCES:
cf. "When I Was Young (Don't Never Trust a Sailor)" (plot, floating lyrics)
cf. "Ambletown" (floating lyrics, theme)
cf. "Pretty Little Miss" [Laws P18] (theme)
cf. "A North Country Maid"
ALTERNATE_TITLES:
Oak and the Ash, The
Drury Lane
Raspberry Lane
Once When I Was a Servant
NOTES: The history of this song is extremely complex and obscure. The extended family is listed in the Index under three titles: "Rosemary Lane," "Ambletown," and "When I Was Young (Don't Never Trust a Sailor)." However, these may represent as many as five songs, or perhaps only a single one.
The three basic plots are as follows:
* "Rosemary Lane" (a title selected because, unlike Laws's title "Home, Dearie, Home," it is unique to this version) is a British ballad of a servant who is seduced and then abandoned by a sailor. It exists under many titles, e.g. "Bell-Bottomed Trousers."
* "When I Was Young" has the same plot but in a very reduced form; what matters is not the method of the seduction but simply that it happens. This song frequently has a bawdier feel. It ends with a warning, "Don't ever trust (a sailor) an inch above the knee."
* "Ambletown" (another title chosen because it is unambiguous) involves a sailor who learns from a letter that he is a father, and desperately wants to return home to see the child.
The greatest difficulty concerns the relationship between "Rosemary Lane" and "Ambletown." In plot, they are quite distinct. A comparison of the lyrics, however, shows that as much as half the material in "Ambletown" occurs also in "Rosemary Lane" (which is longer, seemingly older, and much more common). As many as three stanzas regularly "cross": "If it be a boy, he will fight for the king"; "And it's home, dearie, home"; and "The oak and the ash and the bonnie birchen tree." (The latter two may be derived from yet another song, "A North Country Maid" ).
It should also be noted that "Ambletown" could function as an ending to "Rosemary Lane," particularly if the warning about not trusting a sailor is not the original ending. This has not, however, been observed in tradition.
Extensive examination of the texts of the songs could not finally resolve the question. The Ballad Index Board is tentatively of the opinion that "Rosemary Lane" and "Ambletown" now are separate songs, which have cross-fertilized heavily but remain distinct. It is quite possible, however, that one (probably "Ambletown") is an offshoot of the other, with a new (clean) plot built around the same verses.
In addition, "Rosemary Lane" has undergone extensive evolution *after* the cross-fertilization stage. Our guess is that it began with a relatively "clean" broadside of seduction (now seemingly lost). This likely contained the "If it be a boy" stanza, but probably not the others. Tradition then mixes in the other common stanzas, and set to work on the song, producing both clean and bawdy versions. - RBW, DGE, PJS
An addendum: Don Duncan brings to my attention the poem "O Falmouth Is a Fine Town," by William E. Henley (1878), which has the following first verse:
O Falmouth is a fine town with ships in the bay,
And I wish from my heart it's there I was to-day;
I wish from my heart I was far away from here,
Sitting in my parlor and talking to my dear.
For it's home, dearie home--it's home I want to be.
Our topsails are hoisted, and we'll away to sea.
O the oak and the ash and the bonnie birken tree,
They're all growing green in the old countrie.
Henley admitted that part of the song, including the chorus, was old. Duncan speculates that "Falmouth..." is the rewrite of "Rosemary Lane" we postulated above. This seems quite possible -- but if so, then Henley's poem has gone into oral tradition itself, and experienced a great deal of folk processing. Thus, the essential outline we described above seems to be accurate.
Just in case that weren't complicated enough, Allan Cunningham produced a poem, "Hame, Hame, Hame," which once again used some of the same lyrics: "Hame, hame, hame, hame, fain wad I be, O hame, hame, hame, to my ain countrie!" The rest, though, seems simply a hymn to home, "When the flower is in the bud, and the lead is on the tree, The lark shall sing me hame to my ain countrie...." For this text, see, e.g., Walter de la Mare, _Come Hither_, revised edition, 1928; #191, "Hame, Hame, Hame."- RBW
File: LK43
===
NAME: Rosenthal's Goat: see Bill Grogan's Goat (File: SRW141)
===
NAME: Roses are Red
DESCRIPTION: "Roses are red, violets are blue, sugar is sweet and so are you."
AUTHOR: unknown
EARLIEST_DATE: (before 1934 -- cf. Henry)
KEYWORDS: nonballad flowers
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 238, (no title) (1 short text: "Roses red, violets blue, cucumbers green and so are you"!); p. 243 (no title) (1 short text)
NOTES: Granger's Indes to Poetry credits this to Mother Goose, but I do not know which edition first contained it. Except for Henry, I have seen no evidence that it is a song and not simply a rhyme. Nonetheless I learned it, somewhere, so I suppose it's traditional in some degree. - RBW
File: MHAp238A
===
NAME: Rosewood Casket: see Little Rosewood Casket (File: R763)
===
NAME: Rosey Anderson: see Rosie Anderson (File: Log392)
===
NAME: Rosey Apple Lemon and Pear
DESCRIPTION: Singing came of courting. "(Mary Wilson), fresh and fair, A bunch of roses she shall wear, Gold and silver byher side, I know who is her bride." "Rose, apple, lemon, or pear." "Take her by the lily-white hand."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: playparty courting
FOUND_IN: Britain(England,Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 71, "Singing Game (1 text)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #41, "Rosy Apple, Lemon or Pear" (1 text)
Roud #6492
NOTES: Some of the versions of this, such as the Montgomeries', appear to have mixed with "Weevily Wheat" or one of its relatives. With pieces like this, it's hard to tell. - RBW
File: MSNR071
===
NAME: Rosie
DESCRIPTION: "Be my woman, gall, I'll / be your man. Every Sunday's dollar / in your hand. Stick to the promise, gall, 'at / you made me. Weren't gonna marry till-a /I go free. Well Rosie / oh Lord gal, When she walk she reel and / rock behind..."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner love abandonment
FOUND_IN: US(So)
REFERENCES: (2 citations)
Courlander-NFM, p. 107, (no title) (1 text); pp. 262-263, "Rosie" (1 tune, partial text)
Lomax-ABFS, pp. 62-65, "Rosie" (1 text, 1 tune, probably composite)
Roud #15507
File: CNFM107A
===
NAME: Rosie Anderson
DESCRIPTION: Rosie marries Hay Marshall, but soon attracts the attention of Lord Elgin. Elgin dances with Rosie and takes her home. After more wantonness on her part, Marshall divorces Rosie. She is left to lament her fate (and court a soldier or become a prostitute)
AUTHOR: unknown
EARLIEST_DATE: 1869 (Logan)
KEYWORDS: marriage adultery nobility betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Ford-Vagabond, pp. 184-187, "Rosey Anderson" (1 text, 1 tune)
Ord, pp. 91-92, "Rosey Anderson" (1 text)
Logan, pp. 392-395, "Rosey Anderson" (1 text)
DT, ROSANDER
ST Log392 (Full)
Roud #2169
BROADSIDES:
Murray, Mu23-y1:010, "Rosy Anderson," unknown (Glasgow), no date
CROSS_REFERENCES:
cf. "Peggy and the Soldier (The Lame Soldier)" [Laws P13] (plot)
cf. "The Brewer Laddie" (plot)
NOTES: Logan has many details about the facts behind this ballad (though providing few dates). Rosie reportedly married Thomas Hay Marshall at the age of 16, urged on more by her parents than her own desires. The divorce was rather more messy than the ballad shows, as Marshall had neglected his wife. Sadly, the affair ended with Rosie walking the streets of London.
The Lord Elgin mentioned in this ballad is also the one who walked off with the Grecian marbles. All in all, not the sort of person I'd want to let into the house. - RBW
File: Log392
===
NAME: Rosie Nell
DESCRIPTION: "How oft I dream of childhood days, Of tricks we used to play.... I'd rather be with Rosie Nell, a-swinging in the lane." But then "Aunt Jemima Brown" introduces Rosie to another fellow. The singer warns men against getting too involved with women
AUTHOR: unknown
EARLIEST_DATE: 1868 (The Champaign Charlie and Coal Oil Tommy Songster)
KEYWORDS: courting infidelity warning
FOUND_IN: US(Ap,So)
REFERENCES: (4 citations)
Fuson, p. 99, "Rosy Nell" (1 text)
Sandburg, pp. 114-116, "Rosie Nell" (1 text, 1 tune)
Randolph 871, "Swinging in the Lane" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "Rosie Nell" (source notes only)
ST San114 (Partial)
Roud #2870
RECORDINGS:
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "I'd Rather Be with Rosy Nell" (Gennett 6858/Challenge 431, 1929)
The Virginia Dandies [alternate name for Walter "Kid" Smith & The Carolina Buddies], "Rosy Nell" (Crown, unissued, 1931)
File: San114
===
NAME: Rosie, Darling Rosie
DESCRIPTION: "Rosie, darling Rosie, Ha ha Rosie (x2)" "Way down yonder in Baltimore, Ha ha Rosie, Need no carpet on my floor." "Grab your partner and follow me..." "Some folks say preachers won't steal..." "Stop right still and study yourself..."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Brown's Chapel School)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 155-156, "(Rosie Darling Rosie)" (1 text, 1 tune)
Roud #11008
RECORDINGS:
Children of Brown's Chapel School, "Rosie, Darling Rosie" (on NFMAla6, RingGames1)
CROSS_REFERENCES:
cf. "Coney Isle" (floating lyrics)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
NOTES: Lyrics from this song made their way into the folk-revival version of "Rocky Road (Green Green)," but they don't share lyrics in their traditional versions. - PJS
File: CNFM155
===
NAME: Rosin Box, The
DESCRIPTION: A tinker comes to solder among the ladies with "his soldering-iron tool." An old woman asks that he solder her bones. "A country chap" takes the tinker's daughter but she is rescued. If a woman had been honest, she'd have "a baby belonging to me"
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Johnny Reilly)
KEYWORDS: sex tinker
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #2501
RECORDINGS:
Johnny Reilly, "The Rosin Box" (on Voice07)
ALTERNATE_TITLES:
Rozzin Box
NOTES: I won't pretend to understand how "the tinker he was nasty and was looking for a swap When up steps a country chap took his daughter in a truck" ties into the rest of this. On the other hand the sexual coding seems clear in the chorus "with his rosin box and itchy pole, his hammer, knife and spoon, And his nipper-tipper handstick and his soldering iron tool." - BS
File: RcRozBox
===
NAME: Rosin the Beau
DESCRIPTION: "Old Rosin," who has travelled the whole country/world, is preparing to depart from this life. He hopes that future generations will emulate him, and asks to be remembered (usually with alcohol). Details vary widely
AUTHOR: unknown
EARLIEST_DATE: before 1860 (broadside, LOCSinging as110360)
KEYWORDS: drink death party burial
FOUND_IN: Britain(England(South),Scotland(Aber)) US(MA,Ro,SE,So,SW) Ireland
REFERENCES: (15 citations)
Belden, pp. 255-258, "Old Rosin the Beau" (2 texts)
Randolph 846, "Old Rosin the Bow" (2 short texts plus a fragment, 2 tunes)
Randolph/Cohen, pp. 386-387, "Old Rosin the Bow" (1 text, 1 tune -- Randolph's 846A)
Warner 159, "Old Rosin the Beau" (1 text, 1 tune)
BrownIII 32, "Old Rosin the Beau" (1 text)
Chappell-FSRA 64, "Old Rosin the Beau" (1 text)
Hudson 77, pp. 203-205, "Rosin the Bow" (2 texts)
RJackson-19CPop, pp. 171-175, "Old Rosin the Beau" (1 text, 1 tune)
Fife-Cowboy/West 5, "Old Rosin the Beau" (1 text, 1 tune)
Kennedy 281, "Rosin, the Beau" (1 text, 1 tune)
SHenry H698, p. 51, "Old Rosin the Bow" (1 text, 1 tune)
Spaeth-ReadWeep, pp.  37-39, "Old Rosin, the Beau" (1 text, 1 tune)
LPound-ABS, 100, pp.209-211, "Rosin the Bow" (1 text)
Silber-FSWB, p. 202, "Old Rosin The Beau" (1 text)
DT, ROSINBOW*
Roud #1192
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Rosin the Bow" (on IRClancyMakem01)
BROADSIDES:
LOCSinging, as110360, "Old Rosin the Beau," J. Andrews (New York), 1853-1859; also sb40517a, "Old Rosin the Beau"
CROSS_REFERENCES:
cf. "Acres of Clams (The Old Settler's Song)" (tune)
cf. "Lincoln and Liberty" (tune)
cf. "Sherman's March to the Sea" (tune)
cf. "Henry Clay Songs" (tune)
cf. "The Men of the West" (tune)
cf. "Straight-Out Democrat" (tune)
cf. "A Hayseed Like Me" (tune)
cf. "Tippecanoe" (tune)
cf. "He's the Man for Me" (tune)
SAME_TUNE:
Acres of Clams (The Old Settler's Song) (File: LxU055)
Lincoln and Liberty (File: San167)
Sherman's March to the Sea (File: SBoA248)
Just Tread on the Tail of Me Coat (File: R474)
The Mill-Boy of the Slashes (Spaeth-ReadWeep, pp. 39-40; cf. "Henry Clay Songs," File: SRW039)
Old Hal o' the West (Spaeth-ReadWeep, pp. 39-40; cf. "Henry Clay Songs," File: SRW039)
Straight-Out Democrat (File: SRW043)
The Men of the West (File: PGa030)
A Hayseed Like Me (File: Grnw060)
Tippecanoe (File: Br3397)
He's the Man for Me (File: RcHtMfM)
NOTES: Although this song is only moderately popular, and has been heavily folk processed, songs which have borrowed its tune were very common, particularly in the nineteenth century (see, e.g. "Acres of Clams," "Lincoln and Liberty").
Cohen cites Dichter and Shapiro to the effect that sheet music of this song (author not listed) was published in 1838. Whether this is actually the origin of the song (especially the tune) is not clear. - RBW
Broadside LOCSinging as110360: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: R846
===
NAME: Rosin the Bow: see Rosin the Beau (File: R846)
===
NAME: Rossa's Farewell to Erin
DESCRIPTION: O'Donovan Rossa, on a ship, bids "Farewell to friends of Dublin." He will return sometime. He recalls joining the Fenian Brotherhood in 1864, curses "those traitors Who did our cause betray ... Nagle, Massey, Corydon, and Talbot" and sent him to jail.
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn); c.1865 (Zimmermann)
KEYWORDS: exile rebellion prison pardon Ireland patriotic
HISTORICAL_REFERENCES: Jan 5, 1871 - Jeremiah O'Donovan Rossa is freed from jail by amnesty on condition that he exile himself. He arrives in New York Jan. 19, 1871. (see Notes)
FOUND_IN: Ireland
REFERENCES: (3 citations)
OLochlainn 34, "Rossa's Farewell to Erin" (1 text, 1 tune)
Zimmermann 70, "O'Donovan Rossa's Farewell to Dublin" (2 texts, 1 tune)
Healy-OISBv2, pp. 136-137, "O'Donovan Rossa's Farewell (to Dublin)" (1 text)
ST OLoc034 (Partial)
Roud #3040
NOTES: (Source Ireland's Own site "Jeremiah O'Donovan Rossa (1831-1915)" from George Treanor, Irish Heritage Group): Formed the Phoenix Society of Skibbereen for the fight for independence. That organization joined the Irish Republican Brotherhood (IRB), or Fenians, which formed in 1858. Rossa was arrested in 1858 for association with the Fenians, and again in 1865 after the Fenian Rising. His sentence was for writing seditious articles. He was treated badly in jail, and released in 1871 by amnesty on condition that he go into exile. In New York Rossa continued writing in support of the Fenian movement and was involved in planning bombing attacks in England. He died in the United States.
Rossa and four others -- the "Cuba Five" -- arrive in New York on January 19, 1871 on board the steamer Cuba (Source: History Cooperative site; Irish Culture and Customs site) - BS
In Charles Sullivan's _Ireland in Poetry_, p. 101, there is a poem, "The Returned Picture," credited to Mary O'Donovan Rossa (and she was a poet, having published _Lyrical Poems_ in 1868). If this item is to be believed, Rossa's guards never let him see his wife, or the child still unborn when he was imprisoned, nor even let them see their picture. I cannot verify this. But certainly his was a difficult life; in addition to the above, Terry Golway, in _For the Cause of Liberty_, p. 113, his father was one of those who starved to death during the potato famine.
Not that his behavior was exactly above reproach; Golway on p. 148 reports that he was known for flinging the contents of his chamber pot at his jailors. In context, one can hardly blame them for tying his hands behind his back for a month (see also Robert Kee, _The Bold Fenian Men_, being Volume II of _The Green Flag_, p. 62).
In his life, Rossa wasn't a particularly effective figure, and he died senile in New York at the age of 84 -- but his body, shipped back to Ireland, proved a powerful rallying point for nationalists. (This even though Kee, p. 238, says that Rossa toward the end of his life inclined toward the moderate methods of John Redmond.) Padraig Pearse gave his funeral elegy, and used it to call for Irish independence -- even as thousands of Irish boys were volunteering to serve in the British army.
Rossa was another of those Irishmen (like, e.g. Cathal Brugha) who changed his name to make it more "Irish"; according to Kee (p. 4), he was born Jeremiah Donovan Rossa (not O'Donovan).
The informers mentioned in the song are a varied lot. Corydon was a Fenian courier who worked for the headstrong Captain McCafferty, who revealed a plan to attack the Chester Castle military storehouse (Kee, p. 36). Nagle was a worker at the _Irish People_ who was more spy than informant; he carried off correspondence coming through the paper's offices (Kee, p. 23). Thomas Talbot was a professional detective who infiltrated the Fenians under the name John Kelly (Kee, p. 25).
Gordon Massey was the most important but most equivocal; it's not sure if he turned informer before or after he was taken by the British (Kee, pp. 32-33). A Crimean veteran who had gone to America and changed his name several times; he was given high seniority in the Fenian movement based on his alleged command experience, but was betrayed by Corydon (Kee, p. 39). - RBW
File: OLoc034
===
NAME: Rosy Apple, Lemon or Pear: see Rosey Apple Lemon and Pear (File: MSNR071)
===
NAME: Rosy Banks of Green, The
DESCRIPTION: Josephine and Charlie, a sailor, have been in love since they were in school. Her father shoots them. Josephine, dying, is glad she is going to meet her dead mother and Charlie. They "never shall be parted on the rosy banks of green"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: homicide courting love father sailor reunion
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 701-704, "The Rosy Banks of Green" (2 texts, 2 tunes)
Leach-Labrador 136, "Rosy Banks of Green" (1 text, 1 tune)
Roud #4437
ALTERNATE_TITLES:
The Rosy Banks So Green
File: Pea701
===
NAME: Rosy Nell: see Rosie Nell (File: San114)
===
NAME: Rothesay-O
DESCRIPTION: "Last Hogmanay, at the Glesga Fair, there were me, mysel', and several mair, We a' gaed aff tae hae a tair And spend the nicht in Rothesay-O." And a tear it truly was, as they drank, sang, fought, slept, and were bitten by bugs in Rothesay.
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: party drink humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Kennedy 282, "Rothsay-O" (1 text, 1 tune)
Silber-FSWB, p. 205, "Rothesay, O" (1 text)
DT, ROTHSAY-O*
Roud #2142
RECORDINGS:
Louis Killen & Pete Seeger, "Rothesay-O" (on PeteSeeger47)
Davie Stewart, "Rothsay-O" (on FSB10)
CROSS_REFERENCES:
cf. "The Tinkler's Waddin (The Tinker's Wedding)" (tune)
SAME_TUNE:
The Tinkler's Waddin (The Tinker's Wedding) (File: RcTTWttw)
File: K282
===
NAME: Rothsay-O: see Rothesay-O (File: K282)
===
NAME: Rotten Potatoes, The
DESCRIPTION: Tenants are starving. At all costs save your corn and meal. Sell your cattle. The politicians will have a plan. The rents will be reduced. Food will be had "from Russia and Prussia and Americay." Potatoes have failed since '45. Things will improve.
AUTHOR: unknown
EARLIEST_DATE: 1847 (Zimmermann)
KEYWORDS: starvation Ireland nonballad food
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 58, "A New Song on the Rotten Potatoes" (1 text)
CROSS_REFERENCES:
cf. "Over There (I - The Praties They Grow Small)" (subject: The Potato Famines) and references there
NOTES: Although the singer hopes for help from the politicians, a change in government actually meant that Ireland was given *less* help as the famines stretched on.
The potatoes suffering from the blight didn't exactly rot. They just shrivelled away -- not that the difference made any difference. For details on the blight and its effects, see the notes to "Over There (I - The Praties They Grow Small)." - RBW
File: Zimm058
===
NAME: Rough Pavement
DESCRIPTION: The paved roads on the Island: "In springtime the potholes occur everywhere Oh that black roller-coaster will kill me." Mainland the roads are smooth. "My wife's not accustomed to such a smooth trip, So we pulled the car over and we followed the ditch!"
AUTHOR: Allan Rankin
EARLIEST_DATE: 1982 (Ives-DullCare)
KEYWORDS: humorous nonballad technology travel
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 221-223, 253, "Rough Pavement" (1 text, 1 tune)
Roud #13995
File: IvDC221
===
NAME: Rough, Rocky Road (Most Done Suffering)
DESCRIPTION: "It's a rough, rocky road, And I'm 'most done struggling/suffering (x3), I'm bound to carry my soul to the Lord. I'm bound to carry my soul to Jesus, I'm bound to carry my soul to the Lord." "My (father's/etc.) on the road, And he's 'most done...."
AUTHOR: J. C. Brown ?
EARLIEST_DATE: 1918 (recording, Tuskegee Institute Singers)
KEYWORDS: religious nonballad travel Jesus
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 632, "Rough, Rocky Road" (1 text plus mention of 2 more)
Scarborough-NegroFS, p. 25, "Most Done Ling'rin Here" (1 text, 1 tune, with a verse from "Run, Nigger, Run" plus the "If you get there before I do" floating verse and a chorus that might be this)
Roud #11832
RECORDINGS:
Alabama Sacred Harp Singers, "Rocky Road" (Columbia 15274-D, 1928; on AAFM2) 
Emmett Brand, "Most Done Traveling (Rocky Road)" (on MuSouth06)
Fisk University Jubilee Singers, "Most Done Travelling" (Columbia A2901, 1920)
Tuskegee Institute Singers, "Most Done Trabelling (sic)" (Victor 18447, 1918)
ALTERNATE_TITLES:
Most Done Suffering
File: Br3632
===
NAME: Round About the Ladies: see Go In and Out the Window (File: R538)
===
NAME: Round About the Punchbowl
DESCRIPTION: "Round about the punchbowl," "First time never to fall," "Second time catching time," "Third time kissing time"
AUTHOR: unknown
EARLIEST_DATE: 1931 (Marshall, _Popular Rhymes And Sayings Of Ireland_, according to Leyden)
KEYWORDS: nonballad drink playparty
FOUND_IN: Ireland
REFERENCES: (1 citation)
Leyden 21, "Round About the Punchbowl" (2 texts)
Roud #12974
NOTES: Leyden describes the ring game for this song.
Leyden's second version, "collected by Clara M Patterson at Ballymiscaw Primary School in the 1890s," adds floating lines "Rings on her fingers and bells on her toes" [see "Banbury Cross"] and "Up the heathery mountain and down the rushy glen We dare not go a-hunting for Conor and his men" [see, for example, "Shane Crossagh"] - BS
File: Leyd021
===
NAME: Round and Round the Levee: see Go In and Out the Window (File: R538)
===
NAME: Round and Round the Village: see Go In and Out the Window (File: R538)
===
NAME: Round It Up a Heap It Up
DESCRIPTION: Corn-husking song, "Round it up a heap it up a Round it up a corn, A joog-a-loa." "De big owl hoot and cry for his mate, My honey, my love! Oh, don't stay long, oh, don't stay late... It ain't so fur to de goodbye gate."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: food work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 201, "Round It Up a Heap It Up" (1 text, plus a "Juba" fragment)
NOTES: The full stanza ("De big owl hoot....") is reported to come from Harris's _Uncle Remus and His Friends_. The relationship between that text and the traditional song is not clear. - RBW
File: Br3201
===
NAME: Round River Drive
DESCRIPTION: Recitation; multiple stories of Paul Bunyan
AUTHOR: Unknown; versified by Douglas Malloch
EARLIEST_DATE: 
KEYWORDS: lumbering talltale humorous logger work recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 95, "Round River Drive" (1 text)
Roud #6523
CROSS_REFERENCES:
cf. "Paul Bunyan" (subject)
cf. "Paul Bunyan's Big Ox" (subject)
NOTES: This is an encyclopedic collection of Bunyan tales, which despite its length made it into oral tradition. Paul Bunyan is sometimes derided as a phony folk-hero, and he's certainly been heavily commercialized, but Beck makes clear that these were genuine folk tales.- PJS
The story is in fact quite a bit more complicated than that; see the notes to "Paul Bunyan." - RBW
File: Be095
===
NAME: Round Rye Bay for More
DESCRIPTION: "We'll go round Rye Bay for more, my tars, Round Rye Bay for more" South of the buoy at Rye Bay the singer lost his trawl where "Old Crusty he told me that I shouldn't stray." The singer will go back when our money's gone.
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Johnny Doughty)
KEYWORDS: nonballad shanty sailor
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #8095
RECORDINGS:
Johnny Doughty, "Round Rye Bay for More" (on Voice02)
NOTES: On Voice02 Johnny Doughty sings the verse beginning "South of the buoy down Rye Bay way" as a parody of, and to the tune of, "South of the Border Down Mexico Way," by Jimmy Kennedy and Michael Carr, recorded by Frank Sinatra in the 1950's. - BS
File: RcRRBfM
===
NAME: Round the Bay of Mexico
DESCRIPTION: "Round the Bay of Mexico, Way, oh Susiana, Mexico is the place that I belong in...." The singer tells of courting girls "two at a time" and having them love him "because I don't tell everything that I know." He heads off to the fishing ground
AUTHOR: unknown
EARLIEST_DATE: 1935 (field recording, Henry Lundy & David Pryor)
KEYWORDS: sailor courting
FOUND_IN: Bahamas
REFERENCES: (1 citation)
Silber-FSWB, p. 83, "Round the Bay of Mexico (Bay of Mexico)" (1 text)
Roud #207
RECORDINGS:
Henry Lundy & David Pryor, "Round the Bay of Mexico" (AAFS 512 B2, 1935; on LC05, LomaxCD1822-2)
CROSS_REFERENCES:
cf. "Cape Cod Girls" (lyrics)
NOTES: This is listed as having "new lyrics" by Paul Campbell (the Weavers, collectively), and "music adaption" by Tom Geraci. I have seen relatively little of the material elsewhere; this looks more like a new song from traditional materials than a touched-up traditional song. - RBW
Nope -- the song as touched up by the Weavers and friends is still quite close to the field recording from the Bahamas in 1935. - PJS
File: FSWB083B
===
NAME: Round the Corner, Sally
DESCRIPTION: Short-haul or halyard shanty. "Round the corner we will go, round the corner Sally." Verses refer to women or places where women may be found.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty sailor whore
FOUND_IN: Britain US
REFERENCES: (4 citations)
Colcord, p. 45, "Round the Corner" (1 text, 1 tune)
Hugill, pp. 389-390, "Round the Corner, Sally" (2 texts, 1 tune) [AbEd, pp. 297-298]
Sharp-EFC, XLII, p. 47, "Round the Corner, Sally" (1 text, 1 tune)
DT, RNDCORNR*
Roud #4697
NOTES: According to Hugill "round-the-corner-sallies" are at least loose women and often full-fledged prostitutes. - SL
Dana's _Two Years Before the Mast_ lists a song "Round the Corner" as a favorite shanty in his sailing days. If it is this piece, it would provide an Earliest Date for the song -- but Colcord notes that there is no reason to identiry them. Indeed, she seems to think them distinct -- but her reason is that this song is "almost too slight" to have merited mention. This would be a stronger argument if her text didn't look rather bowdlerized. - RBW
File: Hugi389
===
NAME: Round-Up Cook, The: see Punchin' Dough (File: FCW037)
===
NAME: Rounding the Horn
DESCRIPTION: Sailor describes hard trip around Cape Horn (in the frigate "Amphitrite"), and the pleasures (mostly female) of shore-leave in Chile. The singer says that Spanish girls are superior to (English) women, who have no enthusiasm and steal your clothes
AUTHOR: unknown
EARLIEST_DATE: 1907
KEYWORDS: travel sea ship shore drink sailor whore clothes theft
FOUND_IN: Britain(England(North))
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, p. 90, "Rounding the Horn" (1 text, 1 tune)
SHenry H539, pp. 97-98, "The Girls of Valparaiso" (1 text, 1 tune)
Colcord, pp. 177-178, "The Girls Around Cape Horn" (1 text, 1 tune)
DT, RNDHORN* RNDHORN2
Roud #301
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Round Cape Horn" (on ENMacCollSeeger02)
CROSS_REFERENCES:
cf. "The Loss of the Amphitrite" [Laws K4] (subject)
cf "The Painful Plough" (tune)
cf. "Come All You Worthy Christian Men" (tune)
cf. "Van Dieman's Land (I)" [Laws L18] (tune)
NOTES: The brig _Amphitrite_ was built in 1820 and engaged in South American trade. A frigate of the same name was lost in 1833 while carrying female convicts to Australia (see "The Loss of the Amphitrite"). - PJS
Roud, in one of his stranger acts of lumping, combines this with "The Loss of the Amphitrite" [Laws K4]. They only common element I can see is the ship name. - RBW
File: VWL090
===
NAME: Roundup in the Spring
DESCRIPTION: A group of cowboys meet in a hotel and swap tales. An old man listens eagerly. He was a cowboy, too, and recalls the work. He concludes, "I'd like to be in Texas for the roundup in the spring."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Recording, Vernon Dalhart)
KEYWORDS: cowboy age work
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 20, "Roundup in the Spring" (1 text, 1 tune)
Roud #11309
RECORDINGS:
Leon Chappelear "I'd Like to Be In Texas (For the Roundup in the Spring)" (Champion 45068, c. 1935; Montgomery Ward M-4950, 1936)
Vernon Dalhart "I'd Like to Be In Texas" (Vocalion 5044, 1926)
Bradley Kincaid "I'd Like to Be In Texas" (Decca 12053, n.d.)
[Asa] Martin & [James] Roberts, "The Roundup in the Spring" (Perfect 12906/Melotone 12642 [as by Asa Martin], 1933; on WhenIWas1)
File: Ohr020
===
NAME: Rouse, Hibernians
DESCRIPTION: "Rouse, Hibernians, from your slumbers! ... Our French brethren are at hand." Erin's sons defeat the tyrants now. "Apostate Orange ... Sure you might know how Irish freemen Soon would put your Orange down" "Vive la, United heroes"
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: rebellion Ireland nonballad patriotic
HISTORICAL_REFERENCES: Aug 22, 1798 - 1100 French troops under General Humbert land at Killala Bay in County Mayo. He would surrender on Sept. 8, and by May 23 the Mayo rising had been suppressed with some brutality
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 18, "Rouse, Hibernians" (1 text, 1 tune)
Moylan 113, "Rouse Hibernians" (1 text)
CROSS_REFERENCES:
cf. "Viva La!" (tune)
cf. "Men of the West" (subject)
NOTES: Zimmermann quotes Musgrave: "This was found on the mother of Dougherty, a United Irishman who was killed by Woollaghan at Delgany, in the county of Wicklow in autumn 1798. She was seen to throw it out of her pocket, yet she swore she never saw it." - BS
This is rather a curious piece, since the 1798 rebellion in Wicklow and the east was already over by the time General Humbert made the first French landing in the west of Ireland. For details on that event, see the notes to "Men of the West." - RBW
File: Zimm018
===
NAME: Rousie's Song
DESCRIPTION: "They shore them wet on Monday, And they shore them wet again; How in the hell can a rousie live On twenty points of rain?"
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: work sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, p. 278, "Rousie's Song" (1 text, 1 tune)
NOTES: Meredith et al explain that rouseabouts were paid by the week, and were allowed to "laze about" -- and get paid! -- if the shearers declared it too wet to work.
This doesn't make sense, though -- if rain lets workers get a paid vacation, why should they complain about it? And if it doesn't rain, they can always finish up and go elsewhere. So I have to suspect that this predates the work of the shearers' union, and comes from the days when the workers were paid only for work done. I'll admit that I don't know, though. - RBW
File: MCB278
===
NAME: Roustabout Holler
DESCRIPTION: "Oh, Po' roustabout don't have no home, Makes his livin' on his shoulder bone." The singer, loading sacks of cottonseed on the steamer Natchez, has no home and a sore shoulder, but does have a "little gal in big New Orleans."
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: work river
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 571, "Roustabout Holler" (1 text, 1 tune)
Roud #15599
CROSS_REFERENCES:
cf. "Levee Camp Holler"
cf. "Steel Laying Holler"
File: BMRF571
===
NAME: Roving Bachelor, The
DESCRIPTION: The bachelor comes to town determined to find a wife. Seeing a woman, he engages her in conversation and learns of her tastes and her fortune (as well as how she treats her family). (Since her wealth is enough and he suits her fancy, they get married)
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg)
KEYWORDS: rambling courting marriage dialog bachelor
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (1 citation)
SHenry H650a+b, pp. 263-264, "The Roving Bachelor" (2 texts, 1 tune)
Roud #1649
ALTERNATE_TITLES:
Roving Journeyman, The
NOTES: This is recognized less by the details of the plot than by the constant repetition of the phrase, "The next question that I asked/axed her...."
Creighton has a fragment also titled "The Roving Journeyman," but it looks more like a version of "With My Swag All On My Shoulder."
Henry's second version asks "did her father deal in flax?" This appears to be a reference to the several periods in the eighteenth and nineteenth centuries when the Irish linen industry tried to build itself up. Typically the British would open the markets, the Irish would try to build an industry, and the British would reimpose the tarriff walls, crushing the Irish flax farmers. It's not clear from the song whether it takes place during the up or down points of the cycle. - RBW
File: HHH650
===
NAME: Roving Cowboy (I): see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Roving Cowboy, The: see Come All Ye Lonesome Cowboys (File: R189)
===
NAME: Roving Gambler Blues: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Roving Gambler, The (The Gambling Man) [Laws H4]
DESCRIPTION: The singer freely admits his addiction to gambling, cards, and a roving life. But he also has an eye for the ladies. In one town he meets with a "pretty little girl" who takes him home and then decides to follow him wherever he goes
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: gambling courting rambling floatingverses
FOUND_IN: US(Ap,MW,Ro,SE,So,SW)
REFERENCES: (18 citations)
Laws H4, "The Roving Gambler (The Gambling Man)"
Belden, pp. 374-377, "The Guerrilla Boy" (4 texts, 1 tune, but only the first 2 texts are this piece)
Randolph 835, "The Guerilla Man" (3 texts, 1 tune)
Randolph/Cohen, pp. 323-325, "The Guerrilla Man" (1 text, 1 tune -- Randolph's 835A. Cohen notes that the printed melody fits only the first verse; there is probably an error in the transcription, causing a line to be omitted)
BrownIII 49, "The Journeyman" (3 text)
Brewster 87, "The Blue-Coat Man" (1 text, a curious version in which the gambler, upon seeing enemies, "willingly shot them down"; 1 tune)
Gardner/Chickering 75, "The Roaming Gambler" (1 text)
Fuson, p. 131, "The Gambling Man" (1 text, incorporating the "Pretty Little Foot")
MHenry-Appalachians, pp. 98-99, "The Roving Gambler" (1 text; a number of his other texts also have verses probably from this song; see the references under "On Top of Old Smokey")
Sandburg, pp. 312-313, "The Roving Gambler" (3 texts, 1 tune. The "A" and "C" texts, clearly go here; the "B" text is possibly distinct though mostly floating verses)
Lomax-ABFS, pp. 150-151, "The Roving Gambler" (1 text, 1 tune)
Logsdon 21, pp. 136-139, "The Buckskin Shirt" (1 text, 1 tune, a strange composite starting with "The Roving Gambler (The Gambling Man) [Laws H4]), breaks into a cowboy version of "Soldier Boy for Me (A Railroader for Me)," and concludes with a stanza describing the happy marriage between the two)
Botkin-AmFolklr, p. 889, "The Roving Gambler" (1 text, 1 tune)
Botkin-MRFolklr, p. 592, "The Wandering Steamboatman" (1 partial text)
Darling-NAS, pp. 226-227, "The Roving Gambler" (1 text)
Silber-FSWB, p. 54, "Rambling, Gambling Man" (1 text, with more than a little influence from the "I'm a Rambler, I'm a Gambler" texts of "The Wagoner's Lad"); p. 60, "Roving Gambler Blues" (1 text)
Thomas-Makin', p. 122, "The Rustlin' Gambler" (1 text, probably a mix of this with other gambler songs)
DT 645, ROVINGMB
Roud #498
RECORDINGS:
Frank Bode, "Roving Gambler" (on FBode1)
Crockett's Kentucky Mountaineers, "Roving Gambler" (Crown 3159, 1931; Paramount 3302, 1932; Varsity 5082, Montgomery Ward M-3025, Homestead 23041, Continental 3012 [as Pete Daley's Arkansas Fiddlers], n.d.)
Vernon Dalhart, "Rovin' Gambler" (Edison 51584, 1925) (CYL: Edison [BA] 5027 [as Vernon Dalhart & Co.], n.d.) (OKeh 40479 [as Tobe Little], 1925) (Columbia 15034 [as Al Craver], 1925) (Grey Gull/Radiex 4135 [as Jeff Calhoun], 1927)
Hobart Delp & band, "Roving Gambler" (on Persis1)
Kelly Harrell, "Rovin' Gambler" (Victor 19596, 1925; on KHarrell01) (Victor 20171, 1926; Montgomery Ward M-4367, 1933; on KHarrell01)
Claude Moye, "Roving Gambler" (Champion 16118 [as Asparagus Joe], Supertone 9712 [as Pie Plant Pete], 1930; Superior 2643 [as Jerry Wallace], 1931; Champion 45063, Melotone [Can.] 45063 [both as Pie Plant Pete; as "Rovin' Gambler"], 1935)
New Lost City Ramblers, "Roving Gambler" (on NLCR01)
George Reneau, "Rovin' Gambler" (Vocalion 15148, 1925; Vocalion 5077, 1926)
Gid Tanner & his Skillet Lickers, "The Roving Gambler" (Columbia 15447-D, 1929)
Welby Toomey, "Roving Gambler"  (Gennett 6005, Champion 15209 [as Herb Jennings], Silvertone 5006, Challenge 229 [as Clarence Adams], 1927; Silvertone 8151, Supertone 9252, 1928; Herwin 75532, n.d.; rec. 1926)
Doug Wallin, "The Roving Gambler" (on Wallins1)
CROSS_REFERENCES:
cf. "True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man)" (plot)
cf. "Hang Me, Oh Hang Me (Been All Around This World)" (floating lyrics)
cf. "Almost Done" (floating lyrics)
cf. "The Gambler" (theme, floating lyrics)
cf. "Sailing Out on the Ocean" (floating lyrics)
cf. "I Met a Handsome Lady" (lyrics)
cf. "The Soldier Boy (III) (The Texas Volunteer): (lyrics)
File: LH04
===
NAME: Roving Irishman, The: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Roving Jack the Baker
DESCRIPTION: Roving Jack the baker returns from war with a good pension. He meets a girl with 15 pounds of her own. He courts her with lies to get her money. He promises to marry her but hopes not to. He makes her drunk, takes her to bed, steals her money, and leaves.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: greed courting sex lie theft drink rake
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 32, "Roving Jack the Baker" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Merrily Kiss the Quaker" (tune, per Leyden)
cf. "Gold Watch [Laws K41]" (plot, with sex roles reversed) and references there
File: Leyd032
===
NAME: Roving Journeyman (I), The: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Roving Journeyman (II), The: see The Roving Bachelor (File: HHH650)
===
NAME: Roving Newfoundlanders (I), The
DESCRIPTION: The singer, musing at home, thinks about all the Newfoundlanders who have sailed and fished in all parts of the world. They have also taken part in historic world events (mostly confined to the 19th century) The singer tells us he is from Harbour Grace.
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: Canada patriotic bragging
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 183, "The Roving Newfoundlanders" (1 text, 1 tune)
Blondahl, p. 15, "Roving Newfoundlander" (1 text, 1 tune)
Doyle2, pp. 55, "The Roving Newfoundlanders" (1 text, 1 tune)
Doyle3, pp. 71, "The Roving Newfoundlanders" (1 text, 1 tune)
Roud #6362
RECORDINGS:
Omar Blondahl, "The Roving Newfoundlander" (on NFOBlondahl02,NFOBlondahl05)
CROSS_REFERENCES:
cf. "Captain Bob  Bartlett" (character) and references there.
NOTES: Judging by the historic events mentioned (the Boer War, the Spanish-American War of 1898 and going to the "Pole"), we can determine that the song is from the early twentieth century. Robert Abram Bartlett was born in Brigus, Conception Bay and began exploring the Arctic in 1897. He was with Admiral Robert Peary in 1909 when [the latter reportedly reached] the North Pole, being the commander of Peary's ship. - SH
For a good deal more on Captain Bob  Bartlett, see the notes to "Captain Bob  Bartlett"; also "Ballad of Captain Bob Bartlett, Arctic Explorer." For the quest for the Pole, see "Hurrah for Baffin's Bay." - RBW
File: Doy55
===
NAME: Roving Newfoundlanders (II), The
DESCRIPTION: "Ye roving boys of Newfoundland, come listen unto me." In 1863, Shea hires 55 men to work on the railway. They run away to Canada, work on a riverboat and are robbed, ship on the Morning Bloom which sinks on George's Bank; only seven reach St John's
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: death drowning commerce fishing river sea ship work ordeal storm wreck Canada sailor
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 150, "The Roving Newfoundlanders" (1 text)
Peacock, pp. 916-921, "George's Banks" (2 texts, 3 tunes)
Leach-Labrador 78, "George's Banks" (1 text, 1 tune)
Roud #17756
CROSS_REFERENCES:
The Shea Gang
You Roving Boys of Newfoundland
NOTES: This is a tough one to pin down.
This is surely not about the Newfoundland Railroad which was not begun until 1881.  The Windsor Branch Railway in Nova Scotia opened in 1856 and is at least possible as the railroad in question.
Peacock's versions of the song have the date as 1868 and he has "Shea's gang" building the Canadian Pacific Railway; but the Canadian Pacific Railway construction began in 1875 after scandals and false starts in the early Seventies.
As for the wreck of the Morning Bloom on George's Bank: I find no record of that[;] the Northern Shipwrecks Database 2002 lists well over 200 ships by name lost on George's Bank between 1822 and 1995.
A July 2002 note by Wilfred Allan at Nova-Scotia_Seafarers-L_ Archives site states "Georges Bank is at the edge of the Atlantic continental shelf between Cape Cod and Nova Scotia. Thus it straddles both the U.S and Canadian borders ... about 250 km by 150 km in area." - BS
We have four texts -- Greenleaf/Mansfield 150, Leach-Labrador 78, Peacock p916A and Peacock p919C -- and we're not likely to find more [Mercer :see bibliography at the end of this note]. This seems a good time to sum up.
In response to my query about railway history as it might relate to Peacock's version and comments, Dave Knowles, Librarian of the C. Robert Craig Memorial Library in Ontario -- established to collect, preserve and make available to the public materials that document the history of rail transportation in Canada -- was kind enough to join me in speculating about the railway and to suggest further paths to follow in researching this problem.
Mr Knowles's thoughts -- quoted by permission with the understanding that "so much of it is guesswork or gut instinct that it really doesn't qualify as research" -- follow and are interspersed among the comments on the railway section of this discussion. He writes, "On balance I suspect that the situation in the song is generic rather than specific. Given the song's length it probably developed over the years with consequent changes in names and facts in order to match the times, the tune, and perhaps even the audiences. In all probability many songs were melded together to create the epic."
While I don't go that far, I did become convinced that the ballad is a constructed "Odyssey" with episodes to work back to "Ithaca" rather than a retelling of an historic journey; why, for example, would even a storm-driven Gloucester fisherman work so hard to reach St John's rather than heading home?
As for the rest of the statement: certainly, the components were in the air for years and, as Greenleaf/Mansfield 183 illustrates, the idea of combining the different adventures of "The Roving Newfoundlanders" in a single song was not new (though Greenleaf/Mansfield 183 does not stitch them together into a single adventure). 
Songs about work fill the collections. There are a few songs about fishing on your own in the season: "Rowing in a Dory" where you are "the captain and the crew," "The Fisher Who Died in his Bed," "John Yetman," "Western Boat," .... There are a few more about trying to get through the hard times at home off season like "Brown Flour" and "Fish and Brevis." There are far more about leaving home for seasonal fishing: "The Herring Gibbers," "Taking Back Gear in the Night," "High Times in our Ship," not to count the many "The Wreck of ..." and "The Loss of ..." that end in disaster.
There are many about leaving home for seal hunting, logging, hauling cargo etc.: "Maurice Crotty," "The Sealer's Song," "Twin Lakes," "Jerry Ryan," "The Badger Drive," and some about spiking on railways: "The Boys at Ninety-Five," "The Bonavist Line," "Drill Ye Heroes, Drill." There are ballads about leaving the island for seasonal work: "Labrador," "The Girls of Newfoundland," "The Track to Knob Lake,."... There are ballads about leaving the island for years to earn a stake, like "The Green Shores of Fogo" and "My Dear, I'm Bound for Canady." Finally there are ballads about emigrating when hard times are too much to bear, like "The Emigrant from Newfoundland" and "The Low-Backed Car."
This ballad has five episodes and they cover some of this variety of situation.
(1) In 1863/1868/1872 they (maybe 55 or 62) leave Newfoundland to get work. 
My first problem was in taking this range of dates seriously. What was going on in those years? Is this is just meant to refer to "a ways back"?
(2) In three of the four versions, the first stop is to railway construction for Shea (maybe in "Canada"). The conditions being very bad, they run away.
Peacock puts this job at Crow's Nest Pass, and, in 1961, his seventy-seven year old informant reminisced about hearing the old-timers talk about that hard time. If Peacock was right then this episode referred to a Canadian Pacific Railway project in the winter of 1897-1898; Crow's Nest Pass -- or Crowsnest Pass -- is just east of the border between southern Alberta and British Columbia. 
Dave Knowles continues on the subject of what workers were likely to be found on railway construction gangs between 1860 and 1900. My original question to him involved the likelihood that Newfoundlanders were contracted as a group in 1863-1872. "The dates cited in the song were in the sixties. There were many different railways built in what is today's 'Canada' beginning in the 1830s. The first railway into Ottawa was 1854, and the Grand Trunk between Montreal and Toronto was 'abuilding' in the 1856-8 period. Most of these early railways were short and soon ended up in the three major systems of Grand Trunk, Canadian Pacific and Canadian Northern....
"As far as labour is concerned most of it was local, contracted and sub-contracted out. Stone bridges, stations etc would require skilled stone masons and carpenters who were a higher level of worker than needed for the roadbeds. The Grand Trunk (between Montreal and Toronto), in contrast, however, was built by British railway contractors Peto, Brassey, Bates and Jackson who imported a crew (estimated at 3000) of the famous 'navvies' from Britain. They returned to Britain at the end of construction. The western end of the CPR in the early 1880s used labourers imported from China!
"In the days before steam or diesel powered construction equipment the work was hard and I gather the attrition rates were pretty high. Consequently labourers were sought from wherever they could be found. Many contractors were involved. I suspect that there were many 'Sheas' among the contractors and sub-contractors as well as in the labour force. In the Ottawa area the Royal Engineers had used many Scots and Irish stone masons on the necessary works of the Rideau Canal, and there was a substantial colony of Irish immigrants located to the west and south of Ottawa." He goes on to recommend Fleming and Coleman as sources for further information, both of which were very useful.
I followed Dave Knowles's lead to look at sources of railway labor throughout the period. The ballad holds together best if the railway work is actually in the East, on the Intercolonial in the Maritimes. The original Intercolonial plan had considered Imperial Government orchestration of Irish emigration to alleviate both the famine and shortage of labour [Fleming, pp. 49-50] I could find no reference to the actual source after 1862 [Fleming, pp 55-64].
The work on the Grand Trunk before the 1860s required temporary contracting of 3000 navies from England because "there was no local labour worth speaking of" [Coleman, pp. 183-184]. English navies continued to be used. While "the navvy age" continued until about 1900 [Coleman, p. 20] the last "great work" in Britain was completed in 1875 [Coleman, p.192] and by 1888 "navvies from London were starving at Toronto" [Coleman, p. 191].
By 1880 use of Chinese labor had become a major issue in the west [Berton, p. 373]. While locals were against the competition, the railway builders preferred Chinese labor. Not only were wages low for Chinese labor but there was "little to fear" in regard to working condition monitoring from a government and public hostile to the Chinese [McKee and Klassen, p.21]. And, besides, in 1885, "Chapleau wrote that 'as a railway navvy, the Chinaman has no superior'" [Berton, p. 374]. Restriction of Chinese immigration by imposition of a $50 head tax, in 1885, reopened the labor market to Canadians [18thC] as the navvy source dried up. By 1887 there were sites employing no Chinese [Turner, pp. 17-18].
By the time of the Crow's Nest Pass project working conditions for white workers were an issue and the description of the situation is very much like that described by the ballad. Thirty-five hundred were employed in construction [Cousins, p 32]. "Complaints reached Ottawa, and in January 1898... a commission [was appointed] to inquire into the treatment of laborers in the Crowsnest construction crews. Its report, submitted in April, told a tale of poor accommodation, bad sanitary conditions, and low wages.... Cases of desertion and of nonpayment of wages by contractors were fairly frequent; there was some violence in the camps and occasionally a murder" [Lamb, p. 212]. 
Anyone in Ottawa, or near a Canadian library, wishing to investigate the Crow's Nest Pass project further might consider the following sources: _Report of Commissioner N.W.M.P. 1898 (Ottawa: King's Printer, 1898), and _Report of the Commission Inquiring into the Death of McDonald and Fraser of the Crow's Nest Railway_, R.C. Clute Commissione. 1899 Ottawa. Sessional Papers No. 70 Vol. 33 No. 14, may be included in Government of Canada Files at ArchiviaNet, at www.archives.ca/02/0202_e.html, Reference RG43, Railways and Canals, Series A-I-2, Volume 348, File 9080, Access code 90, File Title: Crow's Nest Pass Railway Co. - Labour Conditions. Keywords: Crow's Nest Pass Railway Co. Outside Dates: 1897-1907, File aiding number: 43-50. 
(3) In the two versions for which 55 run away, their next job is on a riverboat in Canada (maybe around Montreal); until their money is stolen.
I have seen no other Newfoundland references to river boating. That is hardly surprising since there were no Newfoundland river boats. However, the story is different for the rest of what is now Canada. The first commercial steamboat voyage on the St Lawrence -- between Montreal and Quebec -- took place in 1809, two years after Fulton's Clermont went into service on the Hudson [Croil, pp. 50, 312].
By the time of the years actually mentioned in the ballad commercial steam powered river boats were common in Quebec and Ontario [Croil, pp. 307-332]. At the time of the Crow's Nest Pass project "some of the finest river steamers in the Dominion" were on the Columbia River and Kootenay Lakes, about 160 miles away [Croil, pp. 338-339]. And while river boats may not have been in Newfoundland, steamers were. Steam service began in the 1840's and steamers were used in seal hunting in 1862 [Croil, pp. 354-355]. So Newfoundlanders were knowledgeable steamship hands throughout the period we are considering and steamships were used commercially where the events may be supposed to take place. Whether they actually took place in the context of the ballad is the question.
(4) They eventually go through Halifax to Boston (or Gloucester) and ship aboard the _Morning Bloom_ (or _Morning Glow_) for George's Banks. On November 22, in a bad storm, either their ship, or _Jubilee_, lose 22 men (but no ship is mentioned as sinking). 
There is no question about the dangers on George's Banks [cf. "Fifteen Ships on George's Banks" and "George's Bank" (II)]. However, there is no record of a severe storm on some November 22, or thereabouts, that I can find in the Northern Shipwrecks Database for the period in question. Part of the problem may be that no sunk ships are named in the ballad and that the database only records lost ships. However, if the date referred to a real storm I'd expect some ship to have been lost and reported.
(5) Having escaped that storm they continue fighting strong seas. Eventually they see the lighthouse at Cape Ray (built 1871) or Cape Race (starts operation 1856) or Sarne's Point and, of the remaining crew of 18, only 7 survive to reach Cape Spear (built 1835)and St John's.
There's nothing here that we can say is evidence of some one historic event.
>>*BIBLIOGRAPHY*<<
Berton [Pierre Berton, _The Impossible Railway. The Building of the Canadian Pacific_ (Knopf, 1983)]
Coleman [Terry Coleman, _The Railway Navvies: A History of the Men Who Made the Railways_ (BCA, 1972)]
Cousins [William James Cousins, _A History of the Crow's Nest Pass_ (Historic Trails Society of Alberta, 1981)]
Croil [James Croil, _Steam Navigation and Its Relation to the Commerce of Canada and the United States_ (William Briggs, 1898)]
Fleming [Sanford Fleming, _The Intercolonial. A Historical Sketch of the Inception, Location, Construction and Completion of the Line of Railway Uniting the Inland and Atlantic Provinces of the Dominion_ (Dawson Brothers, Montreal, 1876)]
Lamb [W. Kaye Lamb, _History of the Canadian Pacific Railway_ (MacMillan 1977)]
McKee and Klassen [Bukk McKee and Georgeen Klassen, = _Trail of Iron. The CPR and the Birth of the West, 1880-1930_ (Douglas & McIntyre, 1983)]
Mercer [Paul Mercer, _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-line Index_ (Newfoundland, Canada: Memorial University of Newfoundland Folklore and Language Publications, 1979)]
Turner [Robert D. Turner, _West of the Great Divide; an Illustrated History of the Canadian Pacific Railway in British Columbia 1880-1986_ (Sono Nis Press, Victoria, 1987)]
18thC [18th Century History site: CHAPTER V. THE YEARS OF FULFILMENT] - BS
File: GrMa150
===
NAME: Roving Ploughboy, The
DESCRIPTION: The singer asks that her horse be saddled so she can follow the ploughboy.  After sleeping last night "on a fine feather bed," she will sleep tonight in a barn in his arms. She says none can compare with him, and bids her home farewell
AUTHOR: unknown
EARLIEST_DATE: 1953 (Kennedy)
KEYWORDS: love elopement worker farming farewell
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kennedy 260, "The Roving Ploughboy-O" (1 text, 1 tune)
Roud #2138
RECORDINGS:
John MacDonald, "The Roving Ploughboy-O" (on FSB3)
CROSS_REFERENCES:
cf. "The Gypsy Laddie" [Child 200] (theme, lyrics, tune)
NOTES: Paul Stamler suggests that this is a version (or, perhaps more correctly, a fragment) of "The Gypsy Laddie," and it's true that about half the lyrics appear in that song, and the general theme is the same, and there are similarities in the tune as well.
But the song seems to have circulated independently, and the key element of "The Gypsy Laddie" is missing: there is no sign of the wife abandoning her husband, or of him pursuing. Allowing the strong possibility that this is a fragment of the longer ballad, I still incline to split them.
Kennedy associates this with Ord's "The Collier Laddie." That strikes me as much more of a stretch. - RBW
File: K260
===
NAME: Roving Ranger, The: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Roving Shantyboy, The
DESCRIPTION: "Come all you tru-born shantyboys wherever you may be." The singer describes how he met a pretty girl and took her on my knee. The song shifts to the girl's viewpoint as she laments that "he was away by the first of may." She laments with her child
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: courting rambling pregnancy logger baby
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #57, "The Roving Shantyboy" (1 text, 1 tune)
Roud #4359
CROSS_REFERENCES:
cf. "Oh No Not I" (plot)
cf. "Rambleaway" (plot)
NOTES: Fowke considers this to be "adapted from an older British song, but here the original has proved harder to identify." It appears to me *very* similar to "Rambleaway," including that song's shift in viewpoint: The man describes the seduction, the woman the consequences. Though the lyrics have points of contact with "The Foggy Dew" and others. - RBW
File: FowL56
===
NAME: Row After Row
DESCRIPTION: "I'm a-thinkin of you, honey, Thinkin' 'case I love you so... As I hoe down row after row." "Row after row, my baby (x3)... When I think of her the rows get shorter...." "So I keep on a-hoein' an a-hoein', Thinkin' of Miss Lindy Lou."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: worksong farming love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 211-212, "Row After Row" (1 text, 1 tune)
File: ScaNF211
===
NAME: Row Boat (Ride About)
DESCRIPTION: "Row boat (or: "Ride About"), row, where shall I row?" The young man comes to Miss Mary's door and asks if she is in. She is, and the wedding is set for (the next day)
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: love courting marriage playparty
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 678, "Ride About, Ride About" (1 text plus a fragment, 1 tune; the "B" text is mixed with "Uncle John Is Sick Abed")
BrownIII 73, "Row the Boat, Row the Boat" (2 texts plus a fragment)
Roud #13080
CROSS_REFERENCES:
cf. "Wallflowers" (form, floating lyrics)
NOTES: The editors of Brown claim that their texts are remnants of "Wallflowers." This is one of those unprovable things; what similarities they have are all floating elements. The "B" text in Brown, "Tommy Jones," has clearly been conflated with something else to make it  a true, if somewhat incoherent, ballad -- but what that something else is I cannot tell. - RBW
File: R678
===
NAME: Row the Boat Ashore: see Roll the Boat Ashore (Hog-eye I) (File: San380)
===
NAME: Row the Boat, Row the Boat: see Row Boat (Ride About) (File: R678)
===
NAME: Row Us Over the Tide
DESCRIPTION: Two children come up to a boatman, asking him to "row us over the tide." The report that their mother is dead and their father has abandoned them; they have no home.
AUTHOR: E. C. Avis?
EARLIEST_DATE: 1927 (recordings, Kelly Harrell, Bela Lam); Avis is said to have published the song in 1888
KEYWORDS: mother father orphan death separation
FOUND_IN: US
REFERENCES: (1 citation)
DT, ROWTIDE*
Roud #9132
RECORDINGS:
The Blue Sky Boys, "Row Us Over the Tide" (Bluebird B-6567, 1936)
Clarence & Claude Ganus, "Row Us Over the Tide" (Vocalion 5312, 1929)
Kelly Harrell & Henry Norton, "Row Us Over the Tide" (Victor 20935, 1927; on KHarrell02)
Bela Lam & His Green County Singers, "Row Us Over The Tide" (Okeh 45126, 1927)
Lulu Belle & Scottie (Okeh/unissued, 1940)
Mr. & Mrs. E. C. Mills, "Row Us Over the Tide" (Brunswick/unissued, 1929)
CROSS_REFERENCES:
cf. "Orphan's Lament (Two Little Children, Left Jim and I Alone)" (subject)
cf. "I Saw the Pale Moon Shining on Mother's White Tombstone" (subject)
NOTES: As far as I know, no version of this song reveals *why* the children want to cross the water. (Of course, the versions of the song aren't particularly coherent.) One suspects that, in the original, they interpreted crossing the tide as going to heaven.
Joan Sprung knew a report connecting this with the 1878 yellow fever epidemic (in which at least 20,000 people died, mostly along the Mississippi river between New Orleans and Memphis).
The Blue Sky Boys recording put a very different twist on this song, ending with a chorus about Jesus taking the children away to heaven. This is clearly a rewrite to give a potential tragedy a preudo-happy ending. - RBW
File: DTrowtid
===
NAME: Row-Dow-Dow
DESCRIPTION: Singer, Clarkie, and two others go out poaching pheasants; keepers arrive, and the singer and Clarkie are captured. They are taken to Wandsworth Gaol. Released on Christmas eve, he has a drink and rejoices, but Clarkie doesn't get out until mid-January
AUTHOR: Words: Possibly Fred Holman
EARLIEST_DATE: 1956 (recorded from George Maynard); tune is older
LONG_DESCRIPTION: Singer, his friend Clarkie and two others go out poaching pheasants; keepers arrive, the two other men leave, and the singer and Clarkie are captured and charged before the magistrate. Convicted, he asks to be fined but is sentenced to six weeks; his friend gets two months. They are taken to Wandsworth Gaol; he sneaks his tobacco in past the guards. He is put to work pumping water and grinding flour. Released on Christmas eve, he has a drink and rejoices, but Clarkie doesn't get out until mid-January
KEYWORDS: captivity fight poaching prison punishment trial freedom hunting drink friend prisoner
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 354, "Row-Dow-Dow" (1 text, 1 tune)
DT, ROWDOWDW
Roud #902
RECORDINGS:
George Maynard, "Shooting Goshen's Cocks Up" (on Maynard1)
CROSS_REFERENCES:
cf. "Bow Wow Wow" (tune) and references there
NOTES: According to Kennedy, Goshen was either a local placename or the owner of a game preserve. The tune, variously known as "The Barking Barber" or "Bow Wow Wow," is said to date from the time of George II; Chappell published it in 1858. - PJS
File: K354
===
NAME: Row, Bullies, Row: see The Liverpool Judies (Row, Bullies, Row; Roll, Julia, Roll) (File: Doe106)
===
NAME: Row, Molly, Row (Molly Was a Good Gal)
DESCRIPTION: "Molly was a good gal and a bad gal, too, Oh, Molly, row, gal." The captain and pilot make brief appearances: "I'll row dis boar and I'll row no more...." "Captain on the biler deck a-heaving of the lead... Calling to the pilot to give "turn ahead...."
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: river nonballad ship work
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Botkin-MRFolklr, p. 590, [no title] (1 text)
Courlander-NFM, p. 120, "Molly Was a Good Gal" (1 text)
File: BMRF590A
===
NAME: Row, Row, Row Your Boat
DESCRIPTION: "Row, row, row your boat, Gently down the stream, Merrily, merrily, merrily, merrily, Life is but a dream."
AUTHOR: unknown
EARLIEST_DATE: 1852 (broadside, LOCSheet sm1852 511180)
KEYWORDS: nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 412, "Row, Row, Row Your Boat" (1 text)
Fuld-WFM, pp. 475-476, "Row, Row, Row Your Boat"
BROADSIDES:
LOCSheet, sm1852 511180, "The Old Log Hut" or "Row, Row Your Boat," Firth, Pond and Co. (New York), 1852; also sm1853 710040, sm1853 531440, "Row, Row Your Boat" or "The Old Log Hut" (tune)
SAME_TUNE:
Row, Row, Row Your Boat (Throw Your Teacher Overboard) (Pankake-PHCFSB, p. 93)
Propel, Propel, Propel Your Craft (Pankake-PHCFSB, p. 208)
Glub, Glub, Glub Your Boat (Pankake-PHCFSB, p. 213)
NOTES: Fuld reports that this text, with a different tune, was published in sheet music form in 1852; this version had music by R. Sinclair, but the words were unattributed (said to be sung by "Master Adams of Kunkels Nightingale Opera Troupe").
Another melody was published in 1854; the common melody was first published in 1881, with a credit (not necessarily of authorship) to E. O. Lyte. - RBW
File: FSWB412C
===
NAME: Rowan County Crew (Trouble, or Tragedy), The [Laws E20]
DESCRIPTION: An account of the Tolliver-Martin feud, which the legal system is powerless to end. Casualties of the fighting include John Martin, Floyd Tolliver, Sol Bradley (an innocent bystander), and Deputy Sheriff Baumgartner; even this does not end the feud
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1918 (Cox)
KEYWORDS: feud death fight injury
HISTORICAL_REFERENCES: 1884 - Date of the Tolliver-Martin shootings
FOUND_IN: US(Ap,SE,So,SW)
REFERENCES: (9 citations)
Laws E20, "The Rowan County Crew (Trouble, or Tragedy)"
Thomas-Makin', pp. 5-9, "Rowan County Troubles" (1 text, 1 tune)
Randolph 169, "The Rowan County Crew" (1 text, 1 tune)
Combs/Wilgus 61, pp. 161-162, "The Tolliver Song" (1 text)
JHCox 39, "A Tolliver-Martin Feud Song" (1 text)
JHCoxIIB, #1A-C, pp. 111-118, "The Rowan County Crew" (2 texts plus a fragment, 2 tunes)
Botkin-AmFolklr, pp. 891-892, "Rowan County Troubles" (1 text, 1 tune)
Darling-NAS, pp. 194-195, "The Rowan County Crew" (1 text)
DT 703, ROWANCRW
Roud #465
RECORDINGS:
Dock Boggs, "Rowan County Crew" (on Boggs1, BoggsCD1)
Ted Chesnut, "The Rowan County Feud" (Champion 15524 [possibly as Cal Turner], 1928; on KMM)
Robert L. Day, "The Rowan County Crew" (AFS, 1938; on KMM)
CROSS_REFERENCES:
cf. "A West Virginia Feud Song" (theme, lyrics, metre)
cf. "Death of Samuel Adams" (lyrics)
NOTES: Jean Thomas, who knew both James W. Day (who had been in the area when the feud started) and Lucy (Mrs. John) Martin, has extensive notes about the arguments which led to this feud.
Interestingly, Thomas attributes this song to James W. Day, not "Jilson Setters," even though she always calls him "Setters" elsewhere. I can't even find a hint in Thomas that the two were the same. - RBW
File: LE20
===
NAME: Rowdy Soul
DESCRIPTION: "I'm a rowdy soul (x2), Don't care whether I work or not." The singer raised no crop last year; he blames the poor soil. He hopes to build a better house, safe from yellowjackets.  He describes his partying lifestyle
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, Janie Scott Kincey)
KEYWORDS: work home hardtimes party floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 93-94, "Rowdy Soul" (1 text, 1 tune)
Roud #10034
RECORDINGS:
Janie Scott Kincey, "Sometimes I Ride an Old Grey Mare (I'm a Rowdy Old Soul)" (AFS CYL-23-3, 1933)
Will Starks, "I'm a Rowdy Soul" (AFS 6653 B3, 1942)
CROSS_REFERENCES:
cf. "Whoa Back, Buck" (floating lyrics)
File: MWhee093
===
NAME: Rownd Yr Horn (Round the Horn)
DESCRIPTION: Welsh shanty. Describes a voyage round the horn. Ch. translates: "Come Welshmen all and listen to my tale, How we sailed our packet round the Horn! Twas the third day of the seek boys, When dawn was just abreakin', we passed the rocky shores of Anglesey!"
AUTHOR: Music: R.J. Tomas ?
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: foreignlanguage shanty ship travel
FOUND_IN: Wales
REFERENCES: (1 citation)
Hugill, pp. 563-564, "Rownd Yr Horn" (2 texts-Welsh & English, 1 tune)
NOTES: This is the only sea shanty I've ever heard recorded with harp accompaniment (!) -- by Ar Log on "Ar Log II." According to their liner notes, R. J. Tomas (a Welshman living in America) wrote the tune unde the title "Annie Deg o'r Glen." The words were provided by "Dick Common Sense." - RBW
File: Hugi563
===
NAME: Roxie Ann
DESCRIPTION: "Roxie Ann's a foolin' gal, She fools me all the while, She's been a long time foolin', foolin', She's been a long time foolin' me." "She fools me in the mornin', She fools me in the night..." "I'm goin' to tell my maw on you, I'm goin' to tell my paw..."
AUTHOR: unknown
EARLIEST_DATE: 1914 (JAFL 27)
KEYWORDS: playparty courting trick
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 539, "Roxie Ann" (1 text, 1 tune)
Roud #7647
File: R539
===
NAME: Roy Bean
DESCRIPTION: "Cowboys, come and hear the story of Roy Bean in all his glory. 'The law west of the Pecos' read his sign." Bean runs most of the businesses in his part of the world, and uses them to enhance his power and increase his fortune
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: cowboy lawyer robbery
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-ABFS, pp. 413-415, "Roy Bean" (1 text)
DT, ROYBEAN
Roud #4629
RECORDINGS:
Marc Williams, "Roy Bean" (Decca 5010, 1934)
File: LxA413
===
NAME: Roy Neal: see Dublin Bay (Roy Neal) (File: R691)
===
NAME: Roy Neil and His Fair Young Bride: see Dublin Bay (Roy Neal) (File: R691)
===
NAME: Roy's Wife of Aldivalloch
DESCRIPTION: "Roy's wife of Aldivalloch (x2), Wat ye how she cheated me As I came owre the Braes o' Balloch?" Singer complains that Roy's wife has cheated him; she has sworn she loves him and will be his, but instead she has robbed him and left him
AUTHOR: unknown
EARLIEST_DATE: 1791 (Herd)
KEYWORDS: adultery infidelity marriage betrayal bawdy wife
FOUND_IN: Britain(Scotland) US(SE)
REFERENCES: (1 citation)
BrownII 125, "Roy's Wife of Aldivalloch" (1 text, with dialect retained; one suspects print influence)
Roud #5137
RECORDINGS:
Ewan MacColl, "Roy's Wife of Aldivalloch" (on Lomax43, LomaxCD1743)
SAME_TUNE:
Know Ye Not That Lovely River (by Gerald Griffin) (Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 422)
NOTES: According to Lomax, this was originally a bawdy song in folk tradition; the words were sanitized by, "Mrs. Grant of Carron" [in the eighteenth century], and the song then drifted back into tradition. - PJS
According to the notes in MacColl, _Folk Songs and Ballads of Scotland_, "John Roy of Aldivalloch was married to Isabel Stewart [on February 21, 1727). Roy was considerably older than his wife [who ran away with] David Gordon of Kirktown. She was pursued by Roy and brought back after a chase over the Braes of Balloch....
"Margaret Roy... said that the song had been made by a shoemaker living in the neighbourhood of Aldivalloch. The tune was first pubished in Walsh's 'Twenty-Four Country Dances' (1724) as Lady Frances Wemy's Reel, but is almost certainly considerably older." - RBW
File: RcRWOA
===
NAME: Royal Blackbird, The: see The Blackbird (I -- Jacobite) (File: R116)
===
NAME: Royal Eagle, The
DESCRIPTION: "A royal lady bewail'd her sad fate" near Vienna. "My Eagle, she cried, now lies in St Helena." She recalls how he left her, and his exploits and says she will look for help to rescue him. "If I cannot find him, I'll fly to old Erin."
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: Napoleon love political
HISTORICAL_REFERENCES: 1815 - Defeat at the Battle of Waterloo forces Napoleon into exile
1821 - Death of Napoleon
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 31, "The Royal Eagle" (1 text, 1 tune)
Moylan 203, "The Royal Eagle" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Green Linnet" (theme: Napoleon)
cf. "Saint Helena (Boney on the Isle of St. Helena)" (theme: Marie Louise's grief for Napoleon)
cf. "The New Bunch of Loughero" (theme: Marie Louise's grief for Napoleon)
cf. "The Removal of Napoleon's Ashes" (theme: Marie Louise's grief for Napoleon)
NOTES: Marie Louise of Austria (1791-1847) is Napoleon's second wife and mother of Napoleon II. She returned to Vienna in 1814 when Napoleon is defeated. (source: "Marie Louise of Austria" at Answres.com site) - BS
This song shares with "Saint Helena (Boney on the Isle of St. Helena)" and "The New Bunch of Loughero" the theme of Marie Louisa's grief for her husband. This is romantic, but false; she refused to go into exile with him to Elba, let alone St. Helena.
In fact, even before Napoleon went to Elba, she is reported to have taken General Adam Adelbert Neipperg as a lover. When he came back during the Hundred Days, she not only refused to join him, she wouldn't even allow him to see his son. By the time Napoleon died, Louisa had borne two children to other fathers. - RBW
File: Zimm031
===
NAME: Royal Fisherman, The: see The Bold Fisherman [Laws O24] (File: LO24)
===
NAME: Royal George, The: see The Mermaid [Child 289] (File: C289)
===
NAME: Royal Oak, The
DESCRIPTION: While sailing on the "Royal Oak", the singer and his fellows spy ten Turkish men-of-war. They sink three, burn three, drive three off, and capture the last, which they drag into Portsmouth harbor. The singer praises their skipper, Capt. Wellfounder.
AUTHOR: unknown
EARLIEST_DATE: 1912
KEYWORDS: fight navy sailor foreigner
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, p. 91, "The Royal Oak" (1 text, 1 tune)
Greenleaf/Mansfield 42, "Turkish Men-o'-War" (1 text)
Leach-Labrador 56, "The Marigold" (1 text, 1 tune)
DT, ROYALOAK*
Roud #951
ALTERNATE_TITLES:
Turkish Men of War
NOTES: [Lloyd repeats's Firth's suggestion that] the song is based on "Kempthorne's repulse of the seven Algerine ships, December 29, 1669." - PJS
Just for the record: I know of no instance of Turkish warships getting close enough to England to be hauled to Portsmouth. - RBW
While Leach-Labrador calls this "The Marigold," its ship's name is the Martha Jane, with "Captain White from fair Bristow" - BS
File: VWL091
===
NAME: Royal South Down Militia, The: see The South Down Militia (File: OLoc090N)
===
NAME: Rub-a-dub-a-dub: see The Limejuice Tub (File: MA140)
===
NAME: Rub-a-dub-dub
DESCRIPTION: "Rub-a-dub-dub, Three men in a tub." They are the butcher, the baker, and the candlestick maker. They may have gone to the fair, or "jumped out of a rotten potato."
AUTHOR: unknown
EARLIEST_DATE: before 1797 (cf. Baring-Gould-MotherGoose)
KEYWORDS: worker
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 460, "Rub-a-dub-dub" (1 text)
Baring-Gould-MotherGoose #133, p. 106, "(Rub-a-dub-dub)"
Roud #12983
ALTERNATE_TITLES:
Rub a Dub Dub
File: BGMG133
===
NAME: Ruby Were Her Lips: see The Irish Girl (File: HHH711)
===
NAME: Rude and Rambling Boy, A: see The Butcher Boy [Laws P24] (File: LP24)
===
NAME: Rue: see Garners Gay (Rue; The Sprig of Thyme) (File: FSWB163)
===
NAME: Rue and the Thyme, The (The Rose and the Thyme)
DESCRIPTION: Told mostly in floating lyrics: "I'm sorry, I'm sorry that my fortune's  been so bad, Since I've fa'en in love wi' a young sailor lad." They exchange letters and flowers; she says he may keep his rose and she will keep her thyme.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting rejection virginity floatingverses
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 187, "The Rose and the Thyme" (1 text)
Roud #858
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (lyrics)
cf. "Garners Gay (Rue; The Sprig of Thyme)" (theme, symbols, lyrics)
File: Ord187
===
NAME: Rue and Thyme: see Garners Gay (Rue; The Sprig of Thyme) and related songs (File: FSWB163)
===
NAME: Rue the Day: see My Husband's Got No Courage in Him (File: K213)
===
NAME: Rufus Mitchell: see I Picked My Banjo Too (File: Br3594)
===
NAME: Rufus's Mare
DESCRIPTION: Rufus sadly walks to town after his mare is stolen by Tozer. He tells his story: Tozer had given him a lame mare, which he cured, whereupon Tozer requisitioned the animal back. Rufus expects Tozer to end in Hell.
AUTHOR: George Calhoun
EARLIEST_DATE: 1971
KEYWORDS: horse poverty injury hardtimes gift theft
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 264-265, "Rufus's Mare" (1 text, 1 tune)
Roud #4167
NOTES: According to Doerflinger, this is a true story. Rufus Woodcock had lost his horse and was too poor to buy another. A nearby preacher, Reverend Tozier, had a lame horse that he could not cure. Rather than keep feeding the animal, Tozier gave it to Woodcock. Woodcock cured the horse, whereupon Tozier "borrowed" it back and never returned it. Rufus managed to reclaim the horse, but then Tozier came and again reclaimed it by force.
This song is item dH50 in Laws's Appendix II. - RBW
File: Doe264
===
NAME: Rugby Song, The
DESCRIPTION: A formula song in which the singer -- were she of a mind to marry -- asserts that the kind of man she would wed would play a succession of positions on a rugby team.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous marriage sports
FOUND_IN: Australia Canada US(MW,SW) New Zealand
REFERENCES: (1 citation)
Cray, pp. 365-368, "The Rugby Song" (2 texts, 1 tune)
Roud #10142
ALTERNATE_TITLES:
If I Were the Marrying Kind
File: EM365
===
NAME: Ruggleton's Daughter of Iero: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Rule, Britannia
DESCRIPTION: "When Britain first at Heav'n's command Arose from out the azure main... This was the carter of the land: 'Rule, Britannia, Britannia, rule the waves: Britons never, never, never will be slaves."
AUTHOR: Words: David Mallett? James Thompson? / Music: Thomas Augustine Arne?
EARLIEST_DATE: 1740 ("Alfred: A Masque")
KEYWORDS: political England navy ship nonballad
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Chappell/Wooldridge II, pp. 191-193, "Rule, Britannia" (1 tune, partial text)
Fuld-WFM, p. 477, "Rule, Britannia"
Roud #10790
CROSS_REFERENCES:
cf. "Married to a Mermaid" (tune)
SAME_TUNE:
Married to a Mermaid (File: Harl174)
NOTES: Not really a traditional song, but obviously a popular one.
The irony is that, for most of its history, Britain had a weak navy, or no navy at all. (The result of this was a long series of invasions, often successful. In just the eleventh century, there was Swein Forkbeard's invasion of 1014, Canute's invasion of 1016, Harald Hardrada's invasion of 1066, and of course William the Bastard of Normandy's invasion of 1066 -- the one that earned him the name "William the Conqueror.")
It wasn't until the sixteenth century that Britain firmly established its navy -- but, of course, there has not been a successful outside invasion of Britain since.
Various claims have been made for the authorship of this piece. All that can be said with certainty is that the first publication was in "Dr. Arne's" 1740 stage works.
The original text, as noted, read "Britannia, rule the waves"; later, this was altered in some versions to "Britannia RULES the waves" -- a statement which was absolutely true only in the nineteenth century. Might be time to go back to the old form.... - RBW
"Rule Britannia," for some reason, is item CLVIII in Palgrave's _Golden Treasury_. - RBW
File: ChWII191
===
NAME: Rules of the Road at Sea (Sailor's Rhymes)
DESCRIPTION: Not a song; a series of rhymes by which sailors would learn how to behave at sea. e.g. "When both side lights you see ahead, port your helm and show your Red. Green to Green or Red to Red, perfect safety, go ahead." Most concern weather prediction.
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: sailor nonballad ship
FOUND_IN: US Britain
REFERENCES: (1 citation)
Colcord, pp. 204-207, "Rules of the Road" (various short texts)
NOTES: I wasn't sure whether to include this, since it really isn't a shanty. However, it would seem that these rhymes served a similar purpose to the shanties in that they helped the work along. - SL
And indeed the "rules" vary from the universally familiar ("Red [sky] at night", which is traditional even in my family -- and I don't have many family traditions!) to some which appear to deal with conditions in a particular harbor. We'll just file this as a lumping entry for all sailors' rhymes. - RBW
File: Colc204
===
NAME: Rum By Gum (Temperance Union Song)
DESCRIPTION: "We're coming, we're coming, our brave little band, On the right side of temperance we do take our stand.... Away, away with rum, by gum, The song of the Temperance Union." Various verses on the value of sobriety
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: drink political nonballad
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 317, "Temperance Song" (1 text, 1 tune -- a fragment without the chorus)
Pankake-PHCFSB, pp. 6-7, "Away With Rum" (1 text, 1 tune)
Silber-FSWB, p. 233, "Away With Rum" (1 text)
DT, (AWAYRUM*) (AWAYRUM2*) (AWAYRUM3*) (AWAYRUM4*) (AWAYRUM5*)
Roud #12765
NOTES: Warning: All the Digital Tradition versions are parodies of one sort or another (AWAYRUM5 is 35 verses, almost all silly, almost all modern). Many singers today sing this as a joke. But the roots of this piece are almost certainly serious (compare Randolph's version). - RBW
File: R317
===
NAME: Rum Saloon Shall Go, The
DESCRIPTION: "A wave is rolling o'er the land With heavy undertow, And voices sounding on the strand, The rum saloon shall go. Shall go, shall go, We know, we know, A cry is sounding o'er the land, The rum saloon shall go." The song promises to lift the curse of drink
AUTHOR: Words: Jno. O. Foster/Music: Jno. R. Sweeney
EARLIEST_DATE: 1888 (copyright claim)
KEYWORDS: drink political
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 333, "The Rum Saloon Shall Go" (1 text)
Roud #7805
File: R333
===
NAME: Rummy Crocodile, The: see The Wonderful Crocodile (File: MA134)
===
NAME: Rummy Dummy Line, The: see The Dummy Line (File: DTdumyli)
===
NAME: Run Along, You Little Dogies: see Get Along, Little Dogies AND Rocking the Cradle (and the Child Not His Own) (File: R178)
===
NAME: Run Come See
DESCRIPTION: "It was in nineteen hundred and twenty nine, I remember that day pretty well...." The singer describes the great storm that threatened the Ethel, Myrtle, and Praetoria, sinking the last. The Captain, George Brown, calls on the passengers to pray
AUTHOR: claimed by "Blind Blake" Higgs
EARLIEST_DATE: 1940s (recording, Blake Higgs)
KEYWORDS: religious ship storm wreck
HISTORICAL_REFERENCES: 1929 - The Bahamas are devastated by a hurricane with little or no advance warning. Three boats, the Ethel, Myrtle, and Praetoria, bound for Andros, are caught in the storm; the Praetoria sinks, and thirty-three are lost.
FOUND_IN: Bahamas
REFERENCES: (2 citations)
Silber-FSWB, p. 58, "Run Come See" (1 text)
DT, RUNCOME
RECORDINGS:
John Roberts & group, "Pytoria (Run Come See Jerusalem)" (on MuBahamas2)
CROSS_REFERENCES:
cf. "A Great Storm Pass Over" (subject)
ALTERNATE_TITLES:
Run Come See Jerusalem
NOTES: John Roberts claims to have composed this song within four days of the ship's sinking, rather than Blake Higgs. On reading his account, I'm inclined to believe him. - PJS
File: FSWB058
===
NAME: Run Come See Jerusalem: see Run Come See (File: FSWB058)
===
NAME: Run Here, Doctor, Run Here Quick
DESCRIPTION: Hammer song or similar: "Run here, doctor (huh), Run here quick (huh), Little Mary (huh) Swallowed a stick."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: doctor work injury
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 246, "Run Here, Doctor, Run Here Quick" (1 short text)
NOTES: The notes in Brown include various references which make it appear that they regard this as a version of "Shortenin' Bread." I don't see it. - RBW
File: Br3246
===
NAME: Run Mollie Run
DESCRIPTION: Verses from different songs. "Miss Liza was a gambler, learned me how to steal"; "I went down to Huntsville, I did not go to stay..."; "Oh, Liza, poor girl...she died on that train"; "Cherry  like a rose"; "Run, Mollie, run/Let us have some fun"
AUTHOR: Henry Thomas assembled it, at any rate
EARLIEST_DATE: 1927 (recording, Henry Thomas)
LONG_DESCRIPTION: Confused verses, mostly narrative, but apparently from different songs. "Miss Liza was a gambler, learned me how to steal"; "I went down to Huntsville, I did not go to stay/Just got there to do a little time, wear that ball and chain"; "Oh, Liza, poor girl...she died on that train"; "Cherry  like a rose"; "Run, Mollie, run/Let us have some fun"
KEYWORDS: captivity love beauty prison death gambling cards floatingverses prisoner dancetune
FOUND_IN: US(So)
REFERENCES: (0 citations)
RECORDINGS:
Henry "Ragtime Texas" Thomas, "Run Mollie Run" (Vocalion 1141, c. 1928 [rec. 1927]; on BefBlues1)
CROSS_REFERENCES:
cf. "Molly and Tenbrooks" [Laws H27] (lyrics)
NOTES: This song's a mess -- a composite of several songs, about half of which are ballads, half not. But it seems important to include, if for no other reason than that it *is* a composite. I strongly suspect -- no, I'm certain -- this was a dance tune; the rhythm is certainly right. - PJS
File: RcRunMol
===
NAME: Run Mountain
DESCRIPTION: Dance tune with floating verses: "I went up on the mountain to get me a load of pine..."; "Me six miles from my home... Me upstairs with another man's wife..."; Chorus: "Run mountain, chuck a little hill (x3)/There you'll get your fill."
AUTHOR: unknown
EARLIEST_DATE: 1949 (recording, J.E. Mainer's Mountaineers)
LONG_DESCRIPTION: Dance tune with floating verses: "I went up on the mountain to get me a load of pine/I put it on the wagon, I broke down behind"; "Me six miles from my home and the chickens crowing for day/Me upstairs with another man's wife, better be a-getting away"; "I went up on the mountain to give my horn a blow/I thought I heard my true love say, yonder comes my beau"; "If I had a needle and thread as fine as I could sew/I'd sew my true love to my side and down the road I'd go." Chorus: "Run mountain, chuck a little hill (x3)/There you'll get your fill."
KEYWORDS: adultery love work dancing humorous nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 206, "Run Mountain" (1 text, 1 tune)
RECORDINGS:
J. E. Mainer's Mountaineers "Run Mountain" (King 819, 1949)
New Lost City Ramblers, "Run Mountain" (on NLCR04)
CROSS_REFERENCES:
cf. "Down the River I Go" (words)
cf. "Whoop 'em Up Cindy" (words)
cf. "Little Musgrave and Lady Barnard" [Child 81] (words)
cf. "The Hunt is Up" (words)
NOTES: One of dozens of songs in southeastern and Appalachian tradition that reshuffle similar verses with new choruses and tunes. - PJS
File: CSW206
===
NAME: Run Old Jeremiah
DESCRIPTION: "Good Lord, by myself (x3), You know I've got to go, You got to run, I got to run, You got to run By myself (x3)." Song describes traveling, freedom, (God as) the rock, and other themes of the poor and oppressed
AUTHOR: unknown
EARLIEST_DATE: 1934 (Field Recording, J.A./Alan Lomax)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 197-200, "(Run Old Jeremiah)" (1 text, 1 tune)
Roud #15505
NOTES: The Lomax field recording of this song is incomplete at both beginning and end, but it would appear that the complete song would simply have continued the themes found in the extant portion. - RBW
File: CNFM197
===
NAME: Run to Jesus
DESCRIPTION: "Run to Jesus, shun the danger, I don't expect to stay much longer." The singer describes the difficulties of the path he must follow, but also the rewards to be found at the end. The refrain "I don't expect to stay much longer" ends each verse
AUTHOR: unknown
EARLIEST_DATE: 1888 (J. B. T. March, "The Story of the Jubilee Singers")
KEYWORDS: religious nonballad travel
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, pp. 89-90, "Run to Jesus" (1 text, 1 tune)
Roud #15263
NOTES: Reportedly sung by the Fisk Jubilee Singers, who had it from Frederick Douglass. Douglass remarked that this song prompted him to consider running from slavery. - RBW
File: Grnw089
===
NAME: Run with the Bullgine: see Run, Let the Bullgine Run (File: Hugi342)
===
NAME: Run, Let the Bulgine Run: see Run, Let the Bullgine Run (File: Hugi342)
===
NAME: Run, Let the Bullgine Run
DESCRIPTION: Shanty or railroading song. Refrain: "Run with/let the bulgine run. Way-yah oh-i-oh, Run with/let the bulgine run." Many verses repeat the "running" theme, i.e. "we'll run all day to Frisco Bay." Used as both a capstan and halyard shanty.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L. A. Smith, _Music of the Waters_)
KEYWORDS: shanty worksong sailor nonballad railroading
FOUND_IN: Britain US
REFERENCES: (3 citations)
Colcord, p. 64, "Run With the Bullgine" (1 short text, 1 tune)
Hugill, pp. 342-344, "Run, Let the Bulgine Run" (1 text, 1 tune) [AbEd, p. 257]
Sharp-EFC, XIII, p. 16, "Let the Bullgine Run" (1 text, 1 tune)
ST Hugi342 (Full)
Roud #4711
CROSS_REFERENCES:
cf. "Roll the Cotton Down" (tune)
NOTES: "Bullgine" was American Negro slang for a railway engine. - SL
(We might add that, in the early days of steamships, it was not unusual for railroad engines to be used in steamships.) - RBW
File: Hugi342
===
NAME: Run, Molly, Run: see Molly and Tenbrooks [Laws H27] (File: LH27)
===
NAME: Run, Nigger, Run
DESCRIPTION: Chorus: "Run, nigger, run, The (calaboose/patter-roller) will get you. Run, nigger run...." Various verses on the life of the slave, usually pertaining to punishment and perhaps the run to freedom
AUTHOR: unknown
EARLIEST_DATE: 1851 (Serenader's Song Book)
KEYWORDS: slave freedom escape nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
BrownIII 457, "Run, Nigger, Run" (4 texts plus an excerpt and mention of 2 more, all short and with hints of mixture but with this chorus)
Randolph 264, "Run, Nigger, Run" (1 text, 1 tune)
SharpAp 248, "Run, Nigger, Run" (1 text, 1 tune)
Randolph/Cohen, pp. 225-226, "Run, Nigger, Run" (1 text, 1 tune -- Randolph's 264)
Scarborough-NegroFS, p. 12, "Run, Nigger, Run" (1 text, 1 tune; it appears that this has mixed with something else, but the version isn't long enough to be sure what); also p. 24, "Run, Nigger, Run" (2 texts, 1 tune, both short); also p. 25, "Most Done Ling'rin Here" (1 text, 1 tune, with a verse from this plus the "If you get there before I do" floating verse and a chorus that might be "Rough, Rocky Road")
Lomax-ABFS, pp. 228-231, "Run, Nigger, Run" (1+ texts, 1 tune)
Botkin-AmFolklr, p. 906, "Run, Nigger, Run" (1 text, 1 tune)
Roud #3660
RECORDINGS:
Dr. Humphrey Bate & His Possum Hunters, "Run Nigger, Run" (Brunswick 275, 1928)
Fiddlin' John Carson, "Run Nigger, Run" (OKeh 40230, 1924)
Sid Harkreader & Grady Moore, "Run Nigger Run" (Paramount 3054, 1927)
Uncle Dave Macon, "Run, Nigger, Run" (Vocalion 15032, 1925)
Mose "Clear Rock" Platt, "Run, Nigger, Run" (AFS 196 A1, 1933; on LC04)
Gid Tanner & his Skillet Lickers, "Run Nigger Run" (Columbia 15158-D, 1927)
Clint Howard, Gaither Carlton, Fred Price & Doc Watson, "Run, Jimmie, Run" (on WatsonAshley01)
CROSS_REFERENCES:
cf. "Shortenin' Bread" (tune)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
ALTERNATE_TITLES:
Paddy-Roller
Pateroller Song
Run, Boy, Run
Run, Johnny, Run
Run, Slave, Run
NOTES: In Lomax we find the following explanation (quoted at several hands' remove):
"Just after the Nat Turner Insurrection in 1832 the Negroes were put under special restrictions to home quarters, and patrolmen appointed to keep them in, and if caught without a written pass from owner they were dealt with severely then and there; hence the injunction to 'Run, Nigger, Run, the Patter-roller Git You' to the tune of 'Fire in the Mountain....'" - RBW
File: R264
===
NAME: Run, Sallie, My Gal: see Bugle, Oh! (File: Br3197)
===
NAME: Runaway Bride, The
DESCRIPTION: "If you go to the North Countrie... You'll hear how the bride from the blacksmith ran To be a liggar lady." Townfolk gather to the wedding; the bride is missing. The audience laughs at the groom's expense. Men are warned of Hieland lads luring their girls
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: marriage abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 462-463, "The Runaway Bride" (1 text)
Roud #2876
NOTES: Ord reports this to be based on an event which occurred "near the end of the eighteenth century." Given the song's history (analogs appear in Herd and the Scots Musical Museum), that date seems a bit late. - RBW
File: Ord462
===
NAME: Runaway Train, The: see The Little Red Train (File: EM224)
===
NAME: Rural Courtship: see The Monymusk Lads (File: Ord068)
===
NAME: Rurey Bain: see Sir Lionel [Child 18] (File: C018)
===
NAME: Russia, Let That Moon Alone
DESCRIPTION: "Oh, Russia, let that moon alone, Moon ain't worryin' you! God told you to till the earth, God didn't tell you to till the moon! You can make your sputnickles And your satellites, You can't get God's moon." The moon is for light, not exploration
AUTHOR: unknown
EARLIEST_DATE: 1963 (Courlander)
KEYWORDS: technology nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 78-79, (no title) (1 text); p. 260, "Russia, Let That Moon Alone" (1 tune, partial text)
NOTES: It's hard to believe that this silly bit of Luddite-ism can be traditional; on its face, it must have been written between 1959 (when the Soviet Union sent up the first Luna satellites) and Kennedy's announcement that the United States would try to beat the Soviets there.
Courlander's notes imply that it is from a field recording, but I'm not sure how far to trust that.
I hope it goes without saying that the Bible says nothing, positive or negative, about lunar exploration, manned or unmanned. - RBW
File: CNFM078
===
NAME: Russian Sing for Heaving the Anchor
DESCRIPTION: Tune only, no text. According to Hugill, Russian seaman had few real shanties and apart from the songs quotes by Smith there is nothing in the literature.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L.A. Smith, _Music of the Waters_)
KEYWORDS: foreignlanguage nonballad shanty worksong
FOUND_IN: Russia
REFERENCES: (1 citation)
Hugill, p. 572, "Russian Sing for Heaving the Anchor" (1 tune only, no text-quoted from Smith)
File: Hugi572
===
NAME: Rustlin' Gambler, The: see (tentatively) The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Rusty Jiggs and Sandy Sam: see Tying a Knot in the Devil's Tail [Laws B17] (File: LB17)
===
NAME: Rusty Old Rover: see The Cobbler (File: R102)
===
NAME: Ryans and the Pittmans, The: see We'll Rant and We'll Roar (File: FJ042)
===
NAME: Rye Straw
DESCRIPTION: Dance tune: "Dog shit a ryestraw, dog shit a jackstraw/Dog tore his asshole tryin' to shit a hacksaw." "Dog shit a ryestraw, dog shit a minner/Dog shit a catfish big enough for dinner" 
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Uncle "Am" Stuart)
KEYWORDS: injury dancetune nonballad animal dog
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #16847
RECORDINGS:
Bascom Lamar Lunsford, "Rye Straw" (on BLLunsford01)
Clayton McMichen & Riley Puckett, "Rye Straw" (Columbia 15521-D, 1930, rec. 1929)
Doc Roberts, "Rye Straw" (Champion 16026, 1930)
Uncle "Am" Stuart, "Rye Straw" (Vocalion 14843, 1924; Brunswick [Canada] 1003, n.d.)
Unidentified singer, "Grubbing Hoe" (on Unexp1)
ALTERNATE_TITLES:
Joke on the Puppy
The Unfortunate Pup
NOTES: With the exception of the anonymous version on "The Unexpurgated Folk Songs of Men" (Unexp1), none of the recorded versions includes the lyrics, although every American fiddler knows them. On the Skillet Lickers' recording, when the fiddler announces that the tune will be "Ryestraw," someone replies, "All right, but let your conscience be your guide." - PJS
Bascom Lamar Lunsford, in his recording of this song, noted "There are a lot of unprintable and unsingable stanzas to the old song. However, that is not confused with what we boys used to do in the old days, gather around... and possibly some of the boys would repeat maybe some questionable stanzas and follow it with 'Rye straw, rye straw, rye straw.'"
Incidentally, I've seen at least one "clean" mnemonic for this song, though presumably it is not the original. - RBW
File: RcRyStra
===
NAME: Rye Whiskey
DESCRIPTION: A song of intense alcoholism: "Rye whiskey, rye whiskey, rye whiskey I cry; If I don't get rye whiskey I surely will die." "If the ocean was whisky and I was a duck, I'd dive to the bottom...." Many verses about how drink has affected the singer's life 
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: drink rambling floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (20 citations)
Belden, pp. 374-377, "The Guerrilla Boy" (4 texts, 1 tune; the first of two texts filed as "C" is this song)
BrownIII 50, "Jack of Diamonds" (4 texts, all short; some may be "Jack of Diamonds (II)")
Hudson 79, pp. 207-208, "Jack of Diamonds" (1 short text); 117, pp. 258-259, "O Lillie, O Lillie," mostly a "Jack of Diamonds" text but with verses which mix it with "The Rebel Soldier"; also 116, p. 258, "I'll Eat When I'm Hungry" (1 fragment, a single stanza based on this song but probably belonging with "The Rebel Soldier": "I'll eat when I'm hungry, I'll drink when I'm dry, If the Yankees don't kill me, I'll live till I die")
Randolph 405, "Rye Whiskey, Rye Whiskey" (6 texts, 1 tune); also 494, "Tie-Hackin's Too Tiresome" (1 fragment, 1 tune, an extract from a longer version)
Randolph/Cohen, pp. 344-345, "Rye Whiskey, Rye Whiskey" (1 text, 1 tune -- Randolph's 405A); pp. 375-376, 'Tie Hackin's Too Tiresome" (1 text, 1 tune -- Randolph's 494)
Fuson, p. 157-159, "His Wants," "My Welcome," "I'll Live Till I Die  (second, ninth, and tenth of 12 single-stanza "jigs") (3 fragments, all sometimes found with this song though all are floating verses)
Sandburg, p. 307, "Way Up On Clinch Mountain" (2 text, 1 tune, but only the "A"  text belongs here; "B" is perhaps "Sweet Lulur")
Lomax-FSUSA 64, "Rye Whiskey" (1 text, 1 tune)
Lomax-ABFS, pp. 170-173, "Rye Whiskey" (1 text+minor fragments, 1 tune)
Botkin-AmFolklr, pp. 855-857, "Rye Whisky" (1 text, 1 tune)
Chase, pp. 142-143, "Clinch Mountain" (1 text, 1 tune)
PSeeger-AFB, p. 69, "Rye Whiskey" (1 text, 1 tune)
Rorrer, p. 92, "If the River Was Whiskey" (1 text, built around W. C. Handey's "Hesitating Blues" but with most of the verses from this song)
Darling-NAS, pp. 286-287, "Jack o' Diamonds" (1 text, heavily mixed with "Logan County Jail"); pp. 287-288, "Rye Whiskey" (1 text)
MWheeler, pp. 112-113, "Beefsteak When I'm Hongry" (1 text, 1 tune, a mixed fragment I file here on the basis of the first verse; the others are from elsewhere)
Thomas-Makin', p. 121, (no title) (1 text, all floating verses, some of which are, or can be, part of "Rye Whiskey" and all of which are drink-related)
Silber-FSWB, p. 233, "Rye Whiskey" (1 text)
Pankake-PHCFSB, p. 5, "Rye Whiskey" (1 text, 1 tune)
Saffel-CowboyP, pp. 211-213, "Jack o' Diamonds" (1 text; this particular Lomax offering contains elements of "Jack o Diamonds/Rye Whisky," "The Wagoner's Lad," The Rebel Soldier," and others)
DT, RYEWHISK* MOONSHI4* (RYEWHISx)
Roud #941
RECORDINGS:
Jules Allen, "Jack O' Diamonds" (Victor 21470, 1928; Montgomery Ward M-4464, 1934)
Fiddlin' John Carson, "The Drunkard's Hiccups" (OKeh 45032, 1926; rec. 1925)
Wilf Carter, "Rye Whiskey" (Bluebird [Canada] 58-0058, 1948)
Yodeling Slim Clark, "Rye Whiskey" (Continental 8012, n.d.)
Homer & Jethro, "Rye Whiskey" (King 571, 1947)
Harry Jackson, "Jack o' Diamonds" (on HJackson1)
J. E. Mainer's Mountaineers "Drunkard's Hiccoughs" (Bluebird B-8400, 1940)
New Lost City Ramblers, "Drunkard's Hiccups" (on NLCR08)
Elmo Newcomer, "Rye Whiskey" CroMart 100, n.d. but prob. late 1940s - early 1950s)
Bill Nicholson w. Zane Shrader, "Jack of Diamonds" (AFS; on LC14)
Charlie Poole and the North Carolina Ramblers, "If the River Was Whiskey" (with verses from this song though also related to "Hesitation Blues" or Handy's "Hesitating Blues"; Columbia 15545-D, 1930; on CPoole02)
Tex Ritter, "Rye Whiskey, Rye Whiskey" (Vocalion 5493, c. 1931; Vocalion 04911, 1939) (Edison Bell Winner [U.K.] W-21, 1933); "Rye Whiskey" (Capitol 40084, 1948)
Reaves White County Ramblers, "Drunkard's Hiccups" (Vocalion 5247, 1928)
Hobart Smith, "Drunken Hiccups" (on LomaxCD1706)
Pete Seeger, "Whiskey, Rye Whiskey" (on PeteSeeger07, PeteSeeger07b)
Jilson Setters [pseud. for James W. "Blind Bill" Day], "Way Up On Clinch Mountain" (Victor 21635, 1928; on RoughWays1, KMM)
Woltz's Southern Broadcasters, "Jack O' Diamonds" (Herwin 75561, c. 1927)
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "Greenback Dollar"
cf. "Sailing Out on the Ocean" (floating lyrics)
cf. "Jack of Diamonds (I)" (lyrics)
ALTERNATE_TITLES:
Jack O'Diamonds
Drunken Hiccups
NOTES: This song merges almost continuously with "The Wagoner's Lad" (which itself has offshoots such as "I'm a Rambler, I'm a Gambler"); see that song also for the full list of variants.
The "Jack of Diamonds" subfamily of this song is well known, and perhaps would be considered by some a separate song, but contains so much mixture with this song that I don't see any way to separate them. - RBW
File: R405
===
NAME: Rye Whiskey, Rye Whiskey: see Rye Whisky (File: R405)
===
NAME: Ryebuck Shearer, The
DESCRIPTION: The singer describes how anyone can gain respect if he is a ryebuck shearer. He is told that he will never be that good, but stoutly maintains that he'll get there someday
AUTHOR: unknown
EARLIEST_DATE: 1953 (collected by John Meredith fromJac Luscombe)
KEYWORDS: sheep work 
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, p. 23, "The Ryebuck Shearer" (1 text, 1 tune)
Fahey-Eureka, pp. 144-145, "The Ryebuck Shearer" (1 text, 1 tune)
Manifold-PASB, pp. 118-119, "The Ryebuck Shearer" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 196-197, "The Ryebuck Shearer" (1 text)
NOTES: A "ryebuck shearer" is an expert shearer (also called a "gun"), usually expected to shear a "century" -- a hundred sheep in a day. The name often referred specifically to the "ringer," or best shearer in the shed. - RBW
File: MA023
===
NAME: Ryner Dyne: see Reynardine [Laws P15] (File: LP15)
===
NAME: 'S mise chunnaic an t-longnadh (Mermaid Song) (It Is I Who Saw The Wonder)
DESCRIPTION: In Scots Gaelic: "It is I who saw the wonder/One early morning as I was looking for sheep/A girl with flowing brown hair/Sat on a flat rock of the gulls." The mermaid and her brothers are involved in a mysterious, bloody fight in a rocky cave
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Penny Morrison)
KEYWORDS: fight mermaid/man supernatural
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (0 citations)
RECORDINGS:
Penny Morrison "'S mise chunnaic an t-longnadh [Mermaid Song] (It Is I Who Saw The Wonder)" [fragment] (on Lomax43, LomaxCD1743)
NOTES: Alas, Lomax provides only the introductory verses and a maddeningly brief summary of the song. - PJS
File: RcSMCATL
===
NAME: S-A-V-E-D
DESCRIPTION: The singer complains about the sins of others, spelling each out (e.g. they "d-a-n-c-e" while wearing a new "h-a-t"). The singer, though, need not worry about such things; "It's g-l-o-r-y to know I'm s-a-v-e-d."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Gid Tanner & his Skillet Lickers)
KEYWORDS: religious nonballad sin
FOUND_IN: US Canada(Newf)
REFERENCES: (2 citations)
Leach-Labrador 124, "S-A-V-E-D" (1 text, 1 tune)
Silber-FSWB, p. 349, "It's G-L-O-R-Y To Know I'm S-A-V-E-D" (1 text)
Roud #9539
RECORDINGS:
The Blue Sky Boys, "I'm S-A-V-E-D" (Bluebird 8401, 1940)
The Georgia Yellow Hammers, "I'm S-A-V-E-D" (Victor 21195, 1928)
Karl & Harty, "I'm S-A-V-E-D" (Perfect 6-10-54, 1936)
Gid Tanner and His Skillet Lickers, "S-A-V-E-D" (Columbia 15097-D, 1926)
NOTES: Obviously a composed song, but I've no knowledge of the source. I've heard it enough times that I suspect it belongs in the Index. - RBW
File: FSWB349
===
NAME: Sable Island Shore
DESCRIPTION: A tribute to the lifeguards at the Sable Island lighthouse who "glide from the beach to the roaring seas The lives of the crews to save ... They risk their lives in their daily work ... On the Sable Island shore"
AUTHOR: Ted Germain
EARLIEST_DATE: 1964 (NFOBlondahl04)
KEYWORDS: rescue ship shore wreck nonballad
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Omar Blondahl, "Sable Island Shore" (on NFOBlondahl04)
NOTES: Ted Germain is a Nova Scotia musician. "One of his early compositions, Sable Island Shores, became a local hit and would lead Germain to a recording contract and a series of albums for London Records." (Source: From the East Coast Music Awards Canada site, re 2004 Stompin' Tom Award Recipients)
Sable Island, Nova Scotia, about 23 miles long, is about 110 miles, at its nearest point, from the Nova Scotia coast. According to the Sable Island Preservation Trust site: more than 350 wrecks have been recorded there since 1583; a lifesaving station operated there from 1801 until 1958.
Blondahl04 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Sable Island Shore" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: RcSaIsSh
===
NAME: Sable Island Song (I)
DESCRIPTION: "On the stormy western ocean ... Lies a barren little island." The singer signs to be government caretaker, wear government clothes, chase "crazy horses" and "wild cattle," swallow inedible food: "Get off Sable Island Or you'll be crazy in a year"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton - Nova Scotia)
KEYWORDS: work food ordeal animal
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 142, "Sable Island Song" (1 text, 1 tune)
ST RcSabIsl (Partial)
Roud #1838
RECORDINGS:
Omar Blondahl, "Sable Island" (on NFOBlondahl03)
NOTES: Creighton-NovaScotia: "The author of this song is said to be one of the sons of the well-to-do in Halifax who was sent to Sable Island ... to be cured of his fondness for the cup."
Sable Island, Nova Scotia, about 23 miles long, is about 110 miles, at its nearest point, from the Nova Scotia coast. 
Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Sable Island" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
The song in its current form, based on the information in Creighton, must be dated to 1904 or after, when Gordeau Park was founded. - (RBW, BS)
File: RcSabIsl
===
NAME: Sable Island Song (II)
DESCRIPTION: Hard times for "banned steeves" at Main Station. They steal from other boys "and only call that fun" but the busy-bodies "in the castle... their tongues were never still." The "steeves" nail a postal to their door and refuse to take it down.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: accusation hardtimes food theft
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 143, "Sable Island Song" (1 text, 1 tune)
ST CrNS143 (Partial)
Roud #1839
NOTES: Creighton-NovaScotia. "In 1926 the wireless men lost some potatoes and accused Main Station men ["banned steeves"] of taking them.... The [people in the castle] are the wireless operator and his wife." I guess "postal" should be read as "post" [I take it to mean 'letter" or "accusation" - RBW]. See other Sable Island songs for confirmation of the hard times there. - BS
The Communal Composition advocates would love this. According to Creighton's notes, the Main Station staff each wrote a verse as a competition to see who could do best. Little surprise, then, that the result is ragged and tells an imperfect story. But as for Creighton's comment that "the song-making instinct is not dormant" -- no, it's not, as anyone who listens to rock music can tell. The instinct to make GOOD songs is another matter.... - RBW
File: CrNS143
===
NAME: Sacramento: see Ho for California (Banks of Sacramento) (File: E125)
===
NAME: Sacramento Gals
DESCRIPTION: Singer praises the beauty and elegance of Sacramento gals, with their bustles, hoops, and powdered, painted faces. Refrains: "Nipping around, around, around"; "As they go nipping around"
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: beauty clothes nonballad
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "Sacramento Gals" (on LEnglish02)
CROSS_REFERENCES:
cf. "Bobbing Around" (tune)
NOTES: Among the verses cited, "They're here and there, like Santa Anna/They're fresh and mellow like ripe banana" stands out as an exemplar of how tastes in compliments have changed. I believe Walt Kelly parodied that at one point -- "Your eyes are warm as sweet manana/Soft and gooey like fried banana." Not a verse I'm likely to forget - PJS
File: RcSacrGa
===
NAME: Sad and Lonely Comrade
DESCRIPTION: Bobby dies and his father and mother mourn. "Prepare to meet your darling with Christ up in the skies. We all have loved ones sleeping, all in a churchyard bed, And why not try to meet them in a moment we are dead"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: death religious father mother
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 52, "Sad and Lonely Comrade" (1 text, 1 tune)
ST LLab052 (Partial)
Roud #9987
NOTES: Leach's informant thought this a local song about a Labrador event, though he didn't know details. I suspect he was right, though; the song is unsophisticated and the poetry neither good nor clear. - RBW
File: LLab052
===
NAME: Sad and Lonesome Day: see See That My Grave Is Kept Clean (File: ADR92)
===
NAME: Sad Condition
DESCRIPTION: "A young lady sat down in a sad condition/A-mourning the loss of her own true love/Some folks say that he was taken/In the wars with Germany/Hi-lee, 'tis not so/I'll turn back and be your beau/Turn my elbow to my wrist/I'll turn back in a double twist"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection); +1907 (JAF20)
KEYWORDS: grief love war death mourning dancing playparty lover
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 263, "Sad Condition" (1 fragment, 1 tune)
Roud #940
CROSS_REFERENCES:
cf. "Killy Kranky" (lyrics)
NOTES: This is a weird hybrid of what sounds like a remnant of a tragic lover-lost-in-the-army ballad and a few lines from a playparty, "Killy Kranky." But that has no narrative to speak of, and this one does, sort of, so it gets its own entry. Oh, the version collected by Sharp came from Hindman, KY, where various generations of Ritchies attended the settlement school. - PJS
File: ShAp2263
===
NAME: Sad Courtin', The: see The Suffolk Miracle [Child 272] (File: C272)
===
NAME: Sad Song, The: see Lady Mary (The Sad Song) (File: R698)
===
NAME: Saddest Face in the Mining Town, The
DESCRIPTION: A miner takes leave of his girl, noting that tomorrow they will be married, He goes down in the mine, which caves in. The bells, instead of tolling for a wedding, toll for his funeral. Years later, his body is found, and the white-haired bride knows it
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: beauty mining death disaster corpse wedding
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 58, pp. 265-267, "The Saddest Face in the Mining Town" (1 text, 1 tune)
Roud #10108
NOTES: The deft work of this song is impressive: The contrast between the "fairest face in the mining town" and the "saddest face in the mining town,' and an overall air of understatement, make it especially poignant. Logsdon is reminded of an old ballad, but it strikes me as more parlor poetry (though exceptionally good of its kind). We might note that the idea of the wedding bell that instead rings a funeral note is hardly unique to this song -- A. E. Housman used it, with equal brilliance and images even more spare, in "Bredon Hill." - RBW
File: Logs058
===
NAME: Saddle Tramp (Saddle Bum), The
DESCRIPTION: Singer tells of life as a "saddle bum" or "saddle tramp," riding the grub-line, moving from ranch to ranch, singing for his keep. When things get cool, he "forks his bronc" and moves on. Over winter, he stays with his Neta, and promises to be true to her
AUTHOR: Curley Fletcher
EARLIEST_DATE: 1931 (Curley Fletcher, "Songs of the Sage")
KEYWORDS: rambling travel music nonballad animal horse lover hobo
FOUND_IN: US(Ro)
REFERENCES: (0 citations)
RECORDINGS:
Harry Jackson, "The Saddle Bum" (on HJackson1)
NOTES: The "grub line" or "chuck line" refers to the practice of offering itinerant cowboys or workers a few days' food and lodging as they passed through. - PJS
File: RcSadTra
===
NAME: Sadie (I): see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Sadie (II): see Bad Lee Brown (Little Sadie) [Laws I8] (File: LI08)
===
NAME: Sadie Ray
DESCRIPTION: "Near a cool and shady woodland Where the rippling streamlets flow Dwelt a maiden kind and lovely But 'twas in long years ago." He describes their love and plans to marry, "But she's dead, my Sadie Ray." He prepares to meet her in Heaven
AUTHOR: unknown
EARLIEST_DATE: 1935 (recorded by Ashley & Foster)
KEYWORDS: love death separation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 770, "Sadie Ray" (1 text, 1 tune)
Roud #4314
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Sadie Ray" (Vocalion 02900, 1935)
NOTES: Printed in one of the Hamlin's Wizard Oil songbooks, probably in the 1880s. - RBW
File: R770
===
NAME: Sae Will We Yet: see And Sae Will We Yet (File: FVS256)
===
NAME: Safe at Home in the Promised Land: see Where Is Old Elijah? (The Hebrew Children, The Promised Land) (File: San092)
===
NAME: Said Frohock to Fanning
DESCRIPTION: "Said Frohock to Fanning, 'To tell the plain truth, When I came to this country I was but a youth... And then my first study was to cheat for a hoss.'" Fanning and Frohock happily exchange tales of cheating those around them
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: political robbery
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 279, "Said Frohock to Fanning" (1 text)
CROSS_REFERENCES:
cf. "From Hillsborough Town the First of May" (subject)
cf. "When Fanning First to Orange Came" (subject)
cf. "Who Would Have Tho't Harmon" (subject)
NOTES: One of four "regulator" songs in Brown. The regulators were a group of protesters against high taxes and fees, found mostly in North Carolina though some also were active in South Carolina.
The Regulators formally organized in 1766, when William Tryon (1725-1788) was governor of North Carolina (1765-1771); he defeated them at Almance in 1771. That was Tryon's way; as governor of New York (1771-1778) he was equally harsh. His successors then turned to compromise.
Edmund Fanning, a Yale graduate of 1757, was a favorite of Tryon's; after moving to North Carolina, he went from being a local attorney to a Superior Court clerk and legislator. He also built a reputation for extreme avarice, making him a particular target for the regulators (and vice versa). A loyalist during the Revolution (commanded the King's American Regiment of Foot), he died in London.
The notes in Brown observe three men named Frohock held station in North Carolina in the Regulators. They suspect Thomas Frohock is meant, but this is beyond proof.  - RBW
File: BrII279
===
NAME: Saighdiuir Treigthe, An (The Forsaken Soldier)
DESCRIPTION: Gaelic. Singer wakes and throws away his uniform. He hears gossip about his sweetheart and cuts off his finger. He will die before Easter but would return from the dead if she calls him. He curses his father for driving him to drink and the army.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: foreignlanguage love nonballad injury soldier death ghost separation
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 168-169, "An Saighdiuir Treigthe" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 115-116, "An Saighdiur Treigthe" ("The Deserted Soldier") [Gaelic and English]
NOTES: Tunney-StoneFiddle includes both the Gaelic and Paddy Tunney's English translation. However, I used Bell/O Conchubhair for most of the description because it seemed a better match for what little Gaelic I could follow. Tunney has one additional verse. - BS
File: TSF168
===
NAME: Sail Away Ladies
DESCRIPTION: Dance tune with floating verses: "Ever I get my new house done/Sail away, ladies, sail away/Give the old one to my son/Sail away...."  "Don't you worry, don't you cry... You'll be angels by and by" Etc. "Chorus: "Don't'ye rock 'em, di-de-o (x3 or x4)".
AUTHOR: Words assembled by Uncle Dave Macon
EARLIEST_DATE: 1926 (recording, Uncle Bunt Stephens)
LONG_DESCRIPTION: Dance tune with floating verses, and some that should be: "Ever I get my new house done/Sail away, ladies, sail away/Give the old one to my son/Sail away, ladies, sail away"; "Children, Don't You Grieve and Cry/You're gonna be angels by and by"; "Come along, girls and go with me/We'll go back to Tennessee". Chorus: "Don't'ye rock 'em, di-de-o (3-4x)". "Sail away, ladies, sail away" is the verse refrain.
KEYWORDS: dancing drink humorous nonballad floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Cohen/Seeger/Wood, p. 203, "Sail Away Ladies" (1 text, 1 tune)
Darling-NAS, p. 251, "Sail Away Ladies" (1 text)
MWheeler, p. 15-16, "Oh, When I Git My New House Done" (1 text, 1 tune -- a fragment with no chorus but verses similar to this)
Silber-FSWB, p. 42, "Sail Away Ladies" (1 text)
DT, SAILLADI*
RECORDINGS:
Henry L. Bandy, "Sail Away Ladies" (Gennett test pressing GEx14361, 1928; unissued; on KMM)
Logan English, "Old Doc Jones" (on LEnglish01)
Uncle Dave Macon & his Fruit Jar Drinkers, "Sail Away Ladies" (Vocalion 5155, 1927; on TimesAint02)
New Lost City Ramblers, "Sail Away, Ladies" (on NLCR05)
Parker & Dodd "Sail Away Lady" (Banner 32817/Melotone 12745/Romeo 5250, 1933)
Uncle Bunt Stephens, "Sail Away Ladies" [instrumental version] (Columbia 15071-D, 1926; on AAFM2)
CROSS_REFERENCES:
cf. "Down the River I Go" (words)
cf. "Carve That Possum" (portion of tune)
NOTES: This started out as a fiddle tune, to which Uncle Dave [Macon] added his own unique brand of nonsense--some original, some floating verses. -PJS
Not to be confused with the song sung by W.C. Handy: "Sail away, ladies, sail away; Sail away, ladies, sail away. Never mind what de sisters say, Just shake your Dolly Varden and sail away." - RBW
File: CSW203
===
NAME: Sail, O Believer
DESCRIPTION: "Sail, O believer, sail, Sail over yonder, Sail, O my brother, Sail over yonder." The listener is invited to join in the work and view the promised land. "For Jesus comes... And Jesus locks the doors... And carries the keys away."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scott-BoA, pp. 197-198, "Sail, O Believer" (1 text, 1 tune)
Roud #11976
File: SBoA197
===
NAME: Sailing at High Tide: see Sailing in the Boat (File: LoF013)
===
NAME: Sailing in the Boat
DESCRIPTION: "Sailing in the boat when the tide runs high, (x3) Waiting for the pretty girl(s) to come by and by." The rest is floating verses on courting, e.g. "Here she comes so fine and fair, Sky blue eyes and curly hair, Roses in her cheek, dimple in her chin...."
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: courting ship nonballad playparty floatingverses
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Lomax-FSNA 13, "Sailing in the Boat" (1 text, 1 tune)
Botkin-AmFolklr, pp. 812-813, "Sailing at High Tide" (1 text, 1 tune)
ST LoF013 (Full)
Roud #6665
File: LoF013
===
NAME: Sailing Out on the Ocean
DESCRIPTION: Singer is sailing the ocean; says if he gets shot or drowned there will be no one to weep for him. Despite his mother's usual warning, he gambled and lost his life savings while drunk. The only girl he has loved has turned her back on him
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Haskell Wolfenbarger)
KEYWORDS: loneliness warning gambling courting floatingverses
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Haskell Wolfenbarger, "Sailing Out on the Ocean" (Vocalion 5390, 1930; on RoughWays2)
CROSS_REFERENCES:
cf. "On Top of Old Smoky" (floating lyrics)
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
cf. "Rye Whiskey" (floating lyrics)
File: RcSOOtO
===
NAME: Sailing, Sailing
DESCRIPTION: Known mostly for the lines in the middle of the chorus: "Sailing, sailing, over the bounding main, For many a stormy wind shall blow ere Jack comes home again." About the "bold and free" life of the sailor, and his true heart, and his return home
AUTHOR: Godfrey Marks
EARLIEST_DATE: 1880 (sheet music)
KEYWORDS: sailor sea ship nonballad home
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 89, "Sailing Sailing" (1 text)
Fuld-WFM, p. 483, "Sailing"
DT, SLNGSLNG
SAME_TUNE:
Sailing the Union Way (Greenway-AFP, p. 235)
File: FSWB089
===
NAME: Sailor and His Bride, The [Laws K10]
DESCRIPTION: The sailor's widow reports that her husband went to sea three years ago, after only three months of marriage. His ship was lost in a storm; she wishes that she could join him in his watery grave
AUTHOR: unknown
EARLIEST_DATE: 1879 (Brown); there is a broadside from slightly before this
KEYWORDS: sailor storm wreck death
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Canada(Newf)
REFERENCES: (8 citations)
Laws K10, "The Sailor and His Bride"
Randolph 762, "My Lovely Sailor Boy" (2 texts, 1 tune)
Eddy 34, "The Sailor and His Bride" (2 texts, 1 tune)
JHCox 113, "The Sailor and His Bride" (2 texts)
BrownII 112, "The Sailor's Bride" (2 texts)
Chappell-FSRA 31, "Charlie and Mary" (1 text)
Peacock, pp. 439-440, "Early Spring" (1 text, 1 tune)
DT 558, SAILBRDE
Roud #274
ALTERNATE_TITLES:
The Sailor's Sweetheart
My Soldier Boy
File: LK10
===
NAME: Sailor and his True Love (II): see Farewell, Charming Nancy [Laws K14] (File: LK14)
===
NAME: Sailor and the Ghost, The [Laws P34A/B]
DESCRIPTION: A pregnant girl hangs herself after being abandoned by her lover. The guilty youth goes to sea to escape her ghost, but the spirit follows and finds him. She threatens the captain until he is produced, and then burns the ship with him aboard
AUTHOR: unknown
EARLIEST_DATE: 1805 (broadside, Bodleian Harding B 10(68))
KEYWORDS: pregnancy abandonment ghost disaster suicide
FOUND_IN: US(MA,SE) Canada(Mar,Newf) Britain(England)
REFERENCES: (8 citations)
Laws P34A, "The Sailor's Tragedy (The Sailor and the Ghost A)"/P34B, "Handsome Harry (The Sailor and the Ghost B)"
BrownII 68, "Handsome Harry" (1 text, identified by Laws as P34B)
Creighton/Senior, pp. 151-154, "The Dreadful Ghost" (2 texts, 2 tunes)
Creighton-Maritime, pp. 116-117, "The Dreadful Ghost" (1 text, 1 tune)
Peacock, pp. 398-403, "The Sea Ghost" (3 texts, 3 tunes)
Leach-Labrador 18, "The Sailor's Tragedy" (1 text, 1 tune)
Mackenzie 92, "The Sailor's Tragedy" (1 text)
DT 512, DREDGHOS
Roud #568
BROADSIDES:
Bodleian, Harding B 10(68), "The Sailor and the Ghost," Laurie and Whittle (London), 1805; also 2806 c.8(242), "The Sailor and the Ghost"
CROSS_REFERENCES:
cf. "Captain Glen/The New York Trader (The Guilty Sea Captain A/B)" [Laws K22]
ALTERNATE_TITLES:
The Murdered Girl
File: LP34
===
NAME: Sailor and the Lady, The: see The Jolly Young Sailor and the Beautiful Queen [Laws O13] (File: LO13)
===
NAME: Sailor and the Shepherdess, The [Laws O8]
DESCRIPTION: A wandering young sailor, seeing a shepherdess asleep by the sea, goes up to her and kisses her. Surprised into wakefulness, she begins to cry, but the sailor offers marriage, and she accepts
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 25(1698))
KEYWORDS: sailor courting marriage
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (5 citations)
Laws O8, "The Sailor and the Shepherdess"
Mackenzie 53, "The Sailor and the Shepherdess" (1 text)
Creighton-SNewBrunswick 37, "The Shepherdess" (1 text, 1 tune)
SHenry H104, p. 457, "The Gentle Shepherdess" (1 text, 1 tune)
DT 473, SAILSHEP
Roud #959
BROADSIDES:
Bodleian, Harding B 25(1698), "The Sailor's Courtship" ("As a pretty young shepherdess was minding her sheep"), J. Evans (London) , 1780-1812; also Harding B 16(239b), Firth b.25(330), Firth c.13(193), Firth c.13(194), Harding B 11(3262), "[The] Sailor's Courtship"; Harding B 16(238c), "Harding B 11(3374), [The] Sailor and Shepherdess"
File: LO08
===
NAME: Sailor and the Tailor (II), The: see The Boatsman and the Chest [Laws Q8] (File: LQ08)
===
NAME: Sailor and the Tailor, The [Laws P4]
DESCRIPTION: A girl and a sailor agree to marry after he finishes his voyage. When he returns, he finds that she will soon marry a tailor. He meets them and persuades the girl to change her mind
AUTHOR: unknown
EARLIEST_DATE: 1916
KEYWORDS: sailor wedding infidelity rejection love
FOUND_IN: Britain(England) US(MA) Canada(Mar)
REFERENCES: (6 citations)
Laws P4, "The Sailor and the Tailor"
Sharp-100E 73, "The Watchet Sailor" (1 text, 1 tune)
Creighton/Senior, pp. 167-168, "Jack the Sailor" (1 text, 1 tune)
Creighton-Maritime, pp. 134-135, "Jack the Sailor" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "The Sailor and the Tailor" (source notes only)
DT 492, SAILTAIL
Roud #917
File: LP04
===
NAME: Sailor Bill
DESCRIPTION: "I've sailed to the east and I've sailed to the west, They call me Sailor Bill, I have come to seek my own blood kin That settled in the hills." The sailor tells how, after sailing far, he looks for his family and settles down "with my Preston kin."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: sailor home return reunion
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 32, (no title) (1 text)
NOTES: Thomas's informants thought this the work of William Calvert Preston. This seems possible, since that family gave her the song. - RBW
File: ThBa032
===
NAME: Sailor Bold: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor Boy (I), The [Laws K12]
DESCRIPTION: A girl asks her father to build her a boat so that she may search for her lover. She describes the boy to a passing captain, who tells her he is drowned. She gives directions for her burial, then dies of grief or dashes her boat against the rocks
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(2298))
KEYWORDS: ship death lover drowning loneliness separation sailor
FOUND_IN: Britain(England(Lond,South,West),Scotland) US(Ap,MW,NE,SE,So) Ireland Canada(Mar,Newf,Queb)
REFERENCES: (30 citations)
Laws K12, "The Sailor Boy I"
Belden, pp. 186-191, "The Sailor Boy" (6 texts, 1 tune)
Randolph 68, "The Sailor's Sweetheart" (3 text plus 2 fragments, 4 tunes)
Randolph/Cohen, pp. 68-70, "The Sailor's Sweetheart" (1 text, 1 tune -- Randolph's 68C)
Scarborough-SongCatcher, pp. 318-320, "Oh, Captain, Captain, Tell Me True" (1 text; tune on pp. 441-442)
Brewster 54, "Sweet William (The Sailor Boy)" (1 text)
Eddy 33, "Sweet William" (6 texts, 3 tunes)
Gardner/Chickering 25, "The Sailor Boy" (1 short text; the first 6 lines are "The Sailor Boy"; the last twelve are perhaps "The Butcher Boy")
Rickaby 18, "The Pinery Boy" (1 text, 1 tune; also a fragment in the notes)
Leach, pp. 736-737, "The Sailor Boy" (1 text)
Leach-Labrador 9, "The Sailor Boy" (1 text, 1 tune)
Karpeles-Newfoundland 43, "Sweet William" (1 text, 1 tune)
Creighton-NovaScotia 27, "Broken Ring Song fragment" (1 single-stanza fragment, 1 tune); 44, "My Sailor Lad,  "Sailor Bold" (2 texts, 2 tunes)
Warner 53, "I'll Sit Down and Write a Song" (1 text, 1 tune)
SharpAp 106, "Sweet William" (12 texts, 12 tunes)
Sharp-100E 72, "Sweet William" (1 text, 1 tune)
Sharp/Karpeles-80E 35, "Sweet William" (1 text, 1 tune -- a composite version)
Vaughan Williams/Lloyd, p. 94, "A Sailor's Life" (1 text, 1 tune)
JHCox 110, "Sweet William (The Sailor Boy)" (3 texts plus mention of 6 more)
BrownII 104, "The Sailor Boy" (5 texts, mostly short, plus excerpts from 4 more and mention of 2 more and 1 very short fragment; several texts, notably "C," are mixed with "The Butcher Boy"; "E" is a mix with something unidentifiable as only part of the song is printed; "H" is apparently a mix of floating material, only partly printed; "J" is mostly from some unidentified ballad; "L" appears to mix this with "The Apprentice Boy" [Laws M12])
MHenry-Appalachians, pp. 177-178, "The Soldier Boy" (1 text)
Scott-BoA, pp. 39-40, "Sweet William" (1 text, 1 tune, a composite version)
Lomax-FSNA 55, "The Pinery Boy" (1 text, 1 tune)
Huntington-Whalemen, pp. 272-273, "A Sailor's Trade Is a Roving Life" (1 text, with the manuscript damaged by water)
Morton-Ulster 7, "My Boy Willie" (1 text, 1 tune)
OLochlainn 56, "My Boy Willie" (1 text, 1 tune)
Hammond-Belfast, p. 34, "My Fine Sailor Boy" (1 text, 1 tune)
MacSeegTrav 25, "Sweet William" (2 texts, 2 tunes)
Darling-NAS, pp. 97-98, "Sweet Soldier Boy" (1 text)
DT 403, PINERYBY* SAILIFE*
Roud #273
RECORDINGS:
Anita Best and Pamela Morgan, "A Sailor's Trade is a Weary Life" (on NFABestPMorgan01)
Dock Boggs, "Papa, Build Me a Boat" (on Boggs2, BoggsCD1) (a complex version, with this plot but many floating verses, e.g. from "The Storms Are On the Ocean")
Rufus Crisp, "Fall, Fall, Build Me a Boat" (on Crisp01)
Dan Hornsby Trio, "A Sailor's Sweetheart" (Columbia 15771-D, 1932; rec. 1931)
Liz Jefferies, "Willie, the Bold Sailor Boy" (on Voice03)
Mikeen McCarthy, "Early in the Month of Spring" (on IRTravellers01)
Maggie Murphy, "Willie-O" (on IRHardySons)
Mrs. Otto Rindlisbacher, "The Pinery Boy" [instrumental] (AFS, 1941; on LC55)
Phoebe Smith, "Sweet William" (on Voice11)
Art Thieme, "The Pinery Boy" (on Thieme04)
BROADSIDES:
Bodleian, Harding B 11(2298), "The Maid's Lament for her Sailor Boy," J. Catnach (London), 1813-1838; also Firth c.12(226), Harding B 11(3375), Harding B 25(1684), "Sailor Boy" ("Down by a chrystal river side"); Firth c.12(227), "The Sailor Boy and his Faithful Mary"
CROSS_REFERENCES:
cf. "The Butcher Boy" [Laws P24] (lyrics)
cf. "A Soldier's Life" (lyrics, theme)
cf. "The Deep Blue Sea (I)" (plot)
cf. "Taven in the Town" (lyrics)
cf. "The Croppy Boy (I)" [Laws J14]" (tune, per Morton-Ulster 7) 
ALTERNATE_TITLES:
The Pinery Boy
Papa, Papa, Build Me a Boat
A Shantyman's Life
I Have No One to Love Me
Captain Tell Me True
The Sailor Boy and his Faithful Mary
NOTES: Paul Stamler suggests that "The Deep Blue Sea" is a worn-down version of this song. He may well be right (see the notes to that song), but I believe that the characteristic of Laws K12 is the girl's request of a boat. Since "Deep Blue Sea" lacks that feature, I tentatively separate the songs.
Art Thieme's "Pinery Boy" version of this song is localized thoroughly to Wisconsin, mentioning the Dells, the Wisconsin river, etc. It's interesting to note that there is a town in Wisconsin (on Lake Pepin) called Maiden Rock -- but the name seems to predate the local version of this song; the story is that an Indian girl committed suicide there after being separated from her lover. The town of Winona is said to be named after her. - RBW
Creighton-NovaScotia shows a collector misled by a source. The version is only a single verse, identical to broadside Bodleian, Firth c.12(227), "The Sailor Boy and his Faithful Mary" ("A sailor's life is a merry life"), J.Harkness (Preston), 1840-1866. The singer, in this case, thought this was a returned lover ballad -- from Creighton's title -- of the broken ring type.
Also collected and sung by David Hammond, "Early, Early All in the Spring" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)). Like Morton-Ulster 7, Hammond's version shares its tune with "The Croppy Boy (I)." - BS
The Dan Hornsby Trio recording is included by deduction; I have not heard it. - PJS
File: LK12
===
NAME: Sailor Boy (II), The: see The Prince of Morocco (The Sailor Boy II) (File: LN18)
===
NAME: Sailor Boy, The: see The Faithful Sailor Boy [Laws K13] (File: LK13)
===
NAME: Sailor Courted a Farmer's Daughter, A: see The Constant Lovers [Laws O41] (File: LO41)
===
NAME: Sailor Courted, A: see The Constant Lovers [Laws O41] (File: LO41)
===
NAME: Sailor Cut Down in His Prime, The
DESCRIPTION: The singer sees one of his shipmates "wrapped up in flannel yet colder than clay." He dies, and details of the burial are given. His headstone warns sailors, "Never go courting with the girls of the city; Flash girls in the city were the ruin of me."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: death disease whore burial funeral
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Lomax-FSNA 201, "The Sailor Cut Down in His Prime" (1 text, 1 tune)
MacSeegTrav 117, "The Sailor Cut Down in His Prime" (1 text, 1 tune)
DT, YNGMNPRM
Roud #2
RECORDINGS:
Johnny Doughty, "The Streets of Port Arthur" (on Voice12)
Harry Upton, "The Royal Albion" (on Voice02)
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Unfortunate Rake" (tune & meter, plot)
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)" [Laws Q26] (tune & meter, plot)
NOTES: One of the large group of ballads ("The Bard of Armagh," "Saint James Hospital," "The Streets of Laredo") ultimately derived from "The Unfortunate Rake." All use the same or similar tunes and meter, and all involve a person dying as a result of a wild life, but the nature of the tragedy varies according to local circumstances.
For the treatment of syphilis prior to the twentieth century, see the notes to "The Unfortunate Rake." - RBW
File: LoF201
===
NAME: Sailor Fireman, The: see I'll Fire Dis Trip (File: Br3222)
===
NAME: Sailor in the Alehouse, The: see Johnny the Sailor (Green Beds) [Laws K36] (File: LK36)
===
NAME: Sailor in the North Country, A
DESCRIPTION: A sailor and his beautiful wife meet a captain who is smitten with the lady. He summons the sailor and sends him to the West Indies. Within a few days of his leaving the captain makes a pass at the wife, who refuses him and pledges her constancy.
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: virtue adultery love marriage rejection parting separation wife sailor
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 93, "A Sailor in the North Country" (1 text, 1 tune)
Roud #1504
RECORDINGS:
George Maynard, "A Sailor in the North Country" (on Maynard1, Voice12)
File: VWL093
===
NAME: Sailor Likes His Bottle-O, The
DESCRIPTION: Shanty. "So early in the morning the sailor likes his bottle-o! A bottle of rum, a bottle of gin, a bottle of old Jamaica Ho!" Verses carry on about all the things a sailor might love: women, tobacco, fighting, etc...
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty drink sailor
FOUND_IN: Britain West Indies
REFERENCES: (5 citations)
Colcord, p. 75, "Bottle O!" (1 text, 1 tune)
Hugill, pp. 55-57, "So Early in the Morning" (3 texts, 3 tunes) [AbEd, pp. 52-53]
Sharp-EFC, XLVI, p. 51, "The Sailor Loves His Bottle-O" (1 text, 1 tune)
DT, SAILBOTL
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Sailor Like the Bottle O!" is in Part 2, 7/21/1917.
ALTERNATE_TITLES:
The Sailor Loves
File: Hugi055
===
NAME: Sailor on the Deep Blue Sea (I): see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor on the Deep Blue Sea (II): see The Deep Blue Sea (I) (File: R794)
===
NAME: Sailor on the Sea, The: see In London so Fair (File: HHH203)
===
NAME: Sailor, The: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN37)
===
NAME: Sailor's Adieu, The: see The Topsail Shivers in the Wind (File: SWMS059)
===
NAME: Sailor's Alphabet, The
DESCRIPTION: Capstan/pumping shanty; sailors remember the alphabet and tell of their, "merry" lives: "A is the anchor that hangs o'er the bow/And B is the bowsprit that bends like a bow.... So merry, so merry, so merry are we/No mortals on earth like a sailor at sea"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: sea ship work nonballad wordplay worksong sailor worker
FOUND_IN: Britain(England) US(SE) Canada(Mar,Newf)
REFERENCES: (5 citations)
BrownIII 229, "Alphabet of the Ship" (1 text)
Peacock, pp. 885-886, "The Sailor's Alphabet" (1 text, 1 tune)
Creighton-NovaScotia 98, "Alphabet Song" (2 texts, 1 tune; the "C" text is "The Logger's Alphabet")
Harlow, pp. 52-54, "The Sailor's Alphabet" (1 text, 1 tune)
Hugill, pp. 456-458, "The Bosun's Alphabet," "Old English Chantey" (2 texts, 2 tunes) [AbEd, pp. 341-342]
Roud #159
RECORDINGS:
Clifford Jenkins et al, "The Sailor's Alphabet" (on LastDays)
Sam Larner, "Alphabet Song" (on SLarner01); "The Sailor's Alphabet" (on Voice12)
Capt. Leighton Robinson, "The Sailor's Alphabet" (on AFS, 1951; on LC26)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Sailor's Alphabet" (on AFS 4230 B, 1939; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject, form) and references there
NOTES: We've cross-referenced this enough that it deserves its own entry, although it's identical in form to "The Logger's Alphabet." - PJS
File: RcTSAlp
===
NAME: Sailor's Bride, The: see The Sailor and His Bride [Laws K10] (File: LK10)
===
NAME: Sailor's Burial at Sea: see The Sailor's Grave (File: Wa155)
===
NAME: Sailor's Come All Ye, The: see Hearts of Gold (File: SWMS068)
===
NAME: Sailor's Consolation
DESCRIPTION: wo sailors, Barney Buntline & Billy Bowline list the reasons they are lucky to be sailors, comparing the dangers of living on shore with the relatively free life they have. Sometimes has chorus of "With a tow row row-right to me addy, wi' a tow row row."
AUTHOR: Charles Dibdin (1745-1814) (also attributed to Pitt and Hood)
EARLIEST_DATE: before 1814
KEYWORDS: sailor ship shore
FOUND_IN: US Britain
REFERENCES: (1 citation)
Hugill, p. 460, "Barney Buntline" (1 text, 1 tune)
NOTES: Hugill gives some references, in particular that the tune for this was taken by a Prof. J. Glyn-Davies and turned into a Welsh sailors' song (also known as a children's song) "Can Huw Puw." Glyn-Davies seemed to believe that the original song was quite old and that the tune was also used in a song, "Miss Tickle Toby" which dates to the 16th century. - SL
File: Hugi460
===
NAME: Sailor's Grace, The: see The Salt Horse Song (File: FO226)
===
NAME: Sailor's Grave, The
DESCRIPTION: "Our bark was far, oh, far from land, When the fairest of our gallant band Grew deadly pale and pined away." Lacking "costly winding sheets," they wrap the dead man in his hammock and a flag and sadly bury him at sea
AUTHOR: Words: Eliza Cook / Music: John C. Baker
EARLIEST_DATE: 1845 (broadside, LOCSheet sm1845 402000)
KEYWORDS: sea sailor death funeral burial
FOUND_IN: US(MW,SE) Canada(Mar)
REFERENCES: (5 citations)
Doerflinger, pp. 160-162, "The Sailor's Grave" (1 text, 1 tune)
Colcord, pp. 162-163, "The Sailor's Grave" (1 text, 1 tune)
Warner 155, "A Sailor's Grave" (1 text, 1 tune)
Smith/Hatt, p. 47, "Sailor's Burial at Sea" (1 text)
DT, SAILGRAV*
Roud #2676
RECORDINGS:
Pat Ford, "The Sailor's Grave" (AFS 4211 B1, 1939; in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 11(3383), "The Sailor's Grave" ("Our bark was far, far from the land"), J. Harkness (Preston), 1840-1866; also Harding B 11(27), Harding B 11(4264), Harding B 11(3382), Harding B 11(3383), Harding B 11(3384), Harding B 16(240b), Harding B 26(586), Harding B 11(2745), Firth c.12(445), "The Sailor's Grave"
LOCSheet, sm1845 402000, "The Sailor's Grave" ("Our bark was out far, far from land"), F. D. Benteen (Baltimore), 1845; also sm1845 791150, "The Sailor's Grave" (tune)
NOTES: There is a parody of this ballad as broadside NLScotland, L.C.1269(176.a), "Parody On The Sailor's Grave,"Poet's Box (Glasgow?), 1863 - BS
File: Wa155
===
NAME: Sailor's Hornpipe in Caxon Street: see The Shirt and the Apron [Laws K42] (File: LK42)
===
NAME: Sailor's Life, A: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Plea, The (Dear Sweetheart)
DESCRIPTION: "Dear sweetheart, as I write to you, My heart is filled with pain, For if these things... are true, I'll never see you again." The singer says, if she weds another, "My boat will never land." He recalls his work for her. He learns she still loves him
AUTHOR: unknown
EARLIEST_DATE: 1933 (Henry, collected from Mabel Hall)
KEYWORDS: love separation sailor abandonment
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 151, "The Sailor's Plea" (1 text)
Roud #17050
File: MHAp151
===
NAME: Sailor's Return, The: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Sailor's Sweetheart, The: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Trade Is a Roving Life, A: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Sailor's Tragedy, The (The Sailor and the Ghost A): see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Sailor's Way, The
DESCRIPTION: The sailor tells of all the places he's been and seen: "I've sailed among the Yankees, the Spaniards and Chinese.... But I'll go to the dance hall and hear the music play, For around Cape Horn and home again, oh, that is the sailor's way!"
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: sailor dancing rambling
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, p. 109, "The Sailor's Way" (1 short text, reference for tune)
Hugill, pp. 386-388, "The Sailor's Way" (1 text, 1 tune) [AbEd, pp. 295-296]
Smith/Hatt, p. 41, "Around the World and Home Again" (1 text)
ST Doe109 (Partial)
Roud #8239
CROSS_REFERENCES:
cf. "Dixie Brown" [Laws D7] (tune)
File: Doe109
===
NAME: Saint Clair's Defeat
DESCRIPTION: Saint Clair leads an army against the Indians "on the banks of the St. Marie." Hundreds of men are killed. The rest make their way home as best they can
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: Indians(Am.) war
HISTORICAL_REFERENCES: Nov. 4, 1791 - The army of Gen. Arthur St. Clair, the first (territorial) governor of Ohio, is attacked by Indians on the banks of the Wabash.
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 116, "On the Eighth Day of November" (1 text, 1 tune -- though only Eddy's first verse goes with this ballad. Verses 2 and 3 come from "James Ervin" [Laws J15])
ST E116 (Full)
Roud #4028
NOTES: St. Clair's expedition was mounted by President Washington to deal with the refusal of the British to evacuate certain frontier forts. St. Clair was to build a fort on the site of what is now Fort Wayne, Indiana.
The exact magnitude of the defeat is uncertain; although St. Clair set out with a force variously estimated as from 2000 to 3000 men (including the entire U.S. regular army), he may have lost a thousand of those to disease and desertion along the way. His casualties have been variously estimated as 600 to 900 men.
As "On the Eighth Day of November, " this song is item dA30 in Laws's Appendix II. - RBW
File: E116
===
NAME: Saint George and the Drag-On
DESCRIPTION: "Oh what a dreary place this was when first the Mormons found it; They said no white men here could live...." But Mormon industry has transformed it, and "St. George ere long will be a place that everyone admires."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: home work
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West  26, "St. George and the Drag-On" (1 text, 1 tune)
Roud #8596
NOTES: St. George is in southwestern Utah, just north of the Arizona border and not far from the Nevada boundary. It is not far from the Dixie National Forest (and the site of the Mountain Meadows Massacre). It is perhaps a little more habitable than most of Utah -- and, of course, the Mormons, with their centralized, semi-communal society were very efficient at making a living in seemingly-impossible settings. - RBW
File: FCW26
===
NAME: Saint Helena (Boney on the Isle of St. Helena)
DESCRIPTION: A lament for Napoleon, "gone from his wars and his fightings." His past splendor is contrasted with his current fate. The sorrow of his wife Louisa is alluded to. His death is attributed to the malice of his enemies.
AUTHOR: James Watt? (source: broadside Bodleian Firth c.16(84))
EARLIEST_DATE: 1835 (Forget-Me-Not Songster)
KEYWORDS: exile lament Napoleon death grief
HISTORICAL_REFERENCES: 1815 - Defeat at the Battle of Waterloo forces Napoleon into exile
1821 - Death of Napoleon
FOUND_IN: Britain(England(South)) Ireland US(Ap,MW,NE,SE,So) Canada(Mar,Newf)
REFERENCES: (12 citations)
Moylan 209, "The Isle of Saint Helena" (1 text, 1 tune)
Eddy 96, "Lonely Louisa" (1 fragment, 1 tune)
Belden, pp. 146-147, "The Isle of St. Helena" (1 text plus reference to 1 more)
Warner 143, "Bony on the Isle of St. Helena" (1 text, 1 tune)
Huntington-Whalemen, pp. 205-207, "Bonaparte on St. Helena" (1 text, 1 tune)
BrownII 146, "The Isle of St. Helena" (4 texts, mostly defective)
Chappell-FSRA 109, "Napoleon" (1 text, 1 tune)
SharpAp 173, "Boney's Defeat" (1 text, 1 tune)
Flanders/Brown, pp. 111-112, "Napoleon Song," "Bonaparte on St. Helena" (1 text plus a fragment, 1 tune)
Greenleaf/Mansfield 83, "Napoleon the Exile" (1 text, 1 tune)
Scott-BoA, pp. 102-104, "Napoleon Bonaparte" (1 text, 1 tune)
DT, BNYSTHEL* BNYSTHE2
ST E096 (Full)
Roud #349
RECORDINGS:
Charles K. "Tink" Tillett, "Bony on the Isle of St. Helena" (on USWarnerColl01) [called simply "Bony" on the CD sleeve; the longer title is in the interior notes]
BROADSIDES:
Bodleian, Johnson Ballads 205, "The Island of St. Helena," J. Catnach (London), 1813-1838; also Harding B 11(1517), Firth c.16(99), Firth b.34(201), Harding B 11(847) [some words illegible], Harding B 11(1810), Harding B 11(1811), "Isle of St. Helena"; Harding B 25(1716), Harding B 11(3955), "The Island of St. Helena"; Harding B 25(245), "Bonapate's Lamentation at the Island of St. Helena"; Firth c.16(84), "Bonaparte's Departure for St. Helena"
CROSS_REFERENCES:
cf. "Farewell to Mackenzie" (meter)
cf. "Napoleon's Farewell to Paris" (subject)
cf. "The Royal Eagle" (subject: Marie Louisa's grief for Napoleon)
cf. "The New Bunch of Loughero" (theme: Marie Louise's grief for Napoleon)
cf. "The Removal of Napoleon's Ashes" (theme: Marie Louise's grief for Napoleon)
cf. "The Braes of Balquhither" (tune, per broadside Bodleian Firth c.16(84))
ALTERNATE_TITLES:
Napoleon
Bone Part
NOTES: The grief of Marie Louisa of Austria (Napoleon's second wife) has become the only surviving theme in certain American versions of this ballad. Historically, there is little basis for this; she refused to go into exile with him to Elba, let alone St. Helena.
In fact, even before Napoleon went to Elba, she is reported to have taken General Adam Adelbert Neipperg as a lover. When he came back during the Hundred Days, she not only refused to join him, she wouldn't even allow him to see his son. By the time Napoleon died, Louisa had borne two children to other fathers.
"Mount Diana," referred to in some texts, is properly Diana's Peak, the highest point on Saint Helena (about 825 ft/250 meters above sea level). The link of Diana with the moon clearly reveals that this piece began life as a broadside; someone was using classical analogies.
The "Holy Alliance" is the coalition formed immediately after Napoleon's downfall. Its purpose was to prevent the rise of any Bonapartist pretenders. Ironically for an alliance that called itself "holy," the primary nations involved (Austria, Prussia, Russia; England was not a member) were more regressive than France. In addition, it eventually failed of its purpose, as Napoleon III later took over France.
This song seems to be known mostly from broadsides in Britain; its popularity and firm hold in tradition in the U. S. probably derives from its inclusion in the _Forget-Me-Not Songster_.
Ben Schwartz brought to my attention the attribution of this song to James Watt found in broadside Bodleian Firth c.16(84). This is a broadside; there are two poems (which is rare but not unknown), and this one has an extended prose introduction (which is even more rare). What is more, the two songs do not appear to come from the same printing house: "Bonaparte's Departure for St. Helena" appears to be self-published, while the accompanying item, "Napoleon is the Boy For Kicking up a Row," is from one of the Poet's Box outlets (though the exact one has been scratched out).
Is this the original? It lacks one of the six standard stanzas, and there are many verbal differences from the usual texts. Even more curious is the occasional hints of confornity with Scots dialect. I can only say that there appears to have been recensional activity -- but whether that activity was applied by Watt to create this text, or by the Forget-Me-Not Songster, or by someone else, I cannot tell. I'm not ready to concede authorship on the rather thin basis of one broadside. - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Isle of St Helena" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
File: E096
===
NAME: Saint James Infirmary
DESCRIPTION: Big Joe McKennedy is in the bar, reporting that he "went down to St. James Infirmary, And I saw my baby there, Stretched out on a long white table...." He gambled, and now must pay. He prepares to die, makes requests for his funeral, (blames the woman)
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: disease death funeral drink
FOUND_IN: US(SE,So,SW)
REFERENCES: (6 citations)
Scarborough-NegroFS, p. 94, "How Sad Was the Death of my Sweetheart" (1 short text, with few of the familiar words but the correct plot and the "Let her go, let her go" chorus)
Sandburg, pp. 228-231, "Those Gambler's Blues" (2 texts, 1 tune)
Thorp/Fife XIII, pp. 148-190 (29-30), "Cow Boy's Lament" (22 texts, 7 tunes, the "N" text being in fact a version of this piece)
Darling-NAS, pp. 9-10, "Gambler's Blues" (1 text)
Silber-FSWB, p. 76, "St. James Infirmary" (1 text)
DT 350, STJAME
Roud #2 (!)
RECORDINGS:
Louis Armstrong & his Hot Five, "St. James Infirmary" (OKeh 8657, 1929; rec. 1928)
Rube Bloom & his Bayou Boys, "St. James' Infirmary" (Columbia 2103-D, 1930)
Dock Boggs, "Old Joe's Barroom" (on Boggs2, BoggsCD1)
Chick Bullock, "St. James Infirmary" (Velvet Tone 7063-V, 1930/Diva 6037, n.d.)
Martha Copeland, "Dyin' Crap Shooter's Blues" (Columbia 14427-D, 1929; rec. 1927)
Rosa Henderson, "Dyin' Crap Shooter's Blues" (Pathe Actuelle 7535/Perfect 135/TMH 7535, 1927)
Mattie Hite, "St. Joe's Infirmary" (Columbia 15403-D, 1930)
Frankie Marvin, "Those Gambler's Blues" (Crown 3076, 1931)
Viola McCoy, "Dyin' Crap Shooter's Blues" (Romeo 453 [as Fannie Johnson]/Cameo 1225/Lincoln 2690, 1927)
Pete Seeger, "St. James Infirmary" (on PeteSeeger32)
CROSS_REFERENCES:
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)" [Laws Q26] (theme)
cf. "Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)" (the "let her go" lyrics)
cf. ""Sweet Heaven (II)" (the "let her go" lyrics)
ALTERNATE_TITLES:
Old Time Gambler's Song
NOTES: Many early jazz & popular recordings attribute authorship (of the popular version) to "Joe Primrose," a pseudonym for Irving Mills. His copyright, though, seems to have been registered in 1929, or after Armstrong's influential recording. Presumably he was registering ownership rather than authorship. - PJS
File: San228
===
NAME: Saint John's Girl
DESCRIPTION: The singer happens to be in St John's and meets a pretty girl who drinks his champagne. He buys her a pair of kid gloves. Given a kiss and thinking to score, the singer looks to pawn his gold watch but finds she had already lifted it and his scarf pin.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: seduction theft beauty trick drink clergy
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 87, "St John's Girl" (1 text, 1 tune)
ST LLab087 (Partial)
Roud #9975
File: LLab087
===
NAME: Saint Louis, Bright City: see Behind These Stone Walls (File: R165)
===
NAME: Saint Patrick of Ireland, My Dear!
DESCRIPTION: The singer recalls St Patrick's miracles while the liquor holds out: he arrived mounted on "a paving stone," drank a gallon of liquor from a quart pot, turned mutton to salmon on Friday, and drove out the snakes.
AUTHOR: Dr Maginn (source: Croker-PopularSongs)
EARLIEST_DATE: 1821 (_Blackwoods Magazine_, according to Croker-PopularSongs)
KEYWORDS: drink food Ireland humorous supernatural
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 28-33, "St Patrick of Ireland, My Dear!" (1 text)
CROSS_REFERENCES:
cf. "The Night Before Larry Was Stretched" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs discusses the miracles in some detail. Apparently, it was not Patrick himself but a leprous disciple -- refused passage on Patrick's ship by the crew -- who accompanied the ship on Patrick's stone altar thrown into the sea as a float for the purpose. Patrick, at one point, craves meat on Friday but an apparition has Patrick put the meat into water; when the meat turned into fishes Patrick was saved by the miraculous sign from sinning and never ate meat again. Dr Maginn's source for the "facetious" [Croker's term] song is Father Jocelyn who, Croker points out, did not mention the "miracle of the Saint's 'never-emptying can, commonly called St Patrick's pot'." In the last verse the singer wishes that he had such a pot so that he could continue the song. - BS
According to Benet's _Reader's Encyclopedia_, Dr. William Maginn (1793-1842) was the "Prototype of Captain Shandon in _Pendennis_ by Thackeray." _The New Century Handbook of English Literature_ lists him as the co-founder of _Fraser's Magazine_, and mentions among his works _The City of Demons_ and _Bob Burke's Duel with Ensign Bray_. His most popular poem was probably "I Give My Soldier Boy a Blade," though I find myself more intrigued by the title "the Rime of the Auncient Waggonere." - RBW
File: CPS028
===
NAME: Saint Patrick Was a Gentleman
DESCRIPTION: "St. Patrick was a gentleman, and came of decent people"; they are named O'Houlihan, O'Shaughnessy... He preached from a high hill and "banished all the varmin!" Vermin's misfortunes are described. He planted turf, brought pigs and brewed good whiskey.
AUTHOR: Henry Bennett and Mr. Toleken (source: Croker-PopularSongs)
EARLIEST_DATE: 1814-1815 (according to Croker-PopularSongs)
KEYWORDS: drink humorous patriotic religious animal
FOUND_IN: 
REFERENCES: (3 citations)
Croker-PopularSongs, pp. 22-27, "St Patrick Was a Gentleman" (1 text)
O'Conor, p. 105, "St Patrick Was a Gentleman" (1 text)
ADDITIONAL: Gulielmus Dubliniensis Humoriensis [Joseph Tully?], Memoir of the Great Original Zozimus (Michael Moran) (Dublin,1976 (reprint of the 1871 edition)), pp. 9-10, "St. Patrick Was a Gintleman"
Roud #13377
BROADSIDES:
Bodleian, Harding B 16(241c), "St. Patrick Was a Gentleman", T. Birt (London), 1828-1829; also 2806 c.18(277), Harding B 11(3395), Harding B 20(151), Harding B 11(2874), "St. Patrick Was a Gentleman"
NOTES: The Croker-PopularSongs and O'Conor texts are very close, with a few place and person names changed and verse order changed. Croker would have considered the names of the Saint's parents on his father's side a significant change. Croker has that "His father was a Gallagher, His mother was a Brady"; both texts agree on his mother's side. Croker explains the pedigree: "St Patrick was an Irish [not French, Scotch, Welsh, ....] gentleman. The Gallaghers were a family of consideration in Donegal; the Bradys were the same in Cavan; the O'Shaughnessy, ditto in Galway; and the O'Gradys 'possessed that part of Clare which is now called the Barony of Bunratty.' This 'respectable' pedigree settles the matter."
Croker-PopularSongs says that two verses "were subsequent additions by other hands [than Bennett and Toleken]" Those are the verses missing from the broadsides. - BS
In this index, Toleken is also responsible for "Judy MacCarthy of Fishamble Lane." - RBW
File: OCon105
===
NAME: Saint Patrick's Arrival
DESCRIPTION: Saint Patrick exhortes the Irish to give up poteen and gives them other stuff to drink. They dump his stuff into a puncheon where it mixes with whisky. He tries to ask about the puncheon but they think he said "punch" and so name the drink.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
LONG_DESCRIPTION: Saint Patrick arrives in Bantry Bay "on the back of a whale" and is greeted by bosthoons, spalpeens, and other rustics. He promises to bring them together and rid them of their sins while he entertains them by driving the devil "beyond the Black Sea." Then he exhorts them to give up poteen. He sleeps and, when he wakes, is upset to find them with their cruiskeens and bags filled with whisky. He tries replacing their whisky with "something sweet ... [and] something sour" while they sleep. When they wske they dumped his stuff into a tub [puncheon] where it mixes with whisky. "By the side of this mixture Each man grew a fixture." Patrick is upset at his plan being foiled by this "spawn of Druids" He tries to ask about the puncheon but, in the uproar, only "punch" could be heard. The drinkers assumed that "punch ... is the name of this thing That is drink for a king." 
KEYWORDS: drink Ireland humorous religious Devil talltale wordplay
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 16-22, "Saint Patrick's Arrival" (1 text)
CROSS_REFERENCES:
cf. "Patrick's Day in the Morning" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs: "Explanatory of the Origin of the word 'Punch.'" Puncheon here is taken to be "a large cask of varying capacity" (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976; the same source has "punch, as "a hot or cold beverage ....," with a derivation perhaps from the Hindi or Sanskrit word for five, from "the number of ingredients.") - BS
Croker-PopularSongs: "The editor has been told that the author is a gentleman named Wood, an officer of the army; and that, some years since, the song was printed in the _Cork Southern Reporter_ newspaper with the signature 'Lanner de Waltram.'" - BS
File: CrPS016
===
NAME: Saint Patrick's Day
DESCRIPTION: Ask Patrick's protection. He secured Ireland's faith for the Catholic church. We pray for his support for Irish independence. In 1800 Pitt managed parliament's dissolution. Our champions now are Dan O'Connell, Shiel, and tithe opponent Fergus O'Connor.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Ireland nonballad political religious
HISTORICAL_REFERENCES: 1759-1806 - Life of William Pitt the Younger, Prime Minister 1783-1801 and from 1804 until his death
1775-1847 - Life of Daniel O'Connell
1794-1855 - life of Fergus (Feargus) O'Connor
1798 - United Irish rebellion causes England to decide on Union with Ireland
1800 - Act of Union passed by British and Irish parliaments, causing a parliamentary Union to take effect in 1801
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian,Harding B 25(75), "St. Patrick's Day" ("Ye sons of this lovely but ill fated nation"), unknown, n.d.
NOTES: The form and last line of each verse suggest that the tune is "St Patrick's Day in the Morning."
Broadside Bodleian Harding B 25(75) is the basis for the description.
The reference .".. our noble parliament then was dismembered ... pitt managed ...."[The broadside misses capitalization throughout] is to the 1801 "Act of Union" -- supported by Pitt and Robert Stewart (Lord Castlereagh) -- that formed the United Kingdom of Great Britain and Ireland" and abolished the Dublin Parliament. (sources: _Britain and Ireland_ by Marjie Bloy on the Victorian Web site;_Robert Stewart, Lord Castlereagh_ on the Dukes of Buckingham and Chandos site)
The reference to tithe opposition suggests a date for this broadside before the end of "The Tithe War." Daniel O'Connell's Catholic Association was formed in 1823 to resist the requirement that Irish Catholics pay tithes to the Anglican Church of Ireland. The "war" was passive for most of the period 1823-1836, though there were violent incidents in 1831 (source: _The Irish Tithe War 1831_ at the OnWar.com site)
Shiel in this broadside is probably Richard Lalor Sheil, one of O'Connells lieutenants (see Zimmermann, p. 256). - BS
Fergus O'Connor was elected M.P. for Cork in 1832 and 1835 and, in 1832, was involved in passing the Reform Act. (sources: Zimmermann p. 212, "Feargus O'Connor (1794-1855)" at the BBC site) - BS
It should be noted that Saint Patrick did *not" secure Ireland for the Catholic Church -- that, in fact, was done by the English, who suppressed the practices of the Celtic Church; Henry II invaded, with the consent of Pope Adrian IV in the bull _Laudabiliter_ (see Peter and Fiona Somerset Fry, _A History of Ireland_, Barnes & Noble, 1988/1993, pp. 67-72; Terry Golway, _For the Cause of Liberty_, Simon & Schuster, 2000, pp. 10-12). Patrick helped bring Christianity to Ireland, but distance from Rome had caused the local version to drift far from the Roman standard (something which had, incidentally, happened in England also, though England, being closer to Rome, had regularized things at the Synod of Whitby centuries before).
For the Irish parliament destroyed by the Act of Union, see especially "Ireland's Glory." For the Act of Union itself, see "The Wheels of the World." For Daniel O'Connell, see "Daniel O'Connell (II)" plus the many songs cited under "Daniel O'Connell (I)." For Fergus O'Connor, see "Fergus O'Connor and Independence." - RBW
File: BdStPaDy
===
NAME: Saint Patrick's Day in Paris
DESCRIPTION: Let Irishmen and honest men, in Ireland or France, "religiously think 'Tis his duty to drink On St Patrick's day in the morning" War is past. "Can Wellington's glory be ever forgot On the banks of the Seine, or the banks of the Shannon?"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: war drink France Ireland humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 33-34, "St Patrick's Day in Paris" (1 text)
CROSS_REFERENCES:
cf. "Patrick's Day in the Morning" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs: "From a manuscript copy in the autograph of Sir Jonah Barrington, endorsed, 'Sung with great applause at a meeting which assembled in the City of Paris, to celebrate the anniversary of the Saint of Hibernia.' This was, probably, the 17th March, 1816." - BS
File: CPS033
===
NAME: Saint Patrick's Day in the Morning (I)
DESCRIPTION: Saint Patrick drove out the witches and necromancers. "This champion of Christ did their magic expel." "He showed ... the right way to live and the true way to die ... On Saint Patrick's Day in the morning"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: Ireland patriotic religious magic
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 129, "Saint Patrick's Day in the Morning" (1 fragment)
NOTES: The current description is based on the Tunney-StoneFiddle fragment. - BS
File: TSF129
===
NAME: Saint Patrick's Day in the Morning (II)
DESCRIPTION: "On St Patrick's day in the morning" there'll be music, dancing, fine food, and whiskey. St Patrick may not have made the blind to see but "many great things he did for his island." Celebrate the day. "All this to begin, sir, We think it no sin, sir"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(213))
KEYWORDS: dancing drink music Ireland humorous nonballad religious
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 28(213), "St. Patrick's Day in the Morning" ("Ye lads and ye lasses so buxom and clever"), W. Armstrong (Liverpool), 1820-1824
NOTES: Broadside Bodleian Harding B 28(213) is the basis for the description. - BS
File: BdSPDIM2
===
NAME: Saint Stephen and Herod [Child 22]
DESCRIPTION: Stephen sees the star of Bethlehem, and tells his master King Herod that he can no longer serve him because he must serve the better child in Bedlam. Herod says that the roasted cock will sooner crow. It does crow, and Herod has Stephen stoned.
AUTHOR: unknown
EARLIEST_DATE: 1856, from ms of c. 1430 ( (British Museum -- Sloane MS. 2593)
KEYWORDS: religious bird execution
HISTORICAL_REFERENCES: 4 B.C.E. - Death of Herod the Great
(not before) 30 C.E. - Death of Stephen
FOUND_IN: US(NE)
REFERENCES: (10 citations)
Child 22, "St Stephen and Herod" (1 text)
Bronson 22, "St Stephen and Herod" (1 version)
Flanders/Olney, pp. 217-218, "St. Stephen and Herod" (1 text, 1 tune) {Bronson's (#1)}
Flanders-Ancient1, pp. 239-241, "St. Stephen and Herod" (1 text, 1 tune) {Bronson's (#1)}
Leach, pp. 107-108, "St. Stephen and Herod" (1 text)
OBB 98, "St. Stephen and King Herod" (1 text)
PBB 1, "Saint Stephen and Herod" (1 text)
Gummere, pp. 295-296+362, "St. Stephen and Herod" (1 text)
DT 22, STPHEROD*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #255, "ACarol for Saint Stephen's Day" (1 text)
Roud #3963
CROSS_REFERENCES:
cf. "The Roasted Cock" (plot)
cf. "The Wife of Usher's Well" (plot)
NOTES: For the stoning of Stephen (c. 30-31 C.E.) see Acts 7:54-8:2 (note that Herod had been dead for more than thirty years when Stephen was killed!).
For the birth of Jesus in the time of Herod (probably 6 B.C.E) see Matt. 1:18-2:23, Luke 1:5f.
For the cruelty of Herod, see also Josephus, Antiquities (the end of Herod's life is the primary theme of Josephus's book XVII, detailing, e.g., the executions of several of Herod's sons and the mass slaughter he planned to follow his death).
The only recent find of this, and the only version with a tune, is the version Flanders collected from George Edwards; she speculates that his source (his grandfather) may have learned it from print. - RBW
File: C022
===
NAME: Sair Fyel'd, Hinny
DESCRIPTION: "(I/Aw) was young and lusty, I was fair and clear... Mony a lang year." "Sair fyel'd, hinny, sair fyel'd now, Sair fyel'd, hinny, sin' I ken'd thou." The singer looks back on his young days, and admits, at 65, to being both "stiff and cauld."
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: youth age
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, p.  48, "Sair Fyel'd, Hinny" (1 text, 1 tune)
ST StoR048 (Full)
Roud #3062
CROSS_REFERENCES:
cf. "Says the Old Man to the Oak Tree" (lyrics)
NOTES: At least some versions of this share the lyric "Says t'auld man to th' old tree" ("Says the Old Man to the Oak Tree), also found in _Gammer Gurton's Garland_, but I don't know if they were initially two which joined or one which split. I very tentatively split them because, well, we're splitters.  - RBW
File: StoR048
===
NAME: Sal and the Baby
DESCRIPTION: "I went down town to see my lady. Nobody's home but Sal an' the baby. Sal was drunk, and the baby crazy; All that comes of being so lazy."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: drink baby
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 44, "Sal and the Baby" (1 text)
Roud #7863
File: Br3044
===
NAME: Sal's Got a Meatskin
DESCRIPTION: "Sal's got a meatskin hid away/gonna get a meatskin someday"; "Sal a-sailing on the sea/Sal got a meatskin a-waiting for me"; more verses along that line.
AUTHOR: unknown
EARLIEST_DATE: 1930s (recording, Carlisle Bros.)
KEYWORDS: sex virginity bawdy nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 63, "Sal's Got a Meatskin" (1 text, 1 tune)
Silber-FSWB, p. 156, "Sal Got A Meatskin" (1 text)
Roud #4201
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "Johnny Got a Meat Skin Laid Away" (AFS 3979 A2, 1940)
Cliff & Bill Carlisle, "Sal Got a Meatskin" (Panacord 25639, 1930s, on TimesAint03)
Cliff Carlisle, "Sal Got a Meat Skin" (Vocalion 02740, 1934, probably a different recording from that by Cliff & Bill Carlisle)
New Lost City Ramblers, "Sal Got a Meatskin" (on NLCR03, NLCR11, NLCRCD1)
CROSS_REFERENCES:
cf. "Sal Got A Sugarlip"
cf. "Great Big Taters in Sandy Land" (floating verses)
cf. "Sally Anne" (lyrics)
NOTES: A "meatskin" is fat pork, used to grease a pan and as an anti-inflammatory folk medicine. In this song, however, it refers to a maidenhead. - PJS
File: CSW063
===
NAME: Sal's in the Garden Sifting Sand: see Sally in the Garden (File: CSW067)
===
NAME: Sal'sb'ry Sal: see Speed the Plow (Sal'sb'ry Sal) (File: FlBr026)
===
NAME: Saladin Mutiny (I): see Charles Augustus (or Gustavus) Anderson [Laws D19] (File: LD19)
===
NAME: Saladin Mutiny (II), The: see George Jones [Laws D20] (File: LD20)
===
NAME: Saladin's Crew
DESCRIPTION: Hazelton is waiting to be hanged. He hopes his parents do not hear of his death. He prays that God "can pardon us all ... Even Fielding ... that proved my downfall" He thinks of his youth and the girl "who taught me to love in a far distant land"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: ship mutiny execution farewell
HISTORICAL_REFERENCES: 1844 - the former pirate Fielding convinces part of the crew of the "Saladin" to mutiny against the harsh Captain Mackenzie. The conspirators then turn against Fielding; they are taken and executed after the ship is wrecked off Halifax
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 111, "Saladin's Crew" (1 text, 1 tune)
ST CrNS111 (Partial)
Roud #1818
CROSS_REFERENCES:
cf. "Charles Augustus Anderson" [Laws D19] (subject)
cf. "George Jones" [Laws D20] (subject)
NOTES: This song is item dD45 in Laws's Appendix II.
Another of the Saladin conspirators speaks out (cf. "Charles Augustus (or Gustavus) Anderson [Laws D19]" and "George Jones [Laws D20]"). Here is John Hazelton. Hazelton -- like Anderson and Jones -- was convicted and hanged. Has William Trevaskiss, the fourth of the hanged mutineers, a ballad as well? (Source: _Pirates of Canada_ by Cindy Vallar on the Pirates and Privateers site for the History of Maritime Piracy) - BS
For details on the Saladin Mutiny, see the notes to "Charles Augustus (or Gustavus) Anderson" [Laws D19] - RBW
File: CrNS111
===
NAME: Salangadou
DESCRIPTION: Creole French. "Salangadou-ou-ou (x3), Salangadou, Cote piti fille la ye, Salangadou, Salangadou?" "Salangadou, where is my little girl gone, Salangadou?"
AUTHOR: unknown
EARLIEST_DATE: 1909 (Peterson, "Creole Songs from New Orleans")
KEYWORDS: children separation foreignlanguage nonballad
FOUND_IN: US(So)
REFERENCES: (3 citations)
Lomax-ABFS, p. 223, " Salangadou" (1 text, 1 tune)
Silber-FSWB, p. 339, "Salangadou" (1 text)
DT, SALANGDU*
File: LxA223
===
NAME: Salcombe Seaman's Flaunt to the Proud Pirate, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Sale of a Wife
DESCRIPTION: A (ship carpenter), hard up for money for drink and tired of quarreling with his wife, puts her up for sale. After a lively auction, a sailor wins her. He takes her home and they live happily
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: abandonment humorous husband wife sailor
FOUND_IN: Ireland Britain
REFERENCES: (3 citations)
SHenry H226, pp. 511-512, "The Ship Carpenter's Wife" (1 text, 1 tune)
Peacock, pp. 253-254, "Cabbage and Goose" (1 text, 1 tune)
DT, CARPWIFE
Roud #2898
RECORDINGS:
Eddie Butcher, "The Ship Carpenter's Wife" (on IREButcher01)
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(119), "The Ship Carpenter's Wife," unknown, c. 1830-1850
CROSS_REFERENCES:
cf. "In Praise of John Magee" (plot)
ALTERNATE_TITLES:
Auction of a Wife
John Hobbs
Wife for Sale
NOTES: The National Library of Scotland site notes that this sort of thing actually did happen, and even includes a broadside (NLScotland, L.C.1268, "Sale of a Wife," W. Boag (?), Newcastle, describing an event of July 16, 1828) allegedly documenting such a sale. - RBW
File: HHH226
===
NAME: Salisbury Plain
DESCRIPTION: The singer and a handsome young man adjourn to an inn, eat, drink, and proceed to bed. He promises to support her by highway robbery. The next morning he robs the mail coaches. She laments that he now lies in Newgate Gaol, expecting to be hanged.
AUTHOR: unknown
EARLIEST_DATE: 1904
LONG_DESCRIPTION: While walking on Salisbury Plain, the singer meets a handsome young man. They adjourn to an inn, eat, drink, and proceed to bed. He asks her to undress; she consents, provided he will "keep all those flash-girls away". He consents in turn promising to support her by highway robbery. The next morning, he robs the mail coaches. In the last verse, she laments the fact that he now lies in Newgate Gaol, expecting to be hanged.
KEYWORDS: courting love sex bargaining execution prison robbery lover
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 95, "Salisbury Plain" (1 text, 1 tune)
Roud #1487
CROSS_REFERENCES:
cf. "Le petit roysin" (tune; 15th cen.)
cf. "The Wild and Wicked Youth" [Laws L12] (theme)
cf. "It's Down in Old Ireland" (theme)
cf. "Gilderoy" (theme)
NOTES: [The Vaughan Williams] version was collected in 1904; however, the singer clearly knew the song in 1893, when an unsuccessful attempt was made to collect it. -PJS
File: VEL095
===
NAME: Salish Song of Longing, A
DESCRIPTION: "Yah-nay ha-nay hay Yah-nay ha-nay Yah-hay ay hee-nay Ah-ah nay-hay. Ah-nay hay-hee-nay-yeh!..." Translation: "Far far away, Far far away, Oh far far away Oh there my heart doth lay...."
AUTHOR: unknown (English translation by Alan Mills)
EARLIEST_DATE: 1912
KEYWORDS: Indians(Am) separation nonballad foreignlanguage
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 4-5, "A Salish Song of Longing" (1 text, 1 tune)
NOTES: Colected by Marius Barbeau from an Indian delegation visiting Ottawa in 1912. its source was the Salish Indians of the Thompson River in British Columbia. (Salish is actually a language group of about twenty languages, used mostly by the natives of the Pacific Coast area.) The tune was used in the film "The Loon's Necklace." - RBW
File: FMB004
===
NAME: Sallie Goodin: see Sally Goodin (File: LoF121)
===
NAME: Sally and Her Lover: see The Lady Leroy [Laws N5] (File: LN05)
===
NAME: Sally and Her True Love: see A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.) [Laws P9] (File: LP09)
===
NAME: Sally Anne
DESCRIPTION: "Oh where are you going, Sally Anne? (x3) I'm going to the wedding, Sally Anne. Oh shake that little foot, Sally Anne, (x3), You're a pretty good dancer, Sally Anne." "Did you ever see a muskrat, Sally Ann...." Other verses are equally unrelated
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: dancing nonballad marriage courting animal
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
SharpAp 240, "Sally Anne" (1 text, 1 tune)
Sharp/Karpeles-80E 63, "Sally Anne" (1 text, 1 tune)
Lomax-FSNA 117, "Sally Anne" (1 text, 1 tune)
PSeeger-AFB, p. 53, "Sally Ann" (1 text, 1 tune)
Silber-FSWB, p. 175, "Sally Ann" (1 text)
Roud #3652
RECORDINGS:
Frank Blevins & his Tar Heel Rattlers, "Sally Aim [sic]" (Columbia 15765-D, 1932; rec. 1927; on LostProv1 as "Sally Ann")
Fiddlin' John Carson, "Sally Ann" (OKeh 40419, 1925)
Rufus Crisp, "Blue Goose" (on Crisp01)
The Hillbillies, "Sally Ann" (OKeh 40336, 1925) (Vocalion 5019/Brunswick 105 [as Al Hopkins & his Buckle Busters], 1927)
Clint Howard et al, "Sally Ann" (on Ashley02, WatsonAshley01)
Doc Roberts, "Sally Ann" (Perfect 15467, 1931)
Pete Seeger, "Sally Ann" (on PeteSeeger06, PeteSeegerCD01); Sally Ann" (on PeteSeeger18)
 J. C. "Jake" Staggers, "Sally Ann" (on FolkVisions2)
George Stoneman, "Sally Anne" [instrumental] (on LomaxCD1702)
Art Thieme, "Sally Ann" (on Thieme01)
Wade Ward, "Sally Ann" [instrumental] (on Holcomb-Ward1)
CROSS_REFERENCES:
cf. "Great Big Taters in Sand Land" (tune)
cf. "Sal's Got a Meatskin" (lyrics)
NOTES: Lomax says that this is the same melody as the fiddle piece "Sandy Land," in turn related to "Sally Goodin." [But Lomax wasn't a fiddler. The tune is related to "Sandy Land" (actually "Great Big Taters in Sandy Land"), but I draw the line at "Sally Goodin." I'm no fiddler, either, but I've backed up a lot of them. - PJS] Certainly the banal and unrelated verses are what one would expect of a fiddle tune with words added. - RBW
The Rufus Crisp recording, "Blue Goose," is a conglomerate. But as we define it, "Sally Anne" is a song with this pattern, a lot of floating verses, and the name, "Sally Anne." What more do we want? - RBW, PJS.
File: SKE63
===
NAME: Sally Around the Corner O
DESCRIPTION: "Sally O, Sally O, Sally around the corner O, All day we'll heave away And it's Sally around the corner O"
AUTHOR: unknown
EARLIEST_DATE: 1956 (NovaScotia1)
KEYWORDS: shanty work nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (0 citations)
RECORDINGS:
Joseph Hyson, "Sally Around the Corner O" (on NovaScotia1)
NOTES: The current description is all of the NovaScotia1 fragment.
NovaScotia1 Joseph Hyson in the notes: "That was used for heaving up the ship's anchor. There'd be a whole crowd and there'd be a verse, and then we'd join on that chorus. I can't remember the verses."
NovaScotia1 notes: "By both words and tune, Sally Around the Corner O appears to be a different sea chanty from the one known as Round the Corner Sally."
I guess this is not "Round the Corner, Sally." Cf. "Round the Corner, Sally" in Stan Hugill, _Shanties from the Seven Seas_, pp. 297-298. The chorus there is "'Round the corner an' away we'll go, 'Round the corner Sally! 'Round th' corner where them gals do go, 'Round the corner Sally!" In that shanty Hugill says "The 'corner' indicated in this shanty seems to be Cape Horn." - BS
File: RcSATCO
===
NAME: Sally Brown
DESCRIPTION: Shanty. Characteristic lines: "Way, hey, roll and go... Spend my money on Sally Brown." The singer describes Sally ("A Creole lady... She had a farm in Jamaica... She had a fine young daughter") and his (unsuccessful) courtship
AUTHOR: unknown
EARLIEST_DATE: 1917 (Robinson)
KEYWORDS: shanty sailor courting parting
FOUND_IN: US(MA) Australia Canada(Mar,Newf)
REFERENCES: (16 citations)
Doerflinger, pp. 74-76, "Sally Brown" (2 texts, 2 tunes)
Bone, pp. 97-98, "Sally Brown" (1 text, 1 tune)
Colcord, p. 82, "Sally Brown" (1 text, 1 tune)
Harlow, pp. 87, 122, "Way Sing Sally," "Sally Brown (Roll and Go)" (2 texts, 2 tunes)
Hugill, pp. 162-166, "Sally Brown," "Tommy's on the Tops'l Yard" (4 texts plus several fragments, 3 tunes) [AbEd, pp. 129-134]; p. 254, "Hilo, Johnny Brown" (1 text, 1 tune) [AbEd, p. 184]
Sharp-EFC, XXVIII, p. 33, "Sally Brown" (1 text, 1 tune)
Shay-SeaSongs, pp. 24-25, "Sally Brown" (1 text, 1 tune)
Lomax-FSNA 24, "Sally Brown" (1 text, 1 tune)
Meredith/Covell/Brown, p. 94, "Sally Brown" (1 text, 1 tune)
Greenleaf/Mansfield 166, "Sally Brown" (1 text, 1 tune)
Doyle3, p. 53, "Sally Brown" (1 text, 1 tune)
Blondahl, p. 31, "Sally Brown" (1 text, 1 tune)
Mackenzie 108, "Sally Brown" (2 texts)
Silber-FSWB, p. 92, "Sally Brown" (1 text)
DT, SALBROWN* SALBRWN2* (SALBRWN3)
Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). Two versions of "Sally Brown" are in Part 2, 7/21/1917.
Roud #2628
RECORDINGS:
J. M. (Sailor Dad) Hunt, "Sally Brown" (AFS, 1941; on LC02)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Sally Brown" (AFS 4231 A2, 1939; in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "Roll and Go" (verses)
ALTERNATE_TITLES:
Roll and Go
Walkalong, You Sally Brown
Stand to Yer Ground
File: Doe074
===
NAME: Sally Buck, The
DESCRIPTION: The singer goes hunting "one cold and winter day." (He tracks "the Sally buck all day.")  Sundry adventures follow; the singer reports "of (15 or 20), ten thousand I did kill." The singer ends "If you can tell a bigger lie, I swear you ought to be hung."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: animal nonsense supernatural hunting talltale paradox
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
SharpAp 159, "Sally Buck" (2 texts, 2 tunes)
Sharp/Karpeles-80E 70, "The Sally Buck" (1 text, 1 tune)
Ritchie-SingFam, pp. 107-109, "[I Went Out A-Hunting, Sir]" (1 text, 1 tune)
Fife-Cowboy/West 4, "A Hunting Tale" (1 text, 1 tune)
Roud #3607
RECORDINGS:
Bascom Lamar Lunsford, "On a Bright and Summer's Morning" (on BLLunsford01)
NOTES: The variation in this song is immense; of the four versions I've seen, the only common element is the fact that the singer is a hunter and that at some point, "of fifteen or twenty" (or four-and-twenty, or some such), "a thousand (or ten thousand) I did kill."
Along the way the hunter meets various misadventures; these may be borrowed from other songs, and in any case take on local color.
The final stanza, along the line of, "The man who wrote this song, his name was (Benny Young/Bango Bang); If you can tell a bigger lie, I swear you ought (to be hung/to hang)," is characteristic but does not occur in all versions. - RBW
File: SKE70
===
NAME: Sally Come Up
DESCRIPTION: A song in praise of Sally that manages to stress all her bad features: "Sally has got a lubly nose, Flat across her face it grows, It sounds like thunder when it blows.... Sally come up, oh, Sally come down, Oh, Sally, come twist your heels around...."
AUTHOR: unknown
EARLIEST_DATE: 1859 (sheet music)
KEYWORDS: humorous
FOUND_IN: US(MA,MW)
REFERENCES: (1 citation)
FSCatskills 148, "Sally Come Up" (1 text, 1 tune)
NOTES: The earliest printed text of this piece credits the words to T. Ramsey and the music to E. W. Mackney, but as early as 1862 other names began to appear. Paskman and Spaeth believe the song to be a spoof of "Sally in Our Alley." - RBW
Having finally read the lyrics to "Sally in Our Alley," I think Paskman & Spaeth are all wet. The only common element is the name "Sally." - PJS
Note that they don't call it a parody; it's just supposed to be based on the same cahracter. Still a stretch, I allow.
There is a parody, though, by a well-known author -- none other than Lewis Carroll! Carroll's diary forJuly 3, 1862 mentions hearing the Liddell sisters singing this song (obviously implying some amount of oral currency by then), and in the original draft of _Alice in Wonderland_, he had this Mock Turtle's Song:
Salmon, come up! Salmon, go down!
Salmon, come twist your tail around!
Of all the fishes of the sea
There's none so good as Salmon!
Cazden et al list a number of other early parodies (including the above, though I'm getting my information from Martin Gardner's _The Annotated Alice_, which is more detailed.) - RBW
File: FSC148
===
NAME: Sally Go Round the Moon
DESCRIPTION: "Sally go round the (sun), Sally go round the (moon), Sally go round the (stars), On a Saturday afternoon." 
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: travel playparty
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #636, pp. 251-252, "(Sally go round the sun)"
File: BGMG636
===
NAME: Sally Gooden: see Sally Goodin (File: LoF121)
===
NAME: Sally Goodin
DESCRIPTION: "Had a piece of pie an' I had a piece of puddin', An' I gave it all away just to see my Sally Goodin." About how much the singer loves Sally, how he courts her -- with perhaps a few sundry comments about food and liquor along the way
AUTHOR: unknown
EARLIEST_DATE: 1922 (recording, Eck Robertson)
KEYWORDS: love courting nonballad floatingverses dancetune
FOUND_IN: US(Ap,SE,So)
REFERENCES: (9 citations)
Lomax-FSNA 121, "Sally Goodin" (1 text, 1 tune)
Randolph 544, "Sally Goodin" (1 text plus a fragment, 1 tune)
Randolph/Cohen, pp. 403-404, "Sally Goodin" (1 text, 1 tune -- Randolph's 544A)
BrownIII 89, "Sally Goodin" (5 fragments, though "D" and "E" might be other songs)
Fuson, p. 158, "Sallie Goodin" (seventh of 12 single-stanza jigs) (1 short text)
Cambiaire, p. 56, "Sally Gooden" (1 text)
Darling-NAS, p. 255, "Sally Goodin" (1 text)
Silber-FSWB, p. 33, "Sally Goodin" (1 text)
DT, SALGOODN
Roud #739
RECORDINGS:
Clifford Gross & Muryel Campbell, "Sally Gooden" (Vocalion 03650, 1937)
Fiddlin' John Carson, "Sallie Goodman" (OKeh 40095-A, 1924)
James Crase, "Sally Goodin" (on MMOKCD)
[G. B.] Grayson & [Henry] Whitter, "Sally Gooden" (Gennett 6733/Champion 15501 [as by Norman Gayle], 1928)
Vester Jones, "Sally Goodin" (on GraysonCarroll1)
Kessinger Brothers, "Sally Goodin" (Brunswick 308, c. 1929)
Neil Morris & Charlie Everidge, "Sally Goodin" [instrumental w. dance calls] (on LomaxCD1707)
John D. Mounce et al, "Sally Gooden" (on MusOzarks01)
New Lost City Ramblers, "Sally Goodin" (on NLCR02) (NLCR16)
Pickard Family, "Sally Goodin"  (Regal 8810, 1929; probably the same as Dad Pickard's recording, Banner 6434, 1929)
Fiddlin' Powers and Family, "Sally Goodin" (Victor, unissued, 1924)
Riley Puckett, "Sally Goodwin" (Columbia 15102-D, 1926)
Eck Robertson, "Sally Goodin" (Victor 18956, 1922)
Ernest V. Stoneman "Sally Goodwin" (Edison, unissued, 1927) (Edison 52350, 1928) (CYL: Edison [BA] 5529, 1928) (Edison 0000 [development disk], 1928)
Uncle "Am" Stuart, "Sally Gooden" (Vocalion 14841, 1924)
CROSS_REFERENCES:
cf. "Cripple Creek (I)" (floating lyrics)
NOTES: Another piece that endures mostly as a fiddle tune. Given the lyrics, it's not hard to see why. - RBW
File: LoF121
===
NAME: Sally Greer
DESCRIPTION: The singer's parents "forced me to Americay, my fortune to pursue." As the ship crosses the ocean, he thinks of his beloved Sally Greer. The ship sinks, with only (13) of 350 surviving. The poor survivor hopes to return to Sally
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: separation love emigration disaster wreck
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Fowke/Mills/Blume, pp. 92-93, "Sally Greer" (1 text, 1 tune)
Peacock, pp. 358-359, "Charming Sally Greer" (1 text, 1 tune)
ST FMB092 (Partial)
Roud #4084
RECORDINGS:
Martin McManus, "Sally Greer" (on Ontario1)
CROSS_REFERENCES:
cf. "The Glasgow" (theme, plus the girl Sally Greer)
NOTES: This song is item dD39 in Laws's Appendix II. It reminds me of Laws K11, "Sally Munroe," but though there are several points of contact, the plot differs somewhat and there do not appear to be common lyrics.
Peacock notes that the various versions give different internal dates: 1833 and 1843. - RBW
File: FMB092
===
NAME: Sally in the Garden
DESCRIPTION: Dance tune with chorus "Sally in the garden sifting sand/Sally upstairs with a hog-eyed man"; floating verses: "Chicken in the bread pan kicking up dough"; "Sally will your dog bite, no sir, no/Daddy cut his biter off a long time ago"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: sex dancing nonballad animal floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 67, "Hog-eye" (1 text, 1 tune)
BrownIII 232, "Sal's in the Garden Sifting Sand" (1 fragment)
SharpAp 250, "The Hog-eyed Man" (1 text, 1 tune)
Darling-NAS, pp. 254-255, "Hogeye" (1 text)
Roud #331
RECORDINGS:
Theophilus Hoskins, "Hog Eyed Man" (AFS, 1937; on KMM)
New Lost City Ramblers, "Hogeye" (on NLCR03)
Pope's Arkansas Mountaineers, "Hog Eye" (Victor 21295, 1928)
CROSS_REFERENCES:
cf. "Roll the Boat Ashore (Hog-eye I)" (many floating verses)
cf. "The Hog-Eye Man" (words)
cf. "Granny Will Your Dog Bite?" (words, part of tune)
NOTES: This is part of a cluster that includes the bawdy song "The Hog-Eye Man," another Arkansas dance tune "Hogeye" ("Row the boat ashore with a hogeye, hogeye/Row the boat ashore with a hogeye man"), "Granny Will Your Dog Bite" and others. I've used the "Sally in the Garden" title to differentiate the dance tune from the bawdy song, even though they're clearly siblings. - PJS
Paul in fact has strongly suggested merging "Sally in the Garden" and "Roll the Boat Ashore (Hog-eye I)." Roud appears to lump the two. There are verses floating freely between both, which means that fragments often cannot be identified with one or the other. Nonetheless, they appear to me to be different though related songs; the choruses are different, and if all the lyrics float, that is decisive.
Still, one should check the cross-references to be sure to find all the versions. - RBW
File: CSW067
===
NAME: Sally Monroe [Laws K11]
DESCRIPTION: Blacksmith Jim Dixon sends a letter to Sally by a friend. The friend deceitfully hides the letter, but Dixon and Sally later meet and are married. They sail for Quebec, but the ship strikes a rock. Sally is drowned. Dixon lives; he grieves for her parents
AUTHOR: unknown
EARLIEST_DATE: 1854 (Broadside, Bodleian Harding B 17(272b))
KEYWORDS: courting trick marriage emigration ship wreck death
FOUND_IN: Britain(England(South)) US(MW,NE) Canada(Mar,Newf) Ireland
REFERENCES: (11 citations)
Laws K11, "Sally Monroe"
Doerflinger, pp. 303-304, "Sally Monroe" (1 text, 1 tune)
SHenry H571, p. 441, "Sally Munro" (1 text, 1 tune)
Ord, pp. 115-116, "Sally Munro" (1 text)
Greenleaf/Mansfield 57, "Sally Monroe" (1 text)
Peacock, pp. 488-489, "Young Sally Monro" (1 text, 1 tune)
Leach-Labrador 36, "Sally Monroe" (1 text, 1 tune)
Dibblee/Dibblee, pp. 88-89, "Sally Munroe" (1 text, 1 tune)
Ives-DullCare, pp. 142-143,253, "Sally Monroe" (1 text, 1 tune)
Dean, pp. 35-36, "Young Sally Munroe" (1 text)
DT 402, SALMUNRO*
Roud #526
RECORDINGS:
Harry Brazil, "Sally Morrow" (on Voice11)
BROADSIDES:
Bodleian, Harding B 17(272b), "Sally Monro/Munro," unknown (Glasgow), 1854
NLScotland, L.C.178.A.2(211), "Sally Munro," unknown, c. 1830-1850; also RB.m.169(128), "Sally Munro"
ALTERNATE_TITLES:
Young Sally Monroe
File: LK11
===
NAME: Sally My Dear: see Hares on the Mountain (File: ShH63)
===
NAME: Sally to her Bed Chamber
DESCRIPTION: "Now Sally to her bed chamber this night she made great moan, Saying, 'Jimmie, lovely Jimmie, your pillow is quite alone. How can I rest contented and you so far awa'? Sure I thought I'd lived and died with you in sweet Erin go bragh'"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 63, "Sally to her Bed Chamber" (1 fragment, 1 tune)
Roud #2758
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
Creighton-SNewBrunswick: "This is obviously an Irish song of lament for a husband far away." - BS
File: CrSNB063
===
NAME: Sally Walker: see Little Sally Walker (File: CNFM157)
===
NAME: Sally Waters: see Little Sally Walker (File: CNFM157)
===
NAME: Sally Went to Preachin'
DESCRIPTION: 'Sally went to preachin', she shouted and she squalled, She got so full religion she tore her stocking heel." "An a git a long home, nega, nega (x3), I'm bound for Shakletown." "Somebody stole my ol' coon dog...." "I'm gonna get some bricks...."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: clothes robbery floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 458, "Sally Went to Preachin'" (1 text)
Roud #11796
NOTES: This reminds me a lot of "Cindy," but it's hard to tell if they are related based on the Brown text. - RBW
File: Br3458
===
NAME: Sally, Let Your Bangs Hang Down
DESCRIPTION: Singer describes former girlfriend Sally; he saw her changing; she caught him peeping. She's run off with Tony. Refr: "Sally, let your bangs hang down"; ch.: "Sally she can land 'em...I'll find out what Sally's got, makes the men think she's so hot"
AUTHOR: unknown
EARLIEST_DATE: 1937 (recording, Bill Cox & Cliff Hobbs)
LONG_DESCRIPTION: Singer describes Sally, who was his girlfriend, as a hot girl; he saw her changing clothes, but she caught him peeping. She has always left him guessing, and has just run off with Tony. Refrain: "Sally, let your bangs hang down"; ch.: "Sally she can land 'em, she loves 'em and she leaves 'em...I'll find out what Sally's got, makes the men think she's so hot..."
KEYWORDS: jealousy courting sex abandonment bawdy lover clothes
FOUND_IN: US
REFERENCES: (1 citation)
DT, SALBANGS
RECORDINGS:
Carlisle Bros. "Sally Let Your Bangs Hang" (Decca 5742, 1939)
Bill Cox & Cliff Hobbs, "Sally Let Your Bangs Hang Down" (Melotone 7-08-70/Conqueror 8883, 1937; rec. 1936)
Maddox Bros. & Rose, "Sally Let Your Bangs Hang Down" (4-Star, n.d.)
Sweet Violet Boys, "Sally Let Your Bangs Hang Down" (Vocalion 05229, 1939; Columbia 20351/Columbia 37774, 1947)
NOTES: Barely scrapes by as a ballad, but there *is* a narrative there. - PJS
File: RcSLYBHD
===
NAME: Sally, Molly, Polly
DESCRIPTION: Hog-calling chant: "Sally, Molly, Polly, O -- Come on -- git cawn! Little in the basket, more in the crib, Come on -- git cawn!"
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: food animal nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 209, "Sally, Molly, Polly" (1 short text)
File: Br3209
===
NAME: Sally's Cove Tragedy, The
DESCRIPTION: A few days after leaving home, "The rain and fog lay thick all around, the winds did howl and mourn." "Without fire, food, or water in that bitter piercing cold," two boys, Russ and Dennis, die leaving Eli Roberts to mourn.
AUTHOR: George Decker
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: death fishing sea ship ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 971-972, "The Sally's Cove Tragedy" (1 text, 1 tune)
Roud #9933
NOTES: I can't find a record of this loss. However, Peacock says Decker claimed to have written this ballad around 1909-1919. An Eli and Susan Roberts were married at Sally's Cove in 1893 [source: Newfoundland & Labrador Gen Web site] so a date of 1909 or 1910 seems reasonable for the incident.
Salley's Cove is on the west coast of Newfoundland in what is now Gros Morne National Park - BS
File: Pea971
===
NAME: Salmon Fishers
DESCRIPTION: "Cam ye by the salmon fishers? Cam ye by the roperee? Saw ye a sailor laddie Sailing on the raging sea?" The girl may describe the sailor she loves, or how they courted, or how they expect to marry
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: love courting sailor floatingverses
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Montgomerie-ScottishNR 78, "(Cam you by the salmon fishers)" (1 text)
DT, SALMFISH
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #39, "Cam' Ye By" (1 text)
Roud #12978
CROSS_REFERENCES:
cf. "Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going)" (lyrics)
NOTES: This is a difficult song to assess. The first stanza has relatively invariant. What follows is not. Several of the other versions (Montgomerie's, Gomme's II) follow this with stanzas straight out of "Katie Cruel/I Know Where I'm Going." Other texts have none of this -- but don't agree particularly closely, either.
Under the circumstances, any song starting with the "Salmon Fishers/Salmon Fishing" stanza must file here, but it must be accepted that any short "I Know Where I'm Going" might be a defective version of this, or of the "Katie Cruel/Leeboy's Lassie" type. - RBW
File: MSNR078
===
NAME: Salonika
DESCRIPTION: "My husband's in Salonika ... I wonder if he knows he has a kid with a foxy head" (;the slackers "puts us in a family way"). When the war's over slackers will have two legs but soldiers a leg and a half. With all the taxes they still can't beat the Hun.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: war nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 60-61, "Salonika" (1 text, 1 tune)
Roud #10513
NOTES: The reference is to the First World War. On September 12, 1915 British and French troops attacked Salonika [Thessaloniki] in Greek Macedonia. (source: _The Irish in Uniform 1915_ The Fame of Tipperary Group at Eircom site); Wikipedia just says "a Franco-British force landed at Salonica in Greece to offer assistance and [unsuccessfully] to pressure the Greek government into war against the Central Powers."
A post-war verse: "Now never marry a soldier a sailor or a marine, But keep your eye on the Sinn Fein boy with his yellow white and green" - BS
The Wikipedia citation is somewhat more accurate than the Eircom description. The Salonika landing was not really a attack on the Central Powers; it was the preparation for an attack -- an attack that never came off. It was one of the most inefficient operations of the whole inefficient war.
According to John Keegan, _The First World War_, Knopf, 1998, p. 236, the idea of a landing at Salonika was first suggested in late 1914. But there was no particular need for it at the time -- the idea was to reinforce the Serbs, but the Serbs were doing just fine against the Austrians on their own.
That changed in 1915, when the Germans decided to take care of Serbia. Unlike the Austrians, the Germans were highly efficient. In October 1915, the Salonika invasion gained interest as a way to defend the country where the war had started (see B. H. Liddell Hart, _Liddell Hart's History of the First World War_, the Papermac edition of Liddell Hart's _History of the First World War_, 1970, p. 153). No matter that it mean landing in neutral Greece! (Keegan, p. 255). In all, three French and five British divisions were sent there in 1915 -- too late; Serbia had fallen to a combined attack by the Germans and the Bulgarians (see S. L. A. Marshall, in _The First World War_, American Heritage, 1964,, p. 186). But rather than risk admitting defeat; the troops stayed in Greece, where they were allowed to rot and suffer malaria. Indeed, over the years, they were actually reinforced.
This even though it would have been almost impossible for them to do anything had they wanted to; Marshall, p. 194, notes that "Salonika was an inadequate Greek port with only a single-track rail line running north into Bulgaria. To the logisticians it was perfectly clear that the locality could not support an advancing field army." He adds that "A few troops on the heights can hold back legions. Withal, the Salonika countryside is terribly unhealthy, malaria-ridden, subject to heavy flooding in winter and intense heat in summer. Why the Allies imagined it a pearly gate to opportunity is one of the war's enduring mysteries."
Worthless as the spot was, the "Army of the Orient" sat there until late 1918. There were no enemies to fight, and the invasion force did not cause the Germans to divert troops; a few Bulgarians sufficed to watch over the whole. Allied casualties to disease were ten times those due to combat, and the Germans are said to have called Salonika "the greatest internment camp in the world."
According to James L. Stokesbury, _A Short History of World War I_ (Morrow, 1981), p. 294, "through most of 1916 and 1917, the Allied commanders [in Salonika] had been more occupied with badgering the Greeks than with fighting the Bulgarians"; in 1917, they even forced the abdication of the Greek king. But they still didn't do anything. It wasn't until September 1918, when the Bulgarian and Austrian armies were collapsing, that the troops in Salonika -- Stokesbury says there were 700,000 of them by this time, including Italians and miscellaneous Slavs -- finally moved. Naturally the Bulgarian army collapsed almost without a fight. Bulgaria signed an armistice on September 29. Theoretically, it was a victory for the Allies; in practice, they had wasted a strong army for two years and subjected it to horrid losses. And, because Salonika was so far from England, communications with home were even worse than in the trenches.
I can't help but think that the Salonika farce was the ultimate proof of the bankruptcy of military command in World War I. There was every reason to think a crisis might arise in Serbia -- it was a country with a violent reputation, hated by Austria and supported by the Russians. Anyone with sense could see that it could entangle the Habsburg and Russian empires -- which, given the nature of the alliance system of the time, could bring in Germany and France also. Yet no one thought about how to reinforce Serbia -- even though it was a land-locked country with no direct connections even to Russia, let alone the sea; the only way to reach it from Britain or France (apart from the routes through Austria) was from the Adriatic through Albania, Greece, or Montenegro -- all very difficult routes due to the mountains. Someone should have made up staff plans, and negotiated with the local states, *before* the war began!
The charge of high taxes during the war is certainly true; the conflict broke the economies of every power involved. The real problem for Britain (and France), though, was the absence of competent generals. Germany had an army that was, man for man, better than that of the Allies (and, initially, much larger), and her generals could at least pull off an attack (as they showed by conquering Serbia and Romania). They didn't entirely understand trench warfare, but the Allies never did cease their tendency to assault trenches. The reference to mutilated soldiers is certainly dead-on; millions of women were left widows, and millions more found their husbands and boyfriends blind or maimed or with lungs damaged by gas. - RBW
File: OCan060
===
NAME: Salt Creek Girl, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Salt Horse Song, The
DESCRIPTION: The singer conducts a dialog with an old horse, which has been salted and sent aboard ship. He is not too thrilled about such a diet, but there is little he can do. He proves that it is horsemeat by showing a horseshoe in the meat barrel
AUTHOR: unknown
EARLIEST_DATE: 1851 (Journal of John Gorman of the transport ship Minden)
KEYWORDS: dialog horse ship
FOUND_IN: US(MA,NE) Canada(Mar)
REFERENCES: (7 citations)
Flanders/Olney, p. 226, "The Salt Horse Song"; pp. 226-227, "Old Hoss, Old Hoss" (2 texts, 1 tune)
BrownIII 227, "Old Horse, Old Horse" (1 short text)
Linscott, pp. 142-144, "Old Horse" (1 short text, 1 tune)
Doerflinger, pp. 21-22, "Blow the Man Down (V)" (this last text combines the words of "The Salt Horse Song" with the tune & metre of "Blow the Man Down"); p. 160, "The Sailor's Grace" (2 texts, tune referenced)
Hugill, pp. 556-557, "The Sailor's Grace" (3 texts, 2 tunes) [AbEd, pp. 393-394]
Huntington-Whalemen, pp. 279-281, "Old Horse" (1 text, 1 tune)
Smith/Hatt, p. 44, "Old Hoss" (1 text)
Roud #3724
CROSS_REFERENCES:
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)"
cf. "Blow the Man Down" (lyrics)
NOTES: Sailors referred to pickled beef as "salt horse," probably partly because it tasted so bad and partly because they suspected contractors of mixing in the occasional bit of horsemeat. From there it wasn't much of a stretch to this song. - RBW
File: FO226
===
NAME: Saltpetre Shanty (Slav Ho)
DESCRIPTION: Shanty. "To ol' Callyo we're bound away, (Slav ho!/Oh Roll!) (repeat) We're bound away from Liverpool bay, them puntas o' Chili will grab our pay. Ch: Oh rooooll, Rock yer bars! Heave 'er high-o, rock 'er, oh, rooooll!"
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: shanty ship travel
FOUND_IN: Britain
REFERENCES: (3 citations)
Colcord, p. 97, "Slav Ho!" (1 short text, 1 tune-quoting Robinson)
Hugill, p. 518, "Saltpetre Shanty" (1 text, 1 tune) [AbEd, p. 377]
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "To the Spanish Main--Slav Ho!" is in Part 4, 8/4/1917
Roud #4692
CROSS_REFERENCES:
cf. "Drei Reiter Am Thor" (tune)
SAME_TUNE:
Drei Reiter Am Thor (File: Colc096)
NOTES: See also notes to "Drei ritten am Thor." Robinson gives an alternate refrain with imitative Spanish words "Slav Ho! Slavita, vraimentigo slee-ga, Slav Ho!" which Colcord quoted and used to launch her explanation of how one song ends up being a new one. Her supposition being as follows:
Two ships, say, German and British, are moored near each other. The English shantyman hears the German sailors singing an old folk song. He doesn't understand the words, but likes the tune and starts humming or playing it to himself. Then (quoting from Colcord) "he let it lie fallow till some words occurred to him would fit it. Naturally, they concerned the part of the world in which he found himself, and it mattered not at all to him that literary landsfolk reserve the term 'Spanish Main' for an different part of the world altogether. When it came to the chorus, he wanted some good rousing nonsense-syllables, and again he borrowed-this time from the Spanish tongue that he heard daily. The sailor was always immensely tickled by the sound of a foreign, particularly a Latin, language, and was given to clumsy paraphrases of it." - SL
For more on saltpeter, and how it made ports like Callao and Ilo very important, see the notes to "Chamber Lye" and "Tommy's Gone to Hilo." - RBW
File: Colc097
===
NAME: Salty Dog
DESCRIPTION: Floating verses linked by  the words "Honey, let me be your salty dog," e.g. "Pulled the trigger and the gun said go/Shot rung over in Mexico"; "Two old maids lyin' in the bed/One turned over to the other and said/You ain't nothin' but my salty dog."
AUTHOR: Probably Charlie Jackson
EARLIEST_DATE: 1924 (recording, Papa Charlie Jackson)
KEYWORDS: sex bawdy nonballad floatingverses
FOUND_IN: US(SE,Ap)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 184-185, "Salty Dog Blues" (1 text, 1 tune)
Silber-FSWB, p. 79, "Salty Dog" (1 text)
DT, SALTDOG
Roud #11661
RECORDINGS:
Allen Bros., "A New Salty Dog" (Victor 23514, 1931; Bluebird B-5403, 1934; Montgomery Ward M-4750, c. 1945; RCA Victor 20-2132, 1947; on RCA Victor LPV-552 (LP), GoingDown); "Salty Dog, Hey Hey Hey" (Vocalion 02818, 1934); probably also "Salty Dog Blues" (Columbia 15175-D, 1927)
Bo Carter [pseud. for Bo Chatmon] "Be My Salty Dog" (Bluebird B-7968, 1938)
Jimmie Davis, "Davis' Salty Dog" (Victor 23674, 1932)
Papa Charlie Jackson, "Salty Dog Blues" (Paramount 12236, 1924; Broadway 5001 [as Casey Harris], c. 1930)
McGee Brothers, "Salty Dog Blues" (Vocalion 5150, 1927)
Morris Brothers, "Let Me Be Your Salty Dog" (Bluebird B-7967, c. 1938) "Salty Dog Blues" (RCA Victor 20-1783, 1945)
Paramount Pickers, "Salty Dog" (Paramount 12779/Broadway 5069 [as Broadway Pickers], 1929)
Jimmy Revard Oklahoma Cowboys, "Dirty Dog" (Bluebird B-6992, 1937; rec. 1936)
Clara Smith, "Salty Dog" (Columbia 14143-D, 1926)
Stripling Brothers, "Salty Dog" (Decca 5049, 1934)
CROSS_REFERENCES:
cf. "Rigby Johnson Chandler" (floating lyrics)
cf. "Bottle Up and Go" (floating lyrics)
cf. "Step It Up and Go"
cf. "Take Your Fingers Off It"
cf. "Johnny and Jane" (tune)
cf. "Candy Man" (assorted references)
ALTERNATE_TITLES:
A New Salty Dog
NOTES: A "salty dog" was a sexual partner. - PJS
In bluegrass circles, this is credited to the Morris Brothers, but the Jackson recording seems to eliminate this possibility. - RBW
Several labels independently credit Jackson as the author. - PJS
File: CSW184
===
NAME: Salutation, The
DESCRIPTION: "Aroun' Pat Murphy's hearth there was music, song, and mirch" when the traveler comes to the door. She announces the news: "The fairy queen intends for to occupy the Glens" and restore prosperity to Ireland. The Irish will always remember home
AUTHOR: Jaes O'Kane
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: home Ireland nonballad gods
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H756, p. 60, "The Salutation" (1 text, 1 tune)
Roud #13366
File: HHH756
===
NAME: Sam Bass [Laws E4]
DESCRIPTION: Sam Bass, a cowpuncher and at first a kind-hearted fellow, turns to train robbery. Betrayed by an acquaintance named Jim Murphy, he is killed by a Texas Ranger
AUTHOR: unknown
EARLIEST_DATE: 1888 (Thorp)
KEYWORDS: cowboy death betrayal
HISTORICAL_REFERENCES: 1878 - Death of Sam Bass near Round Rock, Texas
FOUND_IN: US(Ap,MW,Ro,So,SW)
REFERENCES: (17 citations)
Laws E4, "Sam Bass"
Belden, pp. 399-400, "Sam Bass" (1 text plus mention of 2 more)
Randolph 142, "Young Sam Bass" (1 text plus a long excerpt, 1 tune)
Friedman, p. 375, "Sam Bass" (1 text)
Sandburg, pp. 422-424, "Sam Bass" (1 text, 1 tune)
Thorp/Fife X, pp. 112-120 (24-26), "Sam Bass" (3 texts, 1 tune)
Fife-Cowboy/West 95, "Sam Bass" (1 text, 1 tune)
Larkin, pp. 158-161, "Sam Bass" (1 text, 1 tune)
Lomax-FSUSA 81, "Sam Bass" (1 text, 1 tune)
Lomax-ABFS, pp. 126-128, "Sam Bass" (1 text, 1 tune)
LPound-ABS, 66, pp. 149-152, "Sam Bass" (1 text)
Burt, pp. 199-200, "Sam Bass" (1 short text)
JHJohnson, pp. 96-98, "Sam Bass" (1 text)
Darling-NAS, pp. 190-191, "Sam Bass" (1 text)
Silber-FSWB, p. 196, "Sam Bass" (1 text)
Saffel-CowboyP, p. 204-205, "Sam Bass" (1 text)
DT 621, SAMBASS*
Roud #2244
RECORDINGS:
Harry "Mac" McClintock, "Sam Bass" (Victor 21420, 1928; on AuthCowboys, WhenIWas1)
Marc Williams, "Sam Bass" (Brunswick 304, 1929; rec. 1928)
NOTES: Report has it that Bass had his shootout with the police on July 20, 1878; he was captured the next day and died the day after. That July 22 is said to have been his 27th birthday.
This song has been attributed (e.g. by Thorpe) to a John Denton of Gainesville, Texas, and supposedly written in 1879, but most scholars think that multiple hands have been involved. - RBW
File: LE04
===
NAME: Sam Cooper
DESCRIPTION: Sam Cooper is "up for a crime," "handcuffed and caught on the house on the hill," tried in Timmum, then Wexford, then Enniscorthy and "they couldn't find me guilty on every degree." He sings, "I'll make this Lar' now repent now for all he has done"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: crime manhunt trial
FOUND_IN: 
REFERENCES: (0 citations)
Roud #16726
RECORDINGS:
Bill Cassidy, "Sam Cooper" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "It appears to have been exclusive to travellers. We recorded it from three different singers and in each case they told us that Sam Cooper was arrested for stealing oats, though this is not mentioned in any of the versions. They also said he was guilty as charged."
Timmum [Taghmon], Wexford and Enniscorthy are all in Co. Wexford. - BS
File: RcSamCoo
===
NAME: Sam Griffith
DESCRIPTION: The singer dreams of seeing "Sam Griffith with a darky for a mate." Sam begs for a drink, claiming the squatters don't like a union man. The singer abuses him for his hypocrisy. Sam leaps to the attack; the singer wakes up 
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: work fight dream discrimination
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 25-27, "Sam Griffith" (1 text, 1 tune)
File: MA025
===
NAME: Sam Hall (Jack Hall) [Laws L5]
DESCRIPTION: (Sam Hall), about to be hanged, bitterly tells his tale, spitting curses all the while -- directing them at the parson, the sheriff, his girlfriend, and the spectators. He is guilty of killing a man, and goes to the gallows still blazing away
AUTHOR: C. W. Ross
EARLIEST_DATE: 1719
KEYWORDS: curse execution gallows-confession prisoner punishment
HISTORICAL_REFERENCES: 1701 - Execution of Jack Hall, a young London chimney sweep, on a charge of burglary. His "last goodnight" hawked about as a broadside eventually became the blasphemous "Sam Hall."
FOUND_IN: Australia US(Ap,NE,SE,SW) Britain(England(All)) New Zealand
REFERENCES: (11 citations)
Laws L5, "Sam Hall"
Friedman, p. 223, "Sam Hall" (1 text+1 fragment, 1 tune)
Cray, pp. 43-48, "Sam Hall" (1 text, 1 tune)
PBB 117, "Sam Hall" (1 text)
Sharp-100E 81, "Jack Hall" (1 text, 1 tune)
Flanders/Brown, pp. 96-97, "Jack Hall" (1 text)
Lomax-ABFS, pp. 133-134, "Sam Hall" (1 text, 1 tune)
Kennedy 322, "Jack Hall" (1 text, 1 tune)
Darling-NAS, pp. 102-103, "Jack Hall"; "Sam Hall" (1 text plus a fragment)
Silber-FSWB, p. 69, "Sam Hall";  p. 200, "Ballad Of Sam Hall" (2 texts)
DT 420, SAMHALL (TALLOCAN)
Roud #369
RECORDINGS:
Emry Arthur, "Ethan Lang" (c. 1930; on RoughWays2)
Walter Pardon, "Jack Hall" (on Voice17)
Tex Ritter, "Sam Hall" (Decca 5076, 1935)
BROADSIDES:
Bodleian, Harding B 11(1849), "Jack the Chimney Sweep" ("My name it is Jack All chimney sweep chimney sweep"), J. Pitts (London), 1819-1844; also Harding B 11(2840), Harding B 11(2841), "Jack the Chimney Sweep"; Harding B 15(145a), "Jack Hall"; Harding B 20(27), "Sam Hall Chimney Sweep"
CROSS_REFERENCES:
cf. "Sam MacColl's Song" (tune)
ALTERNATE_TITLES:
Samuel Hall
NOTES: _Pills to Purge Melancholy_ includes new words set to the tune of "Chimney-Sweep," recognizably "Jack Hall." Therefore the song must have already been in circulation by that time, 1719. -PJS
There is also a book, _Memoirs of the Right Villanous Jack Hall_, a tale of a highwayman, published 1708. I know nothing of the book except its title and that it devotes some time to describing Newgate Prison. - RBW
File: LL05
===
NAME: Sam Holt
DESCRIPTION: The singer reminds Sam Holt of the various events of his life: "Oh, don't you remember Black Alice, Sam Holt... [with] teeth like a Moreton Bay shark...." Stories about Sam's courtship amid ants, his cheating and cards, his mining fortune, and his travels
AUTHOR: "Ironbar" Gibson
EARLIEST_DATE: 1924 (Paterson's _Old Bush Songs_)
KEYWORDS: rambling cards courting Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 98-99, "Sam Holt" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 138-141, "Sam Holt" (1 text)
Roud #9097
CROSS_REFERENCES:
cf. "Ben Bolt" (tune & meter)
NOTES: Patterson/Fahey/Seal credits this to "Ironbar" Gibson, but does not document the source of this claim. Whoever wrote it clearly based it on "Ben Bolt." - RBW
File: FaE098
===
NAME: Sam MacColl's Song
DESCRIPTION: MacColl, whose penis is so large there is no room for a scrotum, boasts he services the girls until they weary, then tires horses, cows and sheep.
AUTHOR: Attributed to Jim Tully
EARLIEST_DATE: 1927 ("Immortalia")
KEYWORDS: bawdy bragging humorous lie
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 48-49, "Sam MacColl's Song" (1 text, 1 tune)
Roud #10177
CROSS_REFERENCES:
cf. "Sam Hall (Jack Hall)" [Laws L5] (tune)
File: EM048
===
NAME: Sam's "Waiting for a Train": see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Samaritan Woman, The: see The Maid and the Palmer [Child 21] (File: C021)
===
NAME: Same House As Me, The
DESCRIPTION: The singer claims that "Many a man... would hang [himself] up... If [he] had half as much trouble as me." He and his wife have a young girl as a lodger; one night, coming home drunk from a concert, the singer goes to sleep in her bed. Mayhem follows.
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: husband wife drink adultery humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 269-270, "The Same House As Me" (1 text, 1 tune)
File: MCB269
===
NAME: Same Train: see This Train (File: LoF255)
===
NAME: Sampanmadchen, Das (The Sampan Maiden)
DESCRIPTION: German or Swedish shanty. Pidgin English (or in this case, pidgin German), nonsense verses - "I no likie you-hou, you no-ho likie me-hie". Versions of this were to be found in several languages. Chorus of even more nonsensical syllables.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty nonsense China
FOUND_IN: Germany Sweden
REFERENCES: (1 citation)
Hugill, pp. 569-570, "Das Sampanmadchen," "En Sjomansvisa Fran Kinakusten" (4 texts-German, Swedish, and English, 1 tune)
CROSS_REFERENCES:
cf. "Chinee Bumboatman" (some similar verses)
ALTERNATE_TITLES:
En Sjomansvisa Fran Kinakusten" (A Sailor's Song from the China Coast)
File: Hugi569
===
NAME: Samson: see Samson and Delilah (File: LoF251)
===
NAME: Samson and Delilah
DESCRIPTION: "Delilah was a woman, fine and fair, Very pleasant looks and coal black hair... If I had my way I'd tear the building down." Delilah tricks Samson out of the secret of his strength; he is captured, but manages to tear the building down.
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Rev. T. E. Weems)
KEYWORDS: Bible religious death hair trick lie
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Lomax-FSNA 251, "Samson" (1 text, 1 tune)
Courlander-NFM, pp. 49-50, "(If I Had My Way)" (1 text)
Roud #6700
RECORDINGS:
Blind Willie Johnson, "If I Had My Way I'd Tear the Building Down" (Columbia 14343-D, 1928; Vocalion 03021, 1935; rec. 1927)
Celina Lewis, "Session with Celina Lewis" (on NFMAla6)
Rev. T. E. Weems, "If I Had My Way I'd Tear the Building Down" (Columbia 14254-D, 1927)
NOTES: Most of this story is Biblically accurate. The story of Samson occupies chapters 13-16 of Judges. We may categorize:
* Delilah's beauty (not mentioned; we are only told that Samson loved her; see 16:4)
* Samson's birth: A miraculous event described in chapter 13
* "Strongest man that ever lived on earth": not explicit, but tales of his strength fill most of chapters 14-16
* "He killed three thousand Philistines": No such number is given. We read in 14:19 that he killed 30, in 15:15 of another thousand, etc., and in 16:30 that he killed more by knocking down the building than he had in life.
* The dead lion and the bees: 14:6, 8f.
* "They bound him with a rope" (first occurrence): 15:13
* The old jawbone, etc.: 15:15f.
* Samson told her, "Shave off my hair": 16:17
* "His strength became like a natural man": 16:19
* The final incident, where the blinded Samson is displayed before the Philistines, but has his revenge by pulling the building down on them, is told in 16:23-30. - RBW
File: LoF251
===
NAME: Samuel Allen [Laws C10]
DESCRIPTION: Samuel Allen is examining a rolling dam on the Rocky Brook. The dam falls apart, and Allen is drowned
AUTHOR: John Calhoun of Bouestown (1848-1939) (per Ives-NewBrunswickm Manny/Wilson)
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: logger death drowning
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (4 citations)
Laws C10, "Samuel Allen"
Ives-NewBrunswick, pp. 49-53, "Rocky Brook" (1 text, 1 tune)
Manny/Wilson 40, "Rocky Brook" (1 text, 1 tune)
DT 716, SAMALLEN
Roud #1944
File: LC10
===
NAME: Samuel Hall: see Captain Kidd [Laws K35] (File: LK35)
===
NAME: Samuel Young
DESCRIPTION: Samuel Young, of Kentucky, is courting a girl against the wishes of her father; he arranges to have him sent to the Mexican War. He gets as far as Monterey when he takes sick and dies
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: disease grief courting army war parting separation father lover
FOUND_IN: US(SE)
REFERENCES: (2 citations)
SharpAp 192, "Samuel Young" (1 text, 1 tune)
DT, SAMYOUNG*
NOTES: The theme of the father having his daughter's unwelcome suitor sent away, pressed into the army, etc., is of course common, but this is one of the few songs in which she doesn't follow him, and he does not return to claim the daughter/fight the father. It doesn't seem to overlap other songs, and I'd guess it was composed by a friend or relative of the fallen soldier. The part of North Carolina where the song was collected is not far from Kentucky. - PJS
The song is definitely curious, since the Mexican War did not involve a military draft. Perhaps the father demanded that the young man join the army as a condition for marrying his daughter?
Given the appalling sanitary conditions in armies of this period, it's no surprise that he died of disease.
I strongly suspect the song is modeled on something else. The words make me think of "The Suffolk Miracle," though the tune is close to "Bury Me Not on the Lone Prairie."
The song is item dA34 in Laws's Appendix II. - RBW
File: ShAp2192
===
NAME: Sandgate Lass on the Ropery Banks, The
DESCRIPTION: "On the Ropery Banks Jenny was sittin'... And hearty I heard this lass singin' -- My bonny keel lad shall be mine." She is knitting the stockings she promised him. She recalls meeting him, and looks forward to bearing his children
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: love courting children clothes
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 184-185, "The Sandgate Lass on the Ropery Banks" (1 text, 1 tune)
ST StoR184 (Partial)
Roud #3178
NOTES: For some reason, this reminds me very strongly of "Bring Back My Johnny to Me." But I can't point to common elements. - RBW
File: StoR184
===
NAME: Sandgate Lass's Lament, The
DESCRIPTION: "I was a young maiden truly, And liv'd in Sandgate Street; I thought to marry a good man... But last I married a keelman, And my good days are done." The girl lists all the men she thought of marrying, and then contrasts her ill-formed, evil keelman
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: marriage abuse lament work
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 162-163, "The Sandgate Lass's Lament" (1 text, 1 tune)
ST StoR162 (Full)
Roud #3170
NOTES: A keelman is not one who is involved in shipbuilding but, I believe, one who keels cloth -- marks it for cutting. It is interesting to note that "to keel" also has been used to mean "to mark down as worthy of contempt." So this may be a pun, or it might be simply that the singer has a truly low opinion of her husband. - RBW
File: StoR162
===
NAME: Sandy Boy, De
DESCRIPTION: Shanty, negro origin. Singer is going down a river when a shark eats his boat. He travels from place to place looking for more boats, but the shark keeps showing up. Other verses have rhymes about girls.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
LONG_DESCRIPTION: Shanty, negro origin. Singer is going down a river when a shark eats his boat. He travels from place to place looking for more boats, but the shark keeps showing up. Other verses have rhymes about girls. Typical verses would be: "When I went down to New Orleans to see de boatman row, I set myself down on a rock an' played the old banjo." "Then I went to Alo, to buy a little goat, The ole shark came behind us a swallowed down the boat." Chorus: "Do come along, my Sandy boy, Do come along, oh, do! What will Uncle Gabriel say? Oh, Sally, can't you too?"
KEYWORDS: shanty sailor river ship
FOUND_IN: US(SE) West Indies
REFERENCES: (1 citation)
Hugill, p. 458-460, "De Sandy Boy" (2 texts, 2 tunes)
File: Hugi458
===
NAME: Sandy Lan': see Great Big Taters in Sandy Land (File: LxA236)
===
NAME: Sandy's a Sailor
DESCRIPTION: Sandy is a sailor. He is paid Saturday and spends it on drink. Sunday at church "he takes the button off his shirt and he puts it on the plate." You'll not find him at his ship but in the bar drinking gin.
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, Lizzie Higgins)
KEYWORDS: drink nonballad sailor
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (0 citations)
Roud #12924
RECORDINGS:
Lizzie Higgins, "Sandy's a Sailor" (on Voice02)
File: RcSanASa
===
NAME: Sandy's Mill
DESCRIPTION: "Sandy had a nice little mill." "Sandy, quo he, Lend me your mill!" "Sandy lent the man his mill, And the man got a loan of Sandy's mill, And the mill that was lent was Sandy's mill, An the mill belonged to Sandy."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: 
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 177, "('Sandy,' quo he, lend me your mill!')" (1 short text)
Roud #2875
File: MSNR177
===
NAME: Sandy's Wooing
DESCRIPTION: Sandy asks Jenny to marry him. She hesitates, pointing out examples of girls who have been betrayed and abandoned by men, perhaps for money. He says that he doesn't need riches; she agrees to marry him
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love courting marriage money
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H239, p. 469, "Sandy's Wooing" (1 text, 1 tune)
Roud #9455
File: HHH239
===
NAME: Sans Day Carol: see The Holly Bears a Berry (File: K091)
===
NAME: Santa Ana: see Santy Anno (File: Doe078)
===
NAME: Santa Anna: see Santy Anno (File: Doe078)
===
NAME: Santa Barbara Earthquake, The
DESCRIPTION: "Way out in California, among the hills so tall, Stands the town of Santa Barbara." Around daybreak, "the hills began to sway." Women and children scream; the people pray. The conclusion: "It's just another warning, From God up in the sky."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, collected from Mary E. King)
KEYWORDS: disaster warning
HISTORICAL_REFERENCES: June 28, 1925 - the Santa Barbara Earthquake
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 86-87, "The Santa Barbara Earthquake" (1 text)
Roud #4752
NOTES: There are several earthquakes on record affecting Santa Barbara, California, the earliest being in 1806, when it was little more than a mission in what was then Mexico.
It seems clear, however, that this song refers to the earthquake of June 1925, which was quite recent at the time this song was first collected. (I would bet a lot that there was a 78 recording of this song, though I haven't located it.)
The earthquake has been estimated at 6.3 on the Richter scale. As the song says, it happened around dawn, before the workday started -- which was very fortunate, since damage in the large buildings of the commercial district was severe, but most of the houses suffered relatively slight damage. Casualties, as a result, were slight -- only thirteen people killed. They probably would have been worse had workers been crowded into the (large, hard-to-escape) commercial buildings.
The garbage at the end makes me wonder if the song isn't by Andrew Jenkins; it has something of his style, and the earthquake happened in the period when he was writing a lot of topical songs, sometimes by invitation of record executives. The author declares that the earthquake was a warning. A warning of what? Lousy songwriters? - RBW
File: MHAp087
===
NAME: Santa Fe Trail, The
DESCRIPTION: The singer asks, "Say, pard, have you sighted a schooner Way out on the Santa Fe Trail?" In the company is "A little tow-headed gal on a pinto" whom he very much wishes to see. He describes her, though he will not give her name
AUTHOR: Words: James Grafton Rogers/Music: J. H. Gower
EARLIEST_DATE: 1911 (sheet music)
KEYWORDS: cowboy travel separation
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 85, "'Longside of the Santa Fe Trail" (1 text, 1 tune)
Roud #5096
RECORDINGS:
Jules [Verne] Allen, "Longside The Santa Fe Trail" Victor V-40118, 1929; Montgomery Ward M-4344, 1933; Montgomery Ward M-4780, 1935; on WhenIWas1) 
Glenn Ohrlin, "Santa Fe Trail" (on Ohrlin01)
Art Thieme, "The Santa Fe Trail" (on Thieme03)
The Westerners [Massey Family], "Santa Fe Trail" (Perfect 6-03-58/Melotone 6-03-58, 1936)
NOTES: Although the sheet music of this piece was published in 1911, it seems that almost every version in tradition (even pop tradition) derives from Jules Verne Allen's 1929 recording. - RBW
File: Ohr085
===
NAME: Santiana: see Santy Anno (File: Doe078)
===
NAME: Santianna: see Santy Anno (File: Doe078)
===
NAME: Santy Ana: see Santy Anno (File: Doe078)
===
NAME: Santy Anna: see Santy Anno (File: Doe078)
===
NAME: Santy Anno
DESCRIPTION: Shanty. Characteristic lines: "Heave Away/Hooray, Santy Anno/Anna... All on the plains of Mexico." The body of the song devotes itself to the Mexican War and/or the California Gold Rush and the sailor's desire to get married and participate
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: shanty battle Mexico gold
HISTORICAL_REFERENCES: Apr 24, 1846 - skirmish between U.S. and Mexican forces in an area of Texas generally regarded as belonging to Mexico. On April 26, General Zachary Taylor reports to President James K. Polk that "hostilities may now be considered as commenced."
May 3 - Mexicans attack Taylor's position at Fort Texas. Taylor moves to the rescue
May 8 - Taylor wins a minor battle at Palo Alto against a superior Mexican force
May 9 - Taylor defeats the retreating Mexicans at Resaca de la Palma
May 13 - War declared with Mexico
May 18 - Taylor crosses the Rio Grande and occupies Matamoros
June 14 - American settlers in California declare independence from Mexico. American forces under John C. Fremont and John Sloat  arrive to support them. Stephen Kearney moves to take over the lands between California and Texas
Aug 17 - David Stockton formally annexes California for the United States and assumes the role of governor
Sept 14 - Antonio Lopez de Santa Anna, who as president of Mexico had lost Texas, takes command of the Mexican army
Sept 20-24 - Taylor captures Monterrey, Mexico after a bloody battle
Nov 16 - Taylor captures Saltillo
Nov 25 - Kearney, now governor of California, begins a campaign to drive the Mexicans under Flores out of southern California. He secures the entire state by Jan 10, 1847
Jan 3, 1847 - General Winfield Scott assumes command in Mexico, superseding Taylor
Feb 5 - Taylor, at odds with the administration and Scott, moves west
Feb 22-23 - Santa Anna confronts Taylor's 5000 men with 15000 and demands surrender. Taylor refuses, then beats Santa Anna at the battle of Buena Vista
Mar 9 - Scott lands at Vera Cruz to begin a campaign against Mexico CIty
April 18 - Scott defeats Santa Anna at Cerro Gordo
Sept 14 - After many minor battles, Scott captures Mexico City
Feb 2, 1848 - Treaty of Gaudalupe Hidalgo ends the war between the U.S. and Mexico, with the U.S. gaining most of what is now Texas, California, Arizona, Nevada, New Mexico, and Utah (the remainder is acquired via the Gadsden Purchase of 1853), plus portions of other states
Nov 7 - Zachary Taylor elected President as a Whig
July 9, 1850 - After a disappointing fifteen months in office, Taylor dies and is succeeded by Millard Fillmore
FOUND_IN: US(MA) Ireland Canada(Mar)
REFERENCES: (19 citations)
Doerflinger, pp. 78-80, "Santy Anna" (2 texts, 2 tunes)
Bone, pp. 129-130, "Santy Ana" (1 text, 1 tune)
Colcord, pp. 84-85, "Santy Anna" (1 text, 1 tune)
Harlow, pp. 40-41, "Santa Ana (On the Plains of Mexico)" (1 text, 1 tune)
Hugill, pp. 82-87, "Santiana," "The Plains of Mexico," "Round the Bay of Mexico" (5 texts, some short and very mixed, 4 tunes) [AbEd, pp.76-80]
Robinson/Bellman, Pt.3, 7/28/1917, "Santa Anna" (1 text-fragment only, 1 tune)
Sharp-EFC, I, p.2, "Santy Anna" (1 text, 1 tune)
Shay-SeaSongs, p. 79, "Santa Anna or The Plains of Mexico" (1 short text, 1 tune)
Scott-BoA, pp. 186-187, "Santy Anno" (1 text, 1 tune)
Lomax-FSUSA 40, "Santy Anno" (1 text, 1 tune)
Lomax-FSNA 26, "Santy Anno" (1 text, 1 tune)
Botkin-AmFolklr, p. 835, "Santy Anna" (1 text, 1 tune)
SHenry H496, pp. 96-97, "Santy Anna" (1 text, 1 tune)
Smith/Hatt, p. 27, "On the Plains of Mexico" (1 text)
Mackenzie 99, "Santy Anna" (1 text)
Darling-NAS, p. 314, "Santa Anna" (1 text)
Silber-FSWB, p. 95, "Santy Anno" (1 text)
DT, SNTYANNA* SNTYANN2
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). A fragment of "Santa Anna" is in Part 3, 7/28/1917.
Roud #207
CROSS_REFERENCES:
cf. "Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny)" (lyrics)
ALTERNATE_TITLES:
Santiana
The Plains of Mexico
Old Santy Ana
NOTES: For references, see the Bibliography at the end of this note.
According to Wheelan, p. 41, "The amazing career of Antonio Lopez de Santa Anna is so entwined with the early years of Texas and Mexico that it is impossible to tell their history without telling his. Born in 1794 in upland Jalapa into a venerable Spanish Castillian family, Antonio was a quarrelsome boy who matured into a fractious, luxury-loving man. Unquestionably courageous, he was also elegant and charming. His favorite amusements were... gambling, cockfighting, an dancing. He was ambitious, opportunistic, crafty, and egotistical."
Or how about this description from DeVoto, pp. 68-69, "Santa Anna is the set piece of Mexican history, complete with rockets, pinwheels, Greek fire, and aerial bombs. He had been president of Mexico, dictator, commander in chief, much too often and too variously for specification here. He had contrived to persuade a good many different factions that he was their soul, and never betrayed any of them till he had got their funds.... He had the national genius for oratory and manifesto, and a genius of his own for courage, cowardice, inspiration, and magnificent graft. [Since the Texas War for Independence,] he had procured further revolutions at home, had lost a leg defending his country against a French invasion, had established a new dictatorship, and had been overthrown by the uprising that put Herrera in power. His impeachment for treason and his banishment had followed."
Looking at his portrait in Wheelan, I can't help but think how much he looks like Adolf Hitler minus the mustache. And, indeed, he had a lot of the same traits, including clawing his way to power and then biting off more than he could chew.
Plus being utterly brutal. It showed in his treatment of Texas. Mexico had allowed American colonists into the area on conditions: They needed to be Catholic and not hold slaves (Wheelan, p. 43). Unfortunately, the Mexicans winked their eyes at slavery while trying to genuinely exclude Protestants. Eventually, when the Mexican government became strict about imposing its rule, the Americans decided they wanted out.
The result was the successful Texas rebellion. In which Santa Anna was the chief Mexican general. He had an army of five thousand "conscripts and prison inmates" (Wheelan, p. 46), with which he took the Alamo, and slaughtered the defenders, then captured and slaughtered the garrison of Goliad (Wheelan, p. 47). Then, on April 21, 1836, Sam Houston's Texans routed the Mexican army at San Jacinto, capturing the general the next day (Wheelan, p. 48). Santa Anna saved his skin by giving the Texans independence, but of course his government could not withstand the blow.
The Mexican government never did really accept that Texas was independent. DeVoto, pp. 12-13, writes, "[I]t is a fundamental mistake to think of Mexico, in this period, or for many years before, as a republic or even a government. It must be understood as a late stage in the breakdown of the Spanish Empire. Throughout that time it was never able to establish a stability, whether social or political.... [N]o governing class arose, or even a political party, but only some gangs. Sometimes the gangs were captained by intelligent and capable men,  sometimes for a while they stood for the merchants, the clergy, the landowners, or various programs of reform, but they all came down in the end to simple plunder."
Given that situation, border raiding was constant. In one of those border raids, Santa Anna captured a large force of Texas raiders -- and ordered every eleventh man shot, choosing the victims at random by having them pull white and black beans from a jar (Wheelan, p. 51).
Eventually the Mexicans got rid of Santa Anna, but the squabbles over Texas never ended. (This was to prove most unfortunate. Had Mexico recognized Texas independence, Britain and France would probably have guaranteed it, the United States would not have annexed Texas, and Mexico presumably would have kept California. Morison, p. 554, writes, "More sense of reality and less of prestige at Mexico City in 1844 might have changed the entire course of American expansion." But Mexico City had neither.)
DeVoto, p. 11, makes an interesting comparison to the Sudetenland. The parallels are there: Just as the Sudetenland had never been part of Germany proper (before the independence of Czechoslovakia, it was part of the Habsburg Empire), so Texas had never been part of the United States. But just as the Sudetenland was full of Germans who wanted to join Germany, so Texas was full of Americans at least open to joining the United States.
For, while Texas was independent, it was also sparsely populated and bankrupt. Various solutions were proposed -- there was actually a British idea of guaranteeing Texas independence if it would free its slaves (Morison, p. 554; Wheelan, p. 58). But the obvious answer was for Texas to join the United States.
This was more complicated than it sounded; President John Tyler tried get a treaty (actually, two different treaties) annexing Texas through the Senate, but could not command a two-thirds majority. He managed to pull it off at the very end of his term (after the 1844 election) by joint resolution of Congress (which required only a simple majority; Morison, p. 556).
The always-shaky Mexican government couldn't face this. It did not dare to admit that it had lost Texas, so naturally it could not admit that Texas had joined the United States. Their bluster might have worked against one of the weak American presidents of the 1850s. Unfortunately for Mexico, the new President was James K. Polk.
Polk was one of the most complex Presidents in American history -- literally; historians can't even agree on his legacy. I can't cite a source, because it was so long ago, but some time around the Reagan administration, a poll was taken among historians to determine the ten best and worst American presidents. Polk was the only president to make *both* lists.
He was a driven man. A sickly youngster, he was diagnosed at age 17 with urinary stones, and was subjected to an emergency operation without anesthetic to remove them; the operation in all likelihood left him sterile (Seigenthaler, p. 19). He had only the sketchiest of education in his early years, and grew up in a situation of religious controversy (Seigenthaler, pp. 12-13). The family came to be obsessed with obtaining as much property as possible (Seigenthaler, p. 17). It was a trait Polk would carry to an extreme; no other President except Thomas Jefferson acquired so much land for the United States, and there were no others who acquired so much by such vigorous means.
His methods were hardly the most honest; his enemies labelled him "Polk the Mendacious" (Wheelan, p. 54). And Seigenthaler, despite seeming to admire Polk overall, points up evidence of his deceptions, admitting that, to Polk, the end justified the means (pp. 100-101).
DeVoto, pp. 7-8, sums him up this way: "Polk's mind was rigid, narrow, obstinate, far from first-rate. He sincerely believed that only Democrats were truly American.... He was pompous, suspicious, and secretive; he had no humor; he could be vindictive; and he saw spooks and villains.... But if his mind was narrow it was also powerful and he had guts. If he was orthodox, his integrity was absolute and he could not be scared, manipulated, or brought to heel. No one bluffed him, no one moved him with direct or oblique pressure. Furthermore, he know how to get things one. He came into office with clear ideas and a fixed determination and he was to stand by them...."
On p. 201, in explaining why the American troops in the Mexican war were treated so badly, DeVoto adds, "He had no understanding of war, its needs, its patterns, or its results. The truth is that he did not understand any results except immediate ones." But he was very good at getting immediate results.
Polk made a career mostly as an ally of Andrew Jackson, who created his own controversies and was, if anything, even more prejudiced than Polk. (It is a bit ironic, in the face of current American politics, that Polk -- probably the most conservative America-is-always-right man of his generation -- was a near-agnostic who was not baptized until he was dying. The man who brought the conservative state of Texas into the Union could not possibly be supported by a Texas delegation today. Nor was he much of a glad-handler in the modern sense; he disliked social engagements and, once in office, rarely left the White House; Seigenthaler, p. 103; Wheelan, p. 54. He would very nearly work himself to death as President. Seigenthaler, p. 119, in summing up the notes he kept as President, calls him "brooding and humorless.... Sometimes he presents himself as demanding to the point of unreasonableness, determined to the point of stubbornness, self-righteous to the point of paranoia.... More than anything else, he comes across as intensely partisan, at times blindly so.")
As Speaker of the House, Polk had run that organization like clockwork. He had then gone on to serve as Tennessee governor 1839-1841, but was defeated in his attempts to run for re-election (DeGregorio, pp. 166-167).
Polk's path to becoming leader of his country was more legal than Santa Anna's, but only slightly less peculiar. Martin Van Buren had been voted out of office in 1840, just as Polk had been ousted from the Tennessee governorship, but was expected to run again in 1844. Polk had presidential ambitions, but for the moment, he just wanted to be Van Buren's vice president.
But several funny things happened on the way to the convention. For starters, Van Buren and the likely Whig nominee, Henry Clay, had published on the very same day similar announcements saying they did not stand for annexation of Texas (Seigenthaler, p. 76). To this day, it is not certain if they had agreed on this, or if they did it independently -- but it was widely thought that they had made an agreement. And the American people, firm believers in Manifest Destiny, wanted Texas. Clay still managed to become the Whig nominee. But it cost Van Buren. There were two main candidates going into the 1844 convention: Van Buren, and Lewis Cass. Van Buren had a majority of delegates on the first ballot, but the convention had adopted a two-thirds rule, and Van Buren never came close to that (Seigenthaler, p. 83). Polk didn't start getting votes until the eighth ballot, but once he had started, Polk's operators carefully manipulated the convention, and it became a bandwagon; he was nominated on the very next ballot. Polk, as a result, became the first "dark horse" presidential candidate -- though we should note that he was far better known nationally than such recent nominees as Bill Clinton and George W. Bush.
The campaign which followed was pretty ugly -- e.g., though both candidates were slaveowners, Polk was accused (falsely) of branding his slaves (Seigenthaler, p. 96). And Clay made rather a hash of things, being very inconsistent in his utterances on topics such as Texas.
Unknown or not, slaveowner or not, Polk won -- if just barely; his margin in the popular vote was some 38,000 out of two and a half million ballots cast. As usual, the margin in the electoral college was much more decisive (Seigenthaler, pp. 98-99). And "probably no other President entered office with so clearly defined a program and accomplished so much of it as Polk (Current/Williams/Freidel, p. 364)
This was the man against whom the fragile Mexican government tried to negotiate. Or, rather, tried not to negotiate. It rejected Polk's attempts to buy California. Polk can't have been too unhappy; he was actually sending different teams with different instructions to various places to muddy the waters (Wheelan, p. 55).
Then, at the end of 1845, the Mexican government of President Herrera was overthrown by General Paredes (Morison, p. 560). The new government was no more willing to recognize the annexation of Texas than the old was willing to recognize its independence.
To make the whole situation worse, Polk wanted to annex not just the portion of Texas east of the Nueces (the part that was unquestionably independent) but greater Texas (all the way to the Rio Grande) and California (which not even the most arrogant Texan had claimed. Polk in fact made the absurd claim that Texas has always been a proper part of the United States! (Here again we see the analogy to the Sudetenland -- Texas was, in effect, the entering wedge.)
So Polk, in order to "ensure that Mexico [would] not" go to war, sent 3000 men under Zachary Taylor to Texas (Wheelan, p. 60). And Polk ordered General Taylor to cross the Nueces (the recognized border between Texas and Mexico, insofar as there was one). Initially he based himself at Corpus Christi, at the mouth of the Nueces, putting him just south of the border (DeVoto, p. 28). Then Polk pushed harder, ordering Taylor to head for the Rio Grande (Wheelan, p. 63).
So disorganized was Taylor's force that it took him a month to get moving (DeVoto, p. 105), and there was much squabbling among the Americans along the way; amazingly, in all their time in camp, they had not practiced maneuvering together (DeVoto, p. 107). But they finally arrived. Faced with that provocation, the Mexicans decided to fight.
There was no single incident which could be called "the first shot"; there had been some small skirmishing starting almost from the moment Taylor reached the Rio Grande. But on April 25, Taylor sent out a small force of horsemen on a reconaissance. This force managed to blunder its way into a fight and was overwhelmed (DeVoto, pp. 130-131), and from then on it was a full-blown shooting war.
This was rather fortunate for Polk; he had been preparing to declare war on Mexico without an incident, and it looked as if Congress might not consent. But he quickly gained a declaration of war after the shooting started (DeVoto, p. 184ff.) -- even though he had to undercut Secretary of State Buchanan, who wanted to avoid making any territorial claims (DeVoto, p. 187, who thinks this was one of Buchanan's periodic attempts to ensure his presidential nomination. Which failed, of course).
Most versions of this song credit Santa Anna with defeating Zachary Taylor, but -- as the historical record shows -- Taylor consistently beat the Mexicans, though some of the victories were expensive.
Although Taylor fought many battles in the Mexican campaign, few were against Santa Anna. Mexico at this time was anything but a stable nation. Santa Anna had been President of Mexico in 1836, when Texas rebelled, but had then been thrown out after the Texans won their battle for independence.
Most modern historians seem less than impressed with Taylor as a general, but, at age 61, he had been in the army for 37 years, having been commissioned in 1808 (Wheelan, p. 61). Despite a limited education (Wheelan, p. 62), he had fought bravely and risen steadily in the ranks while displaying a real concern for his men. Against a strong general, he might have been in trouble -- after all, his logistics were so bad that some of his soldiers actually suffered from scurvy! (DeVoto, p. 15) -- but against the rabble that formed the Mexican army, his steadiness was a great advantage.
(As DeVoto says on p. 189, Taylor "had no patience with textbook soldiers.... Well, what did he have? A sound priniple: attack. A less valuable one which would serve him just as well in this war: never retreat. Total ignorance of the art of war. And an instinct, if not for command, at least for leadership.")
The first battle of the war was at Resaca de la Palma. The Mexican general Arista had planned a maneuver to put him on Taylor's line of communication, but when it came to battle, he found that his ill-equiped conscripts just couldn't fight. Taylor's men fought in place, and eventually the Mexicans retreated (DeVoto, pp. 188-191). The next day, the armies met again, and after a hard slog in which neither general exercised much control, the ill-fed Mexicans broke (DeVoto, p. 192, who notes that in some ways the most important thing about this battle was the number of future Civil War generals who saw combat for the first time. One of them was U. S. Grant).
It wasn't quite what Polk wanted; he still hoped to take California by purchase or local revolution; DeVoto, p. 197, comments that "Mr. Polk had lighted a firecracker and had a bomb explode in his face." But at least he was able to adapt. He started to build up the United States army (though he did nothing to produce a genuinely professional force; DeVoto, pp. 198-199, notes how every officer in one regiment was a political appointee and confesses that at this time "out military system was the worst possible" and could not have succeeded against a stronger enemy than Mexico).
Given limited reinforcements, Taylor would win several more minor victories on the scale of Resaca de la Palma. He became very popular as a result, leaving Polk worried about his political influence (quite correctly, since Taylor, a Whig, would follow the Democrat Polk as President). Polk put Winfield Scott in charge of a second Mexican expedition (Morison, p. 563), and it was Scott who eventually took Mexico City (as DeVoto writes, p. 200, Scott's "egotism was colossal, his vanity was monstrous.... But he was a great soldier. The campaign he was permitted to make was brilliant and victorious. He won the war").
In any case, Polk had had another string for his bow. He also overthrew the Mexican government, helping Santa Anna return to Mexico in September 1846 (an agent for Santa Anna had promised to bring stability to Mexico for a price; Polk accepted the deal even though he distrusted the messenger; see DeVoto, p. 69). The former Mexican president promptly resumed power (as Morison tartly comments on p. 560, revolutions in Mexico at this time were just about certain to succeed).
To make Scott's expedition strong enough to make its amphibious assault, Polk had cut back Taylor's force, ordering it onto the defensive (see Current/Williams/Freidel, p. 375). Santa Anna, seeing an opportunity (and needing a victory to strengthen his government), tried to improve his reputation by attacking Taylor at Buena Vista. It was a close thing, but Santa Anna failed to destroy Taylor. He had little choice but to turn back to try to stop Scott; he failed again, and Santa Anna again gave up power. Eventually a government was formed which reluctantly gave up Texas, New Mexico, and California (Morison, p. 565).
It will tell you something about the organization of the United States Army that total deaths in the war were about 13,000 -- 1700 killed in combat and 11,000 killed by disease and other non-combat causes (Siegenthaler, p. 145).
The war had a rather ridiculous end: Polk sent a negotiator named Nicholas Trist, who sat down with Santa Anna to work out a deal. Polk then fired Trist, but he kept negotiating anyway and worked out a deal (Siegenthaler, p. 151). Polk wasn't entirely happy with the treaty, but he sent it to the Senate -- and, lo and behold, they approved it.
The choice of Taylor to be the Whig presidential nominee to suceed Polk was ironic; according to Nevins1847, p. 195, a Whig operative talked to Taylor's brother, and was told that Taylor had no political convictions and rarely voted. But a man with no record was precisely what was wanted, and so Taylor was nominated -- and easily elected. According to Hammond-Atlas, p. U-49, Taylor earned 47% of the popular vote, Democrat Lewis Cass 42%, and Free Soiler Martin Van Buren 10%; in the electoral college, Taylor had 163 votes, Cass 127. Call it another victory for Taylor over Santa Anna, since Taylor was now the American president and Santa Anna was nothing.
Santa Anna did get the last laugh in a few things: Taylor died in 1850, and Santa Anna survived until 1876. And Santa Anna would come back in Mexico yet again; in 1853, he sold the United States the area known as the Gasden Purchase (Nevins1852, pp. 61-62).
The last word, though, probably should belong to former president John Quincy Adams: "I have opposed [annexing Texas] for ten long years, firmly believing it tainted with two great crimes: one, the leprous contamination of slavery; and two, robbery of Mexico.... 'They have sown the wind...'" (Wheelan, p. 60). And the Democrats did indeed reap the whirlwind. Polk was dead by 1850, when the Compromise of 1850 temporarily patched up the wounds caused by the Mexican War. But eleven years later, with the wounds of the battle over slavery still fresh, a slave state which no longer considered itself part of the Union fired on Fort Sumter....
Bone calls this "the most peculiar of all Chanties," and speculates, "I wonder if it was not at one time a seaman's prayer to Saint Anne, a bountiful Patron to Breton sailors? It is not easy to connect that supposition with the words as sung in later days for, in them, a negro influence is plain."
>>BIBLIOGRAPHY<<
Current/Williams/Friedel: Richard N. Current, T. Harry Williams, Frank Freidel, _American History: A Survey_, second edition (Knopf, 1966)
DeGregiorio: William A. DeGregorio, _The Complete Book of U. S. Presidents_, fourth edition (Barricade Books, 1993)
DeVoto: Bernard DeVoto, _The Year of Decision: 1846_ (Little, Brown and Company, 1943)
Hammond-Atlas: [No author listed], _The [Hammond] Atlas of United States History_ (Hammond, 1977)
Morison: Samuel Eliot Morison, _The Oxford History of the American People_ (Oxford, 1965)
Nevins1847: Allan Nevins, _The Ordeal of the Union: Fruits of Manifest Destiny 1847-1852_ [volume I of _The Ordeal of the Union_] (Scribners, 1947)
Nevins1852: Allan Nevins, _The Ordeal of the Union: A House Dividing 1852-1857_ [volume II of _The Ordeal of the Union_] (Scribners, 1947)
Siegenthaler: John Seigenthaler, _James K. Polk_ [a volume in the _American Presidents_ series edited by Arthur M. Schlesinger Jr.] (Times Books, 2003)
Wheelan: Joseph Wheelan, _Invading Mexico: America's Continental Dream and the Mexican War, 1846-1848_ (Carroll & Graf, 2007) - RBW
File: Doe078
===
NAME: Saoirse (Liberty)
DESCRIPTION: Gaelic and English. "My name is Freedom." Our first advance was in France. "When the orange tree drops its head Then liberty's sure to flourish." We'll drive out those who oppose us.
AUTHOR: unknown
EARLIEST_DATE: 1934 (O Muirgheasa's _Dha Chead de Cheoltaibh Uladh_, according to Moylan)
KEYWORDS: foreignlanguage France Ireland nonballad political freedom
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 27, "Saoirse" (1 text)
NOTES: Moylan: This is a macoronic song "collected in Donegal in the early part of the twentieth century... It was probably made prior to 1798." The verses alternate Irish and English "translation." - BS
File: Moyl027
===
NAME: Sara Jane
DESCRIPTION: Singer describes his girlfriend/wife in unflattering ways; she hits him, she's the "terror of New York"; in short, ""My poor, silly Jane...She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Sara Jane"
AUTHOR: Lyrics: unknown; tune: Will S. Hays
EARLIEST_DATE: 1927 (recording, Cramer Bros.)
LONG_DESCRIPTION: Singer describes his girlfriend/wife in increasingly uncomplimentary ways; she hits him, she's the "terror of New York"; she eats cake, eats a fly, and vomits; she's crosseyed and lame, her breath smells like onions, etc. In short, ""My poor, silly Jane...She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Sara Jane"
KEYWORDS: madness shrewishness abuse humorous parody 
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, pp. 178-179 , "My Freckle-Faced Consumptive Mary Ann" (1 text, 1 tune -- the final verse and chorus of this song, which could circulate independently)
RECORDINGS:
Cramer Brothers, "Sara Jane" (Broadway 7578 c. 1927; Broadway 8059, c. 1932; rec. 1927)
J. D. Foster, "My Sarah Jane" (Gennett 6791/Supertone 9372 [as Sam Bunch], 1929)
Lester McFarland & Robert Gardner, "Sara Jane" (Vocalion 5122, 1927; rec. 1926)
Smoky Mountain Twins, "Sarah Jane" (Conqueror 7065, 1928) [note: this record number was also used for "I Was Born 4000 Years Ago), but that may have been the same recording, as the songs can share a floating verse]
CROSS_REFERENCES:
cf. "Hungry Hash House" (floating verse, tune)
cf. "I Was Born About Ten Thousand Years Ago (Bragging Song)" (Charlie Poole version - floating verse)
cf. "Little Old Log Cabin in the Lane" (tune)
NOTES: Not to be confused with Uncle Dave Macon's "Rock About My Saro Jane." Since it shares the "freckle-faced consumptive etc." verse with Charlie Poole's 1925 recording "I'm the Man Who Rode the Mule Around the World" and several recordings of "Hungry Hash House," one suspects it was composed as an extension of those appearances. Or does the whole song appear elsewhere, earlier?- PJS
I've no good answer to that question; we are, for the moment, filing loose verses about the freckle-faced girl here, but it's by no means clear where they actually originated. See, however, "Dennis McGonagle's Daughter Mary Ann."
Not to be confused with "Sarah Jane," also a humorous song between lovers, but based on "Pop Goes the Weasel" and ending with him ead and her courting another. - RBW
File: RcSarJan
===
NAME: Sarah H. Furber
DESCRIPTION: "A maid of twenty summers Went forth with joy and mirth... Amidst the din of earth." "A manly face and favor Attracted her free hears." She goes astray (pregnant?), but gains no aid from "men of art and science."  She dies alone
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: death
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 38-39, "Lines Composed on the Abduction and Cruel Murder of MISS SARAH H. FURBER" (1 text)
NOTES: Despite the title, the text of this piece never describes a murder; frankly, it sounds as if the girl died of venereal disease, or perhaps pure poverty.
The item is a broadside, "price two cents." Burt's comment is, "And not worth more, I should say." That was in 1958 dollars. It's still true in today's dollars, I should say. - RBW
File: Burt038
===
NAME: Sarah Jane
DESCRIPTION: (After an unrelated opening stanza), we find Sarah Jane and Samuel courting on the D & H canal. He, however "succumbed to hard times" and is buried. As for Sarah, within a week "She started keeping comp'ny with a junk dealer... in Rondout."
AUTHOR: unknown
EARLIEST_DATE: 1958
KEYWORDS: courting hardtimes death burial infidelity humorous
FOUND_IN: US(MA)
REFERENCES: (2 citations)
FSCatskills 173, "Sarah Jane" (1 text plus appendix; tune referenced)
DT, SARAJANE*
CROSS_REFERENCES:
cf. "Pop Goes the Weasel" (tune) and references there
cf. "The D & H Canal" (tune, floating lyrics)
NOTES: Not to be confused with the song we index as "Sara Jane," which is a humorous song of conflict between lovers. - RBW
File: FSC173
===
NAME: Sarah Mariah Cornell
DESCRIPTION: Reverend Avery seduces and then murders Sarah. He flees from justice, but is recaptured. Sarah's ghost (?) pleads for justice, warns girls not to be decieved by men, and asks for the listeners' prayers. 
AUTHOR: unknown
EARLIEST_DATE: 1845 (Journal from the Sharon)
KEYWORDS: homicide clergy seduction betrayal trial escape
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 156-158, "Sarah Mariah Cornell" (1 text)
Roud #2044
NOTES: Huntington can find no other versions of this song, which I usually take to indicate that it is not traditional. But I feel sure I've seen it somewhere else. - RBW
File: SWMS156
===
NAME: Sarah's Young Man
DESCRIPTION: The singer falls in love with Sarah, a domestic who "lives in a mansion near Manchester Square." One night he discovers her cozying with a soldier. The master comes home, the soldier and Sarah lose their position, and Sarah loses her suitor. 
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, Bodleian LOCSinging sb40501a)
KEYWORDS: courting infidelity servant soldier humorous unemployment
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 130-133, "Sarah's Young Man" (1 text, 1 tune)
Roud #1957
BROADSIDES:
Bodleian, Harding B 18(432), "Sarah's Young Man," H. De Marsan (New York), 1861-1864; also Firth b.34(198), "Sarah's Young Man"
LOCSinging, sb40501a, "Sarah's Young Man," H. De Marsan (New York), 1861-1864; also as112240, "Sarah's Young Man" 
NOTES: Broadsides LOCSinging sb40501a and Bodleian, Harding B 18(432): H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
Broadsides LOCSinging sb40501a and Bodleian, Harding B 18(432) are duplicates. - BS
File: IvNB130
===
NAME: Sarie
DESCRIPTION: Singer loves Sarie, a fat co-worker on the farm. She has humorous and suggestive escapades. When they marry, the two will be one -- but there's enough of her to make two or three. Cho: "For she's proud and she's beautiful, she's fat and she's fair...."
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, Tony Wales)
LONG_DESCRIPTION: Singer loves Sarie, a fat co-worker on the farm; she has accepted his proposal. While milking a cow, she falls over and says she has hurt her arm, but that's not where she fell. She falls in the river; he pulls her out; she berates him for the places he grabbed her. When they marry, the two will be one -- but there's enough of her to make two or three. Ch.: "For she's proud and she's beautiful, she's fat and she's fair...."
KEYWORDS: love marriage humorous lover
FOUND_IN: Britain(England(South))
REFERENCES: (0 citations)
RECORDINGS:
Tony Wales, "Sarie" (on TWales1)
NOTES: Wales notes that several Sussex people knew fragments of the song, but most couldn't remember it in full. I'd guess at a music-hall origin. - PJS
File: RcSarie
===
NAME: Saro Jane: see Liza Jane (File: San132)
===
NAME: Sash My Father Wore (I), The
DESCRIPTION: An Ulster Orangeman, tells his "British brethren" that his forefathers fought that he might wear the sash. "It is old but it is beautiful," was worn in 1690, his father wore it and he wears it July 12. If needed, we will fight again
AUTHOR: unknown
EARLIEST_DATE: 1987 (The Orange Lark)
KEYWORDS: clothes battle Ireland nonballad patriotic father
HISTORICAL_REFERENCES: July 1 or 12, 1690 (Old Style or New Style dates) - Battle of the Boyne. William III defeats the forces of James II to firmly establish his control of Ireland
FOUND_IN: Ireland
REFERENCES: (2 citations)
OrangeLark 4, "The Sash My Father Wore" (1 text, 1 tune)
DT, SASHFTHR*
RECORDINGS:
Liam Clancy, "The Sash My Father Wore" (on IRLClancy01)
CROSS_REFERENCES:
cf. "The Hat My Father Wore" (form)
cf. "The Sash My Father Wore (II)" (subject, chorus and tune)
NOTES: IRLClancy01 includes only the chorus, used as an introduction to "The Scottish Breakaway." The source for the description is OrangeLark 4, "The Sash My Father Wore" [_The Orange Lark_ (1987)].
Apparently the orange sash was worn by King William at the Battle of the Boyne. July 12 is the Gregorian Calendar (adopted in England in 1752) date for celebrating the victory of William III of Orange in the Battle of the Boyne, July 1, 1690. [I would assign less significance to this than to the various ribbons and sashes worn by the Ribbonmen, the Orange Order, etc. - RBW]
Zimmermann: "It has been noted that 'much of the pugnacity has gone from the music played on the 12th day of July' [S.H. Bell _Erin's Orange Lily_, p. 14]; there is a tendency to replace the most violent ballads by innocuous songs such as 'The Ould Orange Flute' or 'The Sash my Father Wore'. 'The Ould Orange Flute' appeared on nineteenth century broadsides. The other song ['The Sash my Father Wore'] is more recent; it was probably the paraphrase of a non-political song, 'The Hat my Father Wore'. A nationalist version, quite different in character but singable to the same tune, appeared in _The Shan Van Vocht_, August 1896." It is clear that "The Sash" is an adaptation of "The Hat," or vice versa.
Re Zimmermann's note: "Innocuous" depends on point of view. The tune only of "The Sash" is played as a march on Voice16; in that connection Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 16" - 13.9.02: "Once upon a time, folklorists drew out their blue pencils to excise any reference to sex in folksongs, while, at the same time, printing any number of songs concerning rape, murder and wartime pillage. Nowadays things have changed .... Personally, I'm amazed that Reg Hall could include ... 'The Sash My Father Wore,' which has come to symbolize Protestant bigotry in many parts of Ireland."
Searching the web for an "accepted" text I found both versions I and II. - BS
File: RecSMFW
===
NAME: Sash My Father Wore (II), The
DESCRIPTION: The singer is "a loyal Orangeman, just come across the sea." He loves to sing and dance and -- on the Twelfth -- wear his father's sash. He is returning to Dromore but he hopes to come back again to be welcomed by his brethren.
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: clothes Ireland derivative nonballad patriotic father 
FOUND_IN: 
REFERENCES: (1 citation)
Graham, p. 21, "The Sash My Father Wore" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Sash My Father Wore (I)" (subject, chorus and tune) and references there
cf. "The Hat My Father Wore" (many lines)
NOTES: Searching the web for an "accepted" text I found both versions I and II.  The text of this version is very close to that of "The Hat My Father Wore," sharing many lines in each verse and substituting Orange references for Green. - BS 
File: Grah021
===
NAME: Saskatchewan
DESCRIPTION: "Saskatchewan, the land of snow, Where winds are always on the blow... And why we stay here no one knows. Saskatchewan, Saskatchewan, There's no place like Saskatchewan...." The singer tells of the hard life during Depression and drought
AUTHOR: Words: William W. Smith
EARLIEST_DATE: 1960
KEYWORDS: farming poverty hardtimes Canada
FOUND_IN: Canada
REFERENCES: (3 citations)
Fowke/Mills/Blume, pp. 208-211, "Saskatchewan" (1 text, 1 tune)
Ohrlin-HBT 10, "Saskatchewan" (1 text, 1 tune)
DT, SASKATCH*
Roud #4525
RECORDINGS:
Jim Young, "Saskatchewan" (on Saskatch01)
CROSS_REFERENCES:
cf. "Beulah Land" (tune)
cf. "Dakota Land" (tune, theme)
NOTES: Saskatchewan, always dry and never rich, became Canada's dust bowl during the 1930s. Drought there was hardly unexpected, but drought, damaged topsoil, and a bad economy made times especially bad. William W. Smith's humorous lament fit right in with the feelings of the locals -- and even with their hopes, as the last verse shows:
But still we love Saskatchewan,
We're proud to say we're native ones,
So count your blessings drop by drop;
Next year we'll have a bumper crop." - RBW
File: FMB209
===
NAME: Saskatchewan Girl's Lament, The: see Poor Little Girls of Ontario (File: FMB147)
===
NAME: Satan, Your Kingdom Must Come Down
DESCRIPTION: "Well, well, well, well, well, Now, God's got a kingdom (x3), But Satan's got a kingdom too." "I'm gonna pray till I tear that kingdom down, For I heard the voice of Jesus say, 'Satan, your kingdom must come down.'" "I'm gonna shout/sing till I tear..."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Blind Joe Taggart)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #5737
RECORDINGS:
Frank Proffitt, "Satan, Your Kingdom Must Come Down" (on FProffitt01)
Blind Joe Taggart, "Satan Your Kingdom Must Come Down" (Paramount 13081, 1931)
File: RcSYKMCD
===
NAME: Satan's a Liar (Ain't Gonna Worry My Lord No More)
DESCRIPTION: "Satan's a liah, and a conjuh too, if you don't watch out he'll conjuh you (x2), Ain't gonna worry my Lawd no mo' (x2)." "Goin' to heaven on an angel's wing; When I get there you'll hear me sing." "When I get to heaven I'm gonna sit yah down...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious Devil
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Sandburg, pp. 250-251, "Satan's a Liah" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Let That Liar Alone" (theme)
File: San250
===
NAME: Satan's Kingdom
DESCRIPTION: "This night my soul has caught new fire, Halle-hallelujah. I feel that heav'n is drawing nigh'r... Shout, shout, we are gaining ground, Satan's kingdom is tumbling down." Evidence is offered that heaven will triumph
AUTHOR: unknown
EARLIEST_DATE: 1842
KEYWORDS: religious nonballad Bible
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 36, "Satan's Kingdom" (1 text, 1 tune)
Roud #6668
NOTES: Among the scriptural references in this piece are the following:
* Samson putting the Philistines to flight: see Judges 13-16
* "When Israel came to Jericho": see Joshua 6
* "Saint Paul and Silas bound in jail": Acts 16:19f.; see also 2 Cor. 11:13, where Paul mentions multiple imprisonments - RBW
File: LoF036
===
NAME: Satisfied
DESCRIPTION: Call-and-answer, with the refrain, "Satisfied." The text is at the leader's discretion, e.g., "I'm going up north, SATISFIED, I'm going down south, SATISFIED, Mama cooked a cow, SATISFIED, Gonna give all the girls, SATISFIED, Their bellies full..."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recordings, children of East York School and Lilly's Chapel School)
KEYWORDS: playparty work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 150-152, (no title) (1 text, 1 tune);  cf. pp. 152-153 (apparently a combination of this song with "Easy Rider") (1 text, 1 tune)
RECORDINGS:
Children of East York School, "I'm Goin' Up North" (on NFMAla1)
Children of Lilly's Chapel School, "See See Rider" (on NFMAla1) -- not the popular blues song, but another version of the "Satisfied" chant)
File: CNFM150
===
NAME: Saturday Night
DESCRIPTION: "Saturday night and Sunday too, Pretty gals on my mind. Monday mornin' break of day, Old Massa's got me goin'." The slave works through the week while looking forward to spending the weekend with the girls. Also has sundry floating verses
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: courting work slave animal floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 459, "Saturday Night and Sunday Too" (1 fragment)
Lomax-FSNA 261, "Saturday Night" (1 text, 1 tune)
Scarborough-NegroFS, p. 228, (no title) (1 short text, which also includes the "Little bees suck de blossoms" verse)
Roud #6704
File: LoF261
===
NAME: Saturday Night at Sea
DESCRIPTION: "A sailor loves a gallant ship And messmates bold and free And ever welcomes with delight Saturday night at sea." The sailor recalls the time when, if the weather is good, the crew is able to relax and enjoy themselves
AUTHOR: unknown
EARLIEST_DATE: 1843 (Journal from the Florida)
KEYWORDS: sailor ship nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 65-66, "Saturday Night at Sea" (1 text plus a supplementary stanza, 1 tune)
DT, SATSEA
Roud #2020
NOTES: According to John Malcolm Brinnin, _The Sway of the Grand Saloon: A Social History of the North Atlantic_, pp. 73-75, a poem called "Saturday Night at Sea" was written in 1838 by Judge Joseph Howe aboard the brig _Tyrian_ as she made a transatlantic voyage.
Brinnin quotes four verses. Apart from the words "Saturday Night at Sea," they have nothing in common with the poem in Huntington. Yet the theme is so similar that I have to think they are related. Given that the _Florida_ version dates from 1843. my guess is that Howe heard the piece aboard ship, thought it unacceptable for some reason (perhaps it had bawdy lyrics?), and rewrote it. - RBW
File: SWMS065
===
NAME: Saucy Arabella, The: see A-Rolling Down the River (The Saucy Arabella) (File: Hug178)
===
NAME: Saucy Jack Tar, The: see The Saucy Sailor (Jack and Jolly Tar II) [Laws K38] (File: LK38)
===
NAME: Saucy Sailor, The (Jack and Jolly Tar II) [Laws K38]
DESCRIPTION: Jack the sailor admits his poverty to a girl, who scorns him and refuses his offer of marriage. He pulls out a handful of money and offers it to her; she instantly changes her mind. But Jack turns the tables; he has no need for a poor country girl
AUTHOR: unknown
EARLIEST_DATE: 1781 (broadside)
KEYWORDS: poverty courting money
FOUND_IN: US(Ap,NE,SE) Canada(Mar,Newf) Britain(England(Lond,South,West))
REFERENCES: (11 citations)
Laws K38, "Saucy Sailor, The (Jack and Jolly Tar II)"
Doerflinger, pp. 294-295, "Jack Tar" (1 text, 1 tune)
Hugill, pp. 461-462, "The Saucy Sailor Boy" (1 text, 1 tune) [AbEd, pp. 343-344]
SharpAp 168, "The Saucy Sailor" (1 text, 1 tune)
Sharp-100E 45, "The Saucy Sailor" (1 text, 1 tune)
JHCox 123, "The Jack of Tar" ( text)
Flanders/Brown, pp. 151-152, "The Tar-ry Sailor" (1 text)
Creighton/Senior, pp. 202-203, "Saucy Sailor" (2 texts plus 1 excerpt, 2 tunes)
Peacock, pp. 316-317, "Tarry Sailor" (1 text, 1 tune)
Karpeles-Newfoundland 62, "The Saucy Sailor" (1 text, 1 tune)
DT 415, SAUCYSLR* TARSAIL2*
Roud #531
RECORDINGS:
Johnny Doughty, "Come My Own One, Come My Fond One" (on Voice02)
BROADSIDES:
Bodleian, Firth c.12(333), "Saucy Sailor Boy," E.M.A. Hodges (London), 1846-1854; also Harding B 11(3429), Firth c.13(252), Firth c.13(253), Firth c.12(331), Harding B 16(244a), Firth b.26(245), Firth c.13(197), "Saucy Sailor Boy"
CROSS_REFERENCES:
cf. "Will You Wed with a Tarry Sailor?" [Laws K37] (plot)
cf. "Johnny the Sailor (Green Beds) [Laws K36]" (plot)
ALTERNATE_TITLES:
The Saucy Jack Tar
File: LK38
===
NAME: Saucy Ward: see Captain Ward and the Rainbow [Child 287] (File: C287)
===
NAME: Sauer Kraut
DESCRIPTION: "Oh, sauer kraut is hunky, boys, And sauer kraut is fine; I tinks I ought to know it 'Cause I eats it all der time." Aboard the Bella Young the crew fishes in summer, carries kelp in winter, and sells saurkraut by the barrel for Johnson or Zwicker.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: ship work food humorous nonballad sailor
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Smith/Hatt, p. 12, "Sauer Kraut" (1 text)
DT, SRKRAUT*
Roud #8890
File: SmHa12
===
NAME: Sault Ste. Marie Jail, The (The Albany Jail)
DESCRIPTION: The singer laments his time in prison. After getting drunk, he had to be forcibly taken into custody, and the bail was more than he could raise. Now he suffers prison food and confinement (as well as a preacher who keeps on "until my ears got sore")
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: prison hardtimes drink
FOUND_IN: US(MA) Canada(Ont)
REFERENCES: (2 citations)
FSCatskills 168, "The Albany Jail" (1 text, 1 tune)
DT, SOODTMRY*
Roud #2324
NOTES: This song is item dE51 in Laws's Appendix II. - RBW
File: FSC168
===
NAME: Sausage Meat Machine, The: see Dunderbeck (File: R488)
===
NAME: Sauvagesse, La
DESCRIPTION: "Je suis du bord de l'Ohio, J'ai le courage pour noblesse...." A voyageur Come-All-Ye. La Sauvagesse tells of herself, her love of the canoe, her parentage (a Frenchman and a witch) and so on.
AUTHOR: unknown
EARLIEST_DATE: 1919
KEYWORDS: foreignlanguage river fishing family witch
FOUND_IN: Canada(Queb)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 581, "La Sauvagesse (The Girl of the Wilds)" (1 text, 1 tune)
File: BMRF581
===
NAME: Save My Father's Picture from the Sale
DESCRIPTION: "It was many years ago, in the time of frost and snow, My poor old father fell sick and died." The orphan is forced to watch as all (his/her) memories are sold. Finally he begs, "Save my father's picture from the sale!" and a pretty girl buys it for him
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: death orphan commerce help
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 854, "Save My Father's Picture from the Sale" (1 text, 1 tune)
Randolph/Cohen, pp. 478-481, "Save My Father's Picture from the Sale" (1 text, 1 tune -- Randolph's 854)
Roud #4459
NOTES: Cohen notes that several songs from the 1880s -- "Save My Father's Picture from the Sale," "Don't Sell My Mother's Picture," and the parody "Save My Brother's Whiskers from the Pail" -- seem built around the elements of this song. Whether these ancestral to or derived from the song given to Randolph is unclear; his informant thought the song older than the copyrights. - RBW
File: R854
===
NAME: Save Our Swilers
DESCRIPTION: "Come all you Newfoundlanders and listen to my song About St. Anthony's visitors from 'away' and 'upalong.'" "They are out to ban the seal hunt." "We're the endangered species." Listeners are urged to vote for those who support the seal hunt
AUTHOR: A. R. Scammell
EARLIEST_DATE: 1977 (Decks Awash 6:4)
KEYWORDS: hunting political nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 156-157, "Save Our Swilers" (1 text)
CROSS_REFERENCES:
cf. "The Old Polina" (tune)
File: RySm156
===
NAME: Save Your Money When You're Young
DESCRIPTION: Singer describes his wasteful youth as a lumberjack and impoverished old age, advising listeners to "Save your money when you're young, you'll need it when you're old." He advises married men to stay home, away from grogshops, and single men to marry.
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: age poverty drink warning money logger
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (4 citations)
Rickaby 7, "Save Your Money When You're Young" (1 text, 1 tune)
Beck 40, "Save Your Money When You're Young" (1 text)
Fowke-Lumbering #61, "Save Your Money While You're Young" (1 text, 1 tune)
DT, SAVEMONY
Roud #2325
RECORDINGS:
Jim Doherty, "Save Your Money While You're Young" (on Lumber01)
File: Be040
===
NAME: Save Your Money While You're Young: see Save Your Money When You're Young (File: Be040)
===
NAME: Saville the Brave Man
DESCRIPTION: "Saville the brave man, while other men trembled, Defied the fierce wind and the wild raging sea." In spite of storm warnings he and MacKenzie take Alma to fish the banks. Watchers from Cape Spry thought Alma could not be saved but Saville brings her in
AUTHOR: unknown
EARLIEST_DATE: 1968 (Ives-DullCare)
KEYWORDS: fishing sea ship storm
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Dibblee/Dibblee, p. 51, "Saville the Brave Man" (1 text, 1 tune)
Ives-DullCare, pp. 174-177,254, "Saville the Brave Man" (1 text, 1 tune)
Roud #12468
NOTES: Cape Spry is on the east coast of Kings, Prince Edward Island. - BS
File: Dib051
===
NAME: Savourneen Deelish
DESCRIPTION: "Oh the moment was sad when my love and I parted." The singer is called to fight across the ocean. The singer fights but saves his money and booty. When peace is declared he returns home to find she had died.
AUTHOR: George Coleman (1762-1836) (source: Moylan)
EARLIEST_DATE: 1791 (Coleman's play _The Surrender of Calais_, according to Moylan)
KEYWORDS: love war separation death soldier
FOUND_IN: Ireland
REFERENCES: (2 citations)
Moylan 173, "Savourneen Deelish" (1 text, 1 tune)
O'Conor, p. 13, "Savourneen Deelish" (1 text)
BROADSIDES:
LOCSheet, sm1851 680750, "Savourneen Deelish Aileen Oh," William Hall and Son (New York), 1851; also sm1851 491570, "Savourneen Deelish" (tune)
LOCSinging, as203250, "Savourneen Deelish Eileen Oge," H. De Marsan (New York), 1861-1864 
Bodleian, Harding B 18(433), "Savourneen Deelish Eileen Oge," H. De Marsan (New York), 1864-1878; also Harding B 11(3432), "Savourna Deelish" or "The Moment was Sad"; Harding B 11(2993), Firth c.14(215), "Eileen Oge!" or "Savourneen Deelish"
NOTES: Moylan: "The song was immensely popular during the 19th century.... 'Savourneen Deelish' is an anglicization of ''s a mhuirnin dilis', literally 'and my own true love', the first phrase of the chorus of several Irish language songs."
Broadside Bodleian Harding B 18(433) and LOCSinging as203250: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
The popularity of the song may well be explained by its familiar theme. In Ireland there were few jobs available, especially to Catholics, except working on their parents' farm. And a young man without property, having no prospects, could not marry. So he either waited until his father died and he inherited some land, or he could join the army. And, in those days, joining the military usually meant a long stay far in a foreign land, with no communications with home; even if both he and his love were literate (unlikely), the mail was expensive and unreliable. - RBW
File: Moyl173
===
NAME: Saw Ye My Savior?
DESCRIPTION: An account of the death of Jesus. The opening verse states "He died on Calvary, to atone for you and me." The song goes on to mention the darkness on the cross, the earthquake, the pain, and his forgiveness
AUTHOR: unknown
EARLIEST_DATE: 1940 (Flanders/Olney)
KEYWORDS: dying Jesus religious Easter
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Olney, pp. 122-123, "Saw You My Saviour" (sic.) (1 text, 1 tune)
ST FO122 (Partial)
Roud #4679
NOTES: "Calvary" -- this name is not used in modern English versions of the New Testament. The King James version used it in Luke 23:33 (from Latin Caluaria)
"Darkness" -- "From noon on, darkness came over the whole land until three in the afternoon" (Matt. 27:45 NRSV; cf.Mark 15:33, Luke 23:44)
"The solid rocks were rent" -- "At that moment [when Jesus died]... the earth shook, and the rocks were split" (Matt. 27:51)
"Thus behold my hands and side" -- [Jesus] said to Thomas, 'Put your finger here and see my hands. Reach out your hand and put it in my side'" (John 20:27)
"I will forgive them" -- "Father, forgive them, for they do not know what they are doing" (Luke 23:34 -- however, most of the oldest and best manuscripts omit this phrase)  - RBW
File: FO122
===
NAME: Sawmill Song, The
DESCRIPTION: "Mel Clark gets the cream of the berries, Tom Melanson don't think it no fun, Little Joe Dyer, in the pit a-hollerin', Wonders why the damn' thing don't run." The singer describes the work done (perhaps not very efficiently) in the sawmill
AUTHOR: Dana Cate ?
EARLIEST_DATE: 1939 (Linscott); informant claims to have written it c. 1909
KEYWORDS: work nonballad technology
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 280-283, "The Sawmill Song" (1 text, 1 tune)
Roud #3741
File: Lins280
===
NAME: Sawney Ogilvie's Duel with His Wife
DESCRIPTION: "Good people, give ear to the fatalest duel That Morpeth e'er saw since it was a town... Poor Sawney... Miscarried and married a Scottish tarpawlin." Sawney ruins his prospects with his marriage; his wife regularly abuses him
AUTHOR: Thomas Whittle
EARLIEST_DATE: 1900 (Stokoe/Reay); Whittle reportedly died 1736
KEYWORDS: marriage hardtimes abuse humorous
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 124-125, "Sawney Ogilvie's Duel With His Wife" (1 text, 1 tune)
Roud #3156
File: StoR124
===
NAME: Saxon Shilling, The
DESCRIPTION: The martial parades "dazzled village youths to-day Will crowd to take the Saxon Shilling." Fools sell themselves "to shame and death," "crush the just and brave." "Irish hearts! why should you bleed, To swell the tide of British glory"?
AUTHOR: Kevin T. Buggy (Source: Zimmermann)
EARLIEST_DATE: 1842 ("The song was first printed in the _Belfast Vindicator_ in 1842," according to Zimmermann)
KEYWORDS: army recruiting Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 49, "The Saxon Shilling" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 19(68), "The Saxion Shilling" [only misspelled in the title], unknown, n.d.; also 2806 c.15(39), "The Saxion Shilling" [only misspelled in the title]
NOTES: Broadsides Bodleian Harding B 19(68) and Bodleian 2806 c.15(39) are duplicates. The last two lines are identically mangled.
Zimmermann: "The man who enlisted as a soldier was given the 'King's shilling' by a recruiting officer."
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Saxon's Shilling" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
One suspects that author Buggy never missed any meals, which was the main reason Irish youth enlisted in the army. Though his source of income certainly wasn't his writing; I have been unable to find anything else he wrote, and he is not mentioned in Patrick C. Power's _A Literary History of Ireland_. - RBW
File: Zimm049
===
NAME: Say, Darling, Say
DESCRIPTION: Song starts out with two verses of "Hush, Little Baby," but veers off: "All I've got is you in mind/Wouldn't do nothing but starch and iron"; "Starch and iron will be your trade/And I can get drunk and lay in the shade" Chorus: "Say, darling, say"
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Ernest V. Stoneman)
KEYWORDS: work drink dancetune nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #470
RECORDINGS:
Ernest V. Stoneman, "Say, Darling, Day" (on Stonemans01); Ernest V. Stoneman, Willie Stoneman, and the Sweet Brothers, "Say Darling Say" (Gennett 6733 [as by Justin Winfield]/Supertone 9400 [as by Uncle Ben Hawkins], 1929; rec. 1928)
CROSS_REFERENCES:
cf. "Hush, Little Baby" (lyrics, tune)
NOTES: Roud, unsurprisingly, lumps this with "Hush Little Baby," since it has common lyrics and the tunes are close (though this is usually done much faster than "Hush Little Baby"). But the different ending, and the chorus, is enough to separate them in my book and in Paul Stamler's. - RBW
File: RcSyDaSa
===
NAME: Says T'auld Man tit Oak Tree: see Says the Old Man to the Oak Tree (File: BGMG071)
===
NAME: Says the Old Man to the Oak Tree
DESCRIPTION: "Says t'auld man t' the (old/oak) tree, Young and lusty was I when I kenn'd thee; I was young and lusty, I was fair and clear, Young and lusty was I mony a lang year, But sair fail'd am I, sair fail'd now, Sair fail'd am I sen I kenn'd thou."
AUTHOR: unknown
EARLIEST_DATE: 1785 (Gammer Gurton's Garland)
KEYWORDS: age
FOUND_IN: 
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #71, p. 80, "(Says t'auld man tit oak tree)"
DT, MANOAK
CROSS_REFERENCES:
cf. "Sair Fyel'd, Hinny"
ALTERNATE_TITLES:
The Old Man and the Oak. A North Country Son (Ritson's title)
NOTES: Several versions of "Sair Fyel'd, Hinny" include this lyric essentially intact -- and in Northumbrian dialect. But I don't know if this split off and became a Mother Goose rhyme on its own, or if that song swallowed it. My decision to split them was very tentative. - RBW
File: BGMG071
===
NAME: Scady Rocks, The
DESCRIPTION: Three men and a girl from Cushendall are in Colonel Caufield's Maid of Youghal in a storm. The boat splits on Scady Rock near the Bridge of Toome over the River Bann. All are drowned. People mourn.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond01)
KEYWORDS: drowning ship storm wreck
FOUND_IN: Ireland
REFERENCES: (0 citations)
ST RcScaRoc (Full)
Roud #6986
RECORDINGS:
Robert Cinnamond, "The Scady Rock" (on IRRCinnamond01)
NOTES: The description is based on John Moulden's transcription from IRRCinnamond01 included in the Traditional Ballad Index Supplement.
There seems to be a gap in the text since there is no follow-up to the lines "very soon you all will hear Of the manhood of young Squire Jones." Cushendall and Toome are in Co Antrim. - BS
File: RcScaRoc
===
NAME: Scandalize My Name
DESCRIPTION: "I met my preacher the other day, I gave him my right hand, And just as soon as my back was turned, He scandalized my name. Do you call that religion (x3)...." The singer continues with other examples of those who defame him
AUTHOR: unknown
EARLIEST_DATE: 1910 (recording, Kitty Cheatham)
KEYWORDS: religious nonballad lie accusation
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 369, "Scandalize My Name" (1 text)
RECORDINGS:
Kitty Cheatham, "Scandalize My Name" (Columbia A5224, 1910)
Dizie Jubilee Singers, "Don't You Scandalize My Name" (Cameo 914, 1926)
Golden Crown Quartet, "Scandalize My Name" (OKeh 8739, 1929; on VocalQ2)
Kentucky Juibilee Quartet, "Do You Call That Religion" (OKeh 8509, 1927)
Mitchell Christian Singers, "They Scandalized My Name" (Melotone M-13162/Conqueror 8457, 1934/Banner 33195, 1935)
Monroe Brothers, "Do You Call That Religion?" (Bluebird B-7055, 1937)
Sunset Four Quartette, "Do You Call That Religion" (Paramount 12221, 1924)
NOTES: This is sometimes listed, e.g. in the Folksinger's Wordbook, as a religious song. It has a religious theme (since it catalogs those who do not practice religion as the singer thinks they should), but is not really a religious piece but a complaint. - RBW
File: FSWB369
===
NAME: Scant of Love, Want of Love: see Maids When You're Young Never Wed an Old Man (File: K207)
===
NAME: Scantling Line, The: see Fox River Line, The (The Rock Island Line) [Laws C28] (File: LC28)
===
NAME: Scarboro Sand (The Drowned Sailor) [Laws K18]
DESCRIPTION: A Scarborough girl learns that her sailor love has been lost at sea. She asks the waters to bring her love ashore. She finds the body, kisses it, and dies. The two are buried in "Robin Hood's Churchyard."
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Johnson Ballads 1956)
KEYWORDS: sea death burial drowning
FOUND_IN: US(SE) Britain(England(Lond,North),Scotland(Aber)) Canada(Newf)
REFERENCES: (9 citations)
Laws K18, "Scarboro Sand (The Drowned Sailor)"
Warner 151, "Scarborough Sand" (1 text, 1 tune)
Sharp-100E 37, "The Drowned Lover" (1 text, 1 tune)
BrownII 105, "Scarboro Sand (Robin Hood Side)" (1 text)
Chappell-FSRA 39, "In Robin Hood's Churchyard" (1 text, 1 tune)
Ord, pp. 332-333, "Scarborough's Banks" (1 text)
Peacock, pp. 722-725, "Strawberry Tower" (2 texts, 2 tunes)
Karpeles-Newfoundland 44, "Arbour Town" (1 text, 1 tune)
DT 561, SCARSAND
Roud #185
RECORDINGS:
Sam Larner, "In Scarboro' Town" (on SLarner01; on Voice02 as "In Scarborough Town"); "The Drowned Lover" (on SLarner02)
Frank Verrill, "Stowborough Town" (on Voice12)
BROADSIDES:
Bodleian, Johnson Ballads 1956, "Stow Brow," John Ross (Newcastle), 1847-1852; also Harding B 11(3208), "Stow Brow"
ALTERNATE_TITLES:
Strawbello Strand
NOTES: The reference to "Robin Hood's Churchyard" is almost certainly a reference to the village of Robin Hood's Bay, Yorkshire; some versions of the song set the events in that town rather than in Scarborough. 
I do not know that the two Larner recordings are in fact different -- these two compilations drew from the same collection of field tapes -- but as the titles are given as different I thought it prudent to separate them. - PJS
File: LK18
===
NAME: Scarborough Fair: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Scarborough Settler's Lament
DESCRIPTION: "Away wi' Canada's muddy creeks And Canada's fields of pine. Your land of wheat is a goodly land, but ah! it isna mine!" The Scottish settler thinks back with sadness to the home he left behind -- but awakes in Canada, "three thousand miles 'frae hame.'"
AUTHOR: Sandy Clandenning
EARLIEST_DATE: 1960
KEYWORDS: emigration homesickness Canada
FOUND_IN: Canada
REFERENCES: (3 citations)
Fowke/Mills/Blume, pp. 94-95, "A Scarborough Settler's Lament" (1 text, 1 tune)
Fowke/MacMillan 29, "The Scarborough Settler's Lament" (1 text, 1 tune)
DT, SCARSET*
Roud #4521
CROSS_REFERENCES:
cf. "Spancil Hill" (theme)
cf. "That Dear Old Land" (theme)
cf. "The Glenshesk Waterside" (theme)
cf. "Farewell to Sweet Glenravel" (theme)
cf. "Och, Och, Eire, O!" (theme)
cf. "The Call of Home" (theme)
cf. "A Shamrock from Tiree" (theme)
cf. "Farewell to the Banks of the Roe" (theme)
cf. "Banks of the Roe" (theme)
cf. "The Shamrock Shore (The Maid of Mullaghmore)" (theme)
cf. "Maguire's Brae" (theme)
cf. "Sweet Loughgiel" (theme)
cf. "Juberlane" (theme)
cf. "Glen O'Lee" (theme)
cf. "Sweet Glenbush" (theme)
cf. "The Hills of Donegal" (theme)
cf. "O, Derry, Derry, Dearie Me" (theme)
cf. "Cloughwater/The Shamrock Shore" (theme)
cf. "The Little Old Mud Cabin on the Hill" (theme)
cf. "Norah McShane" (theme)
cf. "Bonnie Lyndale" (theme)
NOTES: Sandy Clandenning settled in Scarborough (near Toronto) in 1840. He set these words to the first half of the tune "Of A' the Airts the Wind Can Blaw." It has also been sung to "The Irish Emigrant's Lament." - RBW
File: FMB094
===
NAME: Scarborough's Banks: see Scarboro Sand (The Drowned Sailor) [Laws K18] (File: LK18)
===
NAME: Scavenger's Brigade, The
DESCRIPTION: The singer joins "The Scavengers' Brigade" sweeping Belfast streets. They parade like soldiers with brooms on their shoulders. His family and sweetheart think he's in some army brigade and expect promotion and glory. He recommends it as an occupation 
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster); 19C? (broadside, Bodleian Firth c.16(409))
LONG_DESCRIPTION: The singer arrives in Belfast and finally finds work sweeping streets in "The Scavengers' Brigade." "With our brooms across our shoulders, That's our only uniform ... We're always on parade." His father reads his letters to the neighbors "for he thinks that I'm a sojer, with a gun." His mother wonders "if her darling is a kilty or dragoon" and expects he'll soon be a General. His sweetheart writes "that for my sake she's not afraid to leave her native land And risk a soldier's life whenever I get command" He tells everyone to save their pennies, come to Belfast, and "come and gain promotion in the Scavenger Brigade."
KEYWORDS: work humorous family clothes
FOUND_IN: Ireland
REFERENCES: (2 citations)
Hayward-Ulster, pp. 72-73, "The Scavenger's Brigade" (1 text)
Hammond-Belfast, p. 45, "The Scavengers' Brigade" (1 text)
Roud #5978
BROADSIDES:
Bodleian, Firth c.16(409), "The Scavenger Brigade" ("It's myself a dacent Irish lad, arrived from Donegal," unknown, n.d. [beginning lines illegible]
File: HayU072
===
NAME: Schaladi: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Schlof Mayn Kind (Sleep My Child)
DESCRIPTION: Yiddish: The mother urges her little child to sleep. She tells the child that someday it will understand why she weeps. Father has gone to America, seeking to earn the money to let them all emigrate. Till then, baby can only sleep and mother can only wait
AUTHOR: Words: Sholom Aleichem
EARLIEST_DATE: 1950
KEYWORDS: family lullaby separation emigration foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 287-289, "Schlof Mayn Kind (Sleep My Child)" (2 texts (1 English, 1 Yiddish), 1 tune)
NOTES: There seem to be two Yiddish songs by that title: this one (which is more completely titled "Schlof Mayn Kind, Mayn Treyst, Mayn Sheiner") and another that is sometimes called "Shlof Mayn Kind, Shlof Keseyder." [For which see the _Folksinger's Wordbook_, p. 408. - RBW] In the latter, the mother sings to the child bitterly about the differences between rich and poor; emigration is not mentioned. - PJS
File: SBoA287
===
NAME: Schnooglin'
DESCRIPTION: "Schnooglin'" is the process of keeping warm by necking, the singer asserts, adding the warning not to let a boy an inch above your knee.
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: bawdy warning
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Cray, pp. 252-253, "Schnooglin'" (1 text, 1 tune)
Roud #10289
File: EM252
===
NAME: Schomberg
DESCRIPTION: This is a memorial to "William's true and gallant knight -- Schomberg, the bold and brave!" He'd had a "bright career ... But at the Boyne, for ever famed, He fell beside the wave"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: battle death Ireland memorial patriotic
HISTORICAL_REFERENCES: July 1 or 12, 1690 (Old Style or New Style dates) - Battle of the Boyne. William III defeats the forces of James II to firmly establish his control of Ireland
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 10, "Schomberg" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Battle of the Boyne (I)"  (subject: The Battle of the Boyne) and references there
NOTES: For background on the Boyne, and on Schomberg, see the notes to "The Battle of the Boyne (I)." It might be noted that, although Schomberg had had an excellent career, his performance in Ireland was not very energetic (he was, after all, in his seventies); it was his failure to win the Irish campaign which forced William of Orange to come himself and fight at the Boyne. Some of Schomberg's problems were not his fault -- but many were; he made a hash of his logistics, resulting in his force suffering many useless casualties. - RBW
File: OrLa010
===
NAME: School Days
DESCRIPTION: "'Tis sweet to go back in memory To days of youth so dear to me When we could find a secluded spot And gather the blue forget-me-not." The singer recalls when "life was smooth as a poet's rhyme."  He fondly remembers the old schoolhouse and childhood
AUTHOR: Edgar Hamm?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: nonballad youth
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 251-252, "School Days" (1 text)
NOTES: This sounds so nineteenth-century-parlor-song, it's uncanny. But I don't know of any sheet music version. - RBW
File: ThBa250
===
NAME: School Days of Long Ago
DESCRIPTION: "Still sits the schoolhouse by the road Close by the old oak tree, Where many a boy has took a dose Of grim old hickory tea." The singer describes the strict methods of the old school, and laments the laziness of the students
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 872, "School Days of Long Ago" (1 text)
Roud #7538
File: R872
===
NAME: School Ma'am on the Flat
DESCRIPTION: "McClellan was a cowboy of the wild and wooly west." He courts and seduces a "school ma'am." The enter into an unhappy marriage. "If John Henry gets to raring up, he will flog him with his hat Before he goes courting another school ma'am on the flat."
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: cowboy courting sex humorous
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 6, pp. 53-54, "School Ma'am on the Flat" (1 text, 1 tune)
ST Logs006 (Partial)
Roud #10087
File: Logs006
===
NAME: Schooner Blizzard, The
DESCRIPTION: The singer warns his comrades "not to sail in those mean packets where they put no food on board." He describes a trip that began with rotten food and no heat and ended with the steward jumping ship to get married
AUTHOR: Henry Burke and a shipmate
EARLIEST_DATE: 1951
KEYWORDS: sailor hardtimes marriage warning
HISTORICAL_REFERENCES: 1889 - Reported date of this voyage of the Blizzard
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 198-200, "The Schooner Blizzard" (1 text, 1 tune)
Roud #9428
File: Doe198
===
NAME: Schooner E. A. Horton: see The E. A. Horton [Laws D28] (File: LD28)
===
NAME: Schooner Fred Dunbar, The [Laws D14]
DESCRIPTION: A sailor speaks of his vessel's travels, all the while advising the girls about the pleasures and advantages of going out with sailors
AUTHOR: Amos Hanson
EARLIEST_DATE: 1933
KEYWORDS: sea sailor travel
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D14, "The Schooner Fred Dunbar"
DT 832, FREDDUNB*
Roud #2237
File: LD14
===
NAME: Schooner Helson
DESCRIPTION: "The vessel 'Schooner Helson' from Newport sailed away Arriving safe at Georgetown Without mishap that day." A storm on the way home wrecks the schooner. All three of the crew drown and only one body is found, "washed up by the waves"
AUTHOR: Charlie Howlett
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: drowning sea ship storm wreck sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, p. 46, "Schooner Helson" (1 text, 1 tune)
Roud #12470
NOTES: Newport and Georgetown are on the east coast of Kings, Prince Edward Island. Newport is a few miles north of Georgetown. - BS
File: Din046
===
NAME: Schooner Kandahar, The
DESCRIPTION: The Kandahar's trip starts out happily, but then the vessel springs a small leak and runs into a smallpox epidemic. Despite a threat of quarantine, the ship reaches the Indies, then has a quiet trip back to Nova Scotia
AUTHOR: Sepley Collin
EARLIEST_DATE: 1931
KEYWORDS: ship sea disease
HISTORICAL_REFERENCES: 1896 - Voyage of the Kandahar
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 196-198, "The Schooner Kandahar" (1 text, 1 tune)
Roud #4085
NOTES: This song is item dD42 in Laws's Appendix II. - RBW
File: Doe196
===
NAME: Schooner Marion Rogers, The
DESCRIPTION: Marion Rogers sails for the North from St John's and is lost near Trinity in a snow storm. The crew of seven is lost in "the most awful shipwreck, the worst one of the year"
AUTHOR: unknown
EARLIEST_DATE: 1978 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Nov 27, 1938 - Marion Rogers stranded (total loss) at Lighthouse Rocks reef in Trinity Harbour (Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 72, "The Schooner Marion Rogers" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ravenal" (tune)
SAME_TUNE:
The Ravenal (file: LeBe092)
File: LeBe072
===
NAME: Schooner Mary Ann, The: see Bound Down to Newfoundland [Laws D22] (File: LD22)
===
NAME: Scolding Wife (I), The
DESCRIPTION: "I married me a scolding wife Some forty years ago And ever since I've led a life Of misery and woe." The abused husband details the various ways his wife chastises, injures, and neglects him
AUTHOR: unknown
EARLIEST_DATE: 1931 (Gardner/Chickering)
KEYWORDS: husband wife abuse injury shrewishness
FOUND_IN: Britain(England(South)) US(MW,NE,So)
REFERENCES: (4 citations)
Randolph 397, "The Scolding Wife" (1 text, 1 tune)
Kennedy 214, "The Scolding Wife" (1 text, 1 tune)
Beck 80, "My Scolding Wife" (1 text)
Gardner/Chickering 179, "A Scolding Wife" (1 short text plus mention of 1 more)
Roud #2132
RECORDINGS:
Margaret MacArthur, "The Scolding Wife" (on MMacArthur01)
CROSS_REFERENCES:
cf. "The Scolding Wife (IV)" (subject)
NOTES: The notes in Henry/Huntington/Herrmann observe that this has the same subject and metrical pattern as "The Scolding Wife (IV)." But there seem to be no common lyrics at all; I (hesitantly) declare them separate. The chorus of this song runs something like
For she worries (or "hurries") me, she flurries me,
It is her heart's delight
To warm me with the fire-shovel
Round the room at night (or "in the middle of the night"). - RBW
File: R397
===
NAME: Scolding Wife (II), The: see The Dumb Wife (Dumb, Dumb, Dumb) [Laws Q5] (File: LQ05)
===
NAME: Scolding Wife (III): see The Holly Twig [Laws Q6]; also The Wife Wrapped in Wether's Skin [Child 277] (File: LQ06)
===
NAME: Scolding Wife (III), The
DESCRIPTION: "Oh, you've often heard it asked Why a woman talks so fast Oh, she runs around with every bit of news." The singer claims "a woman's tongue will never take a rest"; she talks while he works. He advises marrying a wife who is "blind, deaf, and dumb."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 201, "The Scolding Wife" (1 text plus mention of 1 more)
Roud #6585
NOTES: I should perhaps assign this song the keyword "humorous," since it was probably intended to be funny. But it isn't; it's just a whine. - RBW
File: BrII201
===
NAME: Scolding Wife (IV)
DESCRIPTION: "Come all ye sprightly sporting youths, wherever you may be, You'll never know your misery till married that you'll be." The singer describes all the ways in which his wife makes his life miserable, and hopes she dies before she kills him
AUTHOR: unknown
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: husband wife fight marriage courting abuse
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H145, p. 503, "The Scolding Wife" (1 text, 1 tune)
Ord, p. 151, "The Bad Wife" (1 text)
Roud #5556
CROSS_REFERENCES:
cf. "The Scolding Wife (I)" (subject)
cf. "The Sporting Bachelors" (plot)
NOTES: The notes in Henry/Huntington/Herrmann observe that this has the same subject and metrical pattern as "The Scolding Wife (I)." But there seem to be no common lyrics at all; I (hesitantly) declare them separate. The chorus of the Henry text is
For she's aye, aye scowlin', an' she's aye scowlin' me,
She's for everlasting scowlin' and she canna let me be.
Roud lumps this with "The Sporting Bachelors," and I cannot deny the close similarity in themes. But the two appear somewhat different in both form and emphasis. - RBW
File: HHH145
===
NAME: Scolding Wife (IV), The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Scornful Dame, The: see Come Write Me Down (The Wedding Song) (File: K126)
===
NAME: Scornful Lover, The: see The Lonesome (Stormy) Scenes of Winter [Laws H12] (File: LH12)
===
NAME: Scotch Lassie, The: see Nae Bonnie Laddie tae Tak' Me Away; also Queen Mary (Auld Maid's Lament) (File: HHH230A)
===
NAME: Scotland's Burning
DESCRIPTION: "Scotland's burning, Scotland's burning, Look out, look out, Fire, fire, fire, fire, Pour on water, pour on water."
AUTHOR: unknown
EARLIEST_DATE: 1910 (Brown)
KEYWORDS: nonballad
FOUND_IN: US(NE,SE)
REFERENCES: (3 citations)
BrownIII 150, "Scotland's Burning" (1 text)
Linscott, p. 283, "Scotland's Burning" (1 text, 1 tune)
Silber-FSWB, p. 412, "Scotland's Burning" (1 text)
Roud #3752
NOTES: No doubt some enterprising folklorist has attributed this to one or another of Scotland's various political crises (e.g. the period between the death of Alexander III and the accession of Robert the Bruce). Me, I think it's just a round. - RBW
File: FSWB412D
===
NAME: Scots Wha Hae (Bruce Before Bannockburn)
DESCRIPTION: "Scots wha hae wi' Wallace bled, Scots, wham Bruce has aften led, Welcome to your gory bed Or to victory!" As the English army of Edward approaches, the Scots are encouraged to "do or dee" to retain their freedom
AUTHOR: Robert Burns
EARLIEST_DATE: 1800 (Currie)
KEYWORDS: battle Scotland war freedom political
HISTORICAL_REFERENCES: 1286 - Death of Alexander III of Scotland
1290 - Death of his granddaughter Margaret "Maid of Norway"
1292 - Edward I of England declares John Balliol king of Scotland
1296 - Edward deposes John Balliol
1297 - William Wallace, the Guardian of Scotland, defeats the English at Stirling Bridge
1298 - Edward defeats Wallace at Falkirk. Wallace forced into hiding
1305 - Capture and execution of Wallace (August 23)
1306 - Robert Bruce declares himself king of Scotland
1307 - Death of Edward I
1314 - Battle of Bannockburn. Robert Bruce defeats Edward II of England and regains Scottish independence
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Silber-FSWB, p. 299, "Scots Wha Ha'e Wi' Wallace Bled" (1 text)
DT, SCOTWHAE*
BROADSIDES:
NLScotland, RB.m.169(138), "Scots, wha hae wi Wallace bled," J. Pitts (London), 1820-1845; also L.C.Fol.70(47a), "Scots wha hae," unknown (London)
CROSS_REFERENCES:
cf. "The Day of Waterloo" (tune)
SAME_TUNE:
The Day of Waterloo (Ord, p. 303)
NOTES: Titled, in Currie's publication, "Bruce to his Troops on the eve of the Battle of Bannock-burn."
By the time of Bannockburn, the Scots had been struggling against the English for twenty years, with relatively slight success overall. It was not the accession of Robert Bruce that turned the tide, but rather the death of the strong English king Edward I. His successor, Edward II, was much weaker. When Edward II finally was induced to fight the Scots, he did little more than throw his troops at Bruce's army, leading to a catastrophic and unnecessary defeat.
Although Bannockburn was more Edward's loss than Bruce's victory, it became the defining event in the Scottish story, and hence the inspiration for this poem of Burns's (though there is no reason to think Bruce ever said anything like this). - RBW
File: FSWB299
===
NAME: Scow on Cowden's Shore, The: see The Scow on the Cowden Shore (File: Doe234)
===
NAME: Scow on the Cowden Shore, The
DESCRIPTION: The singer (expressly identified as Larry Gorman) sings of "the scow on the Cowden shore." He describes the international crew of loggers, including several of the more peculiar characters, and speaks of the quest for liquor
AUTHOR: words: Larry Gorman/music & additional words: Willis Norrad
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: logger drink nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, pp. 234-236, "The Scow on the Cowden Shore" (3 texts, 2 tunes)
Manny/Wilson 42, "The Scow on Cowden Shore" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 180-182, "The Scow on Cowden's Shore" (1 text, 1 tune)
ST Doe234 (Partial)
Roud #4529
NOTES: During log drives, the boss of the drive, the cook, and other non-participants would usually follow the logs in scows. Since the boat carried their provisions, the logdrivers were often highly alert to its progress. - RBW
"Cowden Shore was part of the Cowden farm, where Scottish immigrants of that name settled in the early nineteenth century.... Cowden Shore was conveniently near the Sou'West Boom, where the logs driven down the [Southwest Miramichi River] were stored, awaiting distribution to their owners." - BS
File: Doe234
===
NAME: Scranky Black Farmer, The
DESCRIPTION: "At the top o' the Garioch, in the lands o' Leith-hall, A cranky black farmer in Earlsfield did dwall; Wi' him I engaged a servant to be...." The singer describes the weary work and the bad company; when his time is up, he intends to return to the seaside
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: work farming hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 213-214, "The Scranky Black Farmer" (1 text)
Roud #2872
File: Ord213
===
NAME: Screwing In Song
DESCRIPTION: "Before I work for a dollar a day. Down below, wey-hey, hey-hey. Grease my screws and put 'em away, Down below, wey-hey, hey-hey"
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: nonballad shanty
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Smith/Hatt, p. 45, "Screwing In Song" (1 text)
Roud #9416
NOTES: Smith/Hatt: "Cargoes were pressed down ... by screws." - BS
File: SmHa045
===
NAME: Scripture in the Nursery: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: Sea Apprentice, The
DESCRIPTION: "When I first went a sea-apprentice bound, I sailed the salt seas all round and round." The singer falls in love with Anne. The captain calls him foolish; she will take another while he is at sea. But he offers her tokens, and she promises to wait
AUTHOR: unknown
EARLIEST_DATE: 1928 (Greenleaf/Mansfield)
KEYWORDS: love courting separation sailor
FOUND_IN: Ireland Canada(Mar,Newf)
REFERENCES: (5 citations)
Greenleaf/Mansfield 107, "The Prentice Boy" (2 texts)
Peacock, pp. 575-578, "A Prentice Boy in Love" (2 texts, 2 tunes)
SHenry H739, p. 291, "The Sea Apprentice" (1 text, 1 tune)
Creighton-NovaScotia 139, "Prentice Boy" (1 text, 1 tune)
DT 579, PRENTICE
Roud #1671
RECORDINGS:
Robert Cinnamond, "The Apprentice Sailor" (on IRRCinnamond03)
CROSS_REFERENCES:
cf. "The Doffin' Mistress" (tune)
SAME_TUNE:
The Doffin' Mistress (File: K220)
ALTERNATE_TITLES:
Bonny Anne
NOTES: The Digital Tradition version of this song, from Creighton, is listed as Laws M12, but it appears to be this song (Creighton also has a version of Laws M12, which may explain the confusion). - RBW.
File: HHH739
===
NAME: Sea Captain (II), The: see The Maid on the Shore (The Fair Maid by the Sea Shore; The Sea Captain) [Laws K27] (File: LK27)
===
NAME: Sea Captain and the Squire, The [Laws Q12]
DESCRIPTION: The captain leaves his new bride to be seduced by a squire. The night the captain returns, all the women of the house give birth. The wife explains her state (the male servants had impregnated the maids); her captain forgives her (!) "for the joke's sake"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: seduction pregnancy separation adultery
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws Q12, "The Sea Captain and the Squire"
Combs/Wilgus 121, pp. 138-140, "There Was a Sea Captain" (1 text)
DT 734, SEACAPT SEACAPT2
Roud #947
BROADSIDES:
NLScotland, APS.4.86.3, "The Sea Captain," unknown, after 1820
CROSS_REFERENCES:
cf. "A War Bird's Burlesque" (plot)
File: LQ12
===
NAME: Sea Crab, The
DESCRIPTION: A man stows a crab (lobster) in the chamber pot while his wife is asleep. She gets up to relieve herself; the crab grabs her "by the flue." He seeks to free her; the crab grabs his nose. Caught in this predicament, they send for a doctor to free them
AUTHOR: unknown
EARLIEST_DATE: c. 1620 (Percy Folio Manuscripts)
KEYWORDS: animal bawdy humorous husband injury marriage
FOUND_IN: Canada (Ont) Britain(England,Scotland) US (Ap,MA,MW,Ro,SE,So,SW)
REFERENCES: (7 citations)
Cray, pp. 1-4, "The Sea Crab" (2 texts, 2 tunes)
Randolph-Legman I, pp. 66-73, "The Sea Crab" (4 texts, 1 tune)
Sharp-100E 77, "The Crabfish" (1 text, 1 tune)
Kennedy 196, "The Crab-Fish" (1 text, 1 tune)
Hugill, pp. 277-278, "Whiskey Johnny" (2 texts, version "D" of "Whiskey Johnny) [AbEd, p. 206]
Logsdon 52, pp. 245-248, "The Sea Crab" (1 text, 1 tune)
DT, CRAYPOT, SHECRAB
ST EM001 (Full)
Roud #149
CROSS_REFERENCES:
cf. "Cod Fish Song"
ALTERNATE_TITLES:
The Crayfish
The Fishy Crab
The Lobster
The Old She-Crab
NOTES: This is one of the oldest of English language traditional ballads. F.J. Child deliberately excluded it from his canonical ESPB, presumably because of its indelicate nature. - EC
Kennedy says of this piece, "...it seems likely to be either French in origin or in imitation of French balladry (at any rate this is a chance to disown it as an English composition)." - RBW
Sharp's version differs from the canonical one in several ways, aside from having been cleaned up. The main theme of the song is that the woman is sick, and craves the crab, so the man goes and buys one. She goes to smell it, and it bites her, then him. Same song, very different emphasis. -PJS
File: EM001
===
NAME: Sea Ghost, The: see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Sea Gulls and Crickets
DESCRIPTION: Famine threatens Mormon pioneers in the winter of 1849; spring brings new shoots, but crickets sweep down "like fog on a British coast." The pioneers battle them in vain, but flocks of seagulls arrive and devour the crickets; the harvest is saved
AUTHOR: unknown
EARLIEST_DATE: 1952 (recording, L. M. Hilton)
KEYWORDS: rescue farming harvest disaster animal bird bug pioneer settler
FOUND_IN: US(Ro)
REFERENCES: (0 citations)
Roud #10833
RECORDINGS:
L. M. Hilton, "Sea Gulls and Crickets" (on Hilton01)
File: RecSgaC
===
NAME: Sea-Longing: see An Iounndrain-Mhara (Sea-Longing) (File: K011)
===
NAME: Sea-Tangle, The: see An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman) (File: K003)
===
NAME: Sea, The
DESCRIPTION: "The sea, the sea, the open sea, The blue, the fresh, the ever-free, Without a mark, without a bound..." "I love, oh how I love to ride On the fierce foaming bursting tide...." The old seaman looks back on a tumultuous but happy life
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal by William Histed of the Cortes)
KEYWORDS: sailor sea  nonballad age
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 63-64, "The Sea" (1 text, 1 tune)
Roud #2019
NOTES: To me this looks like a professional piece which Histed copied down in his journal for some reason. But Huntington's notes left me with just enough doubt to include the song here. - RBW
File: SWMS063
===
NAME: Seaboard Air Line
DESCRIPTION: "Seaboard Air Line Never on time; At half past nine Your headlight shines; In all my dreams Your whistle screams; You are the idol of my heart, Seaboard Air Line."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: train love
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 238, "Seaboard Air Line" (1 short text)
Roud #15773
CROSS_REFERENCES:
cf. "Sweet Adeline" (tune)
File: Br3238
===
NAME:  Seagull of the Land-Under-Waves, The: see Snow Gull (File: KFrI084)
===
NAME: Sealchie Song, The: see The Great Silkie of Sule Skerry [Child 113] (File: C113)
===
NAME: Sealer Lad, The (The Fisherman's Son to the Ice is Gone)
DESCRIPTION: "The sealer lad from his home is gone, On board his ship you'll find him." The singer recalls the good old days of sealing, noting that now a load of seals "scarce pays Alfred's duty." He hopes the rich man at home will not longer profit
AUTHOR: unknown
EARLIEST_DATE: 1900 (Burke & Oliver)
KEYWORDS: hunting hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 69, "The Sealer Lad" (1 text); compare p. 134, "The Fisherman's Son to the Ice is Gone" (1 text)
NOTES: No tune is indicated for this, but the form strongly implies "The Minstrel Boy."
Since the first publication is in Burke and Oliver's _The People's Songster, Buyers' Guide and Gems of Poetry and Prose,_ there is a good chance it's by John Burke.
The second text cited from Ryan/Small, "The Fisherman's Son to the Ice is Gone," slightly changes the occupation of the hero, and is much shorter -- but the two are clearly adaptions of each other. Either they're traditional, and one song, or, more likely, they aren't traditional, and might as well be lumped. - RBW
File: RySm069
===
NAME: Sealer's Call
DESCRIPTION: "I must go up to the ice again, To the fields of purest white." The singer, though his hair has turned white, still hears the call of the seal, and will return to the work even though the pay is small, the cold terrible, and the comforts few
AUTHOR: Solomon Samson ?
EARLIEST_DATE: 1962 (A Glimpse of Newfoundlad in Poetry and Pictures)
KEYWORDS: hunting ship travel work nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 14, "The Sealer's Call" (1 text)
NOTES: Not traditional that I can tell, and not a song either. Just one of those things editors inflict upon songbooks.
This seems clearly based on John Masefield's "Sea Fever" ("I must go down to the sea again, To the lonely sea and sky"), which has inspired other localizations as well. - RBW
File: RySm014
===
NAME: Sealer's Love Letter, A
DESCRIPTION: "Dear Miss: -- I know I can't mail this; Forgive me, it's all I can do, Out here at the ice-fields in Winter... For it's Easter good wishes I'm sending." He recalls leaving her to work as a sealer, compares their lives, and sends good wishes
AUTHOR: unknown
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: love separation nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 91, "A Sealer's Love Letter" (1 text)
File: RySm091
===
NAME: Sealer's Reply to His Wife, A
DESCRIPTION: "Now that March month has come, And spring's in the air, The old seals are swimming Up North to their lair... So Maggie my darling I must leave you alone." The old sealer explains to his wife the lure of the seal hunt, and promises to stay home someday
AUTHOR: Solomon Samson?
EARLIEST_DATE: 1963 (A Glimpse of Newfoundland in Poetry and Pictures)
KEYWORDS: hunting age
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 153, "A Sealer's Reply to His Wife" (1 text)
NOTES: Explained as a 60-year-old sealer's answer when his wife tried to keep him from going to the ice. - RBW
File: RySm153
===
NAME: Sealer's Song (I)
DESCRIPTION: "The Block House Flag is up today to welcome home the stranger."  The sealing fleet is returning. The ships are named, their feats recounted [how they "kill their foe"," i.e. the seals], and they go home to parties and dancing
AUTHOR: unknown
EARLIEST_DATE: 1955 (Doyle)
KEYWORDS: bragging return hunting ship party dancing humorous
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Doyle3, pp. 52-53, "Sealer's Song" (1 text, 1 tune)
Blondahl, pp. 73-74, "The Sealer's Song" (1 text, 1 tune)
Ryan/Small, pp. 33-34, "Sealer's Song" (1 text, 1 tune)
ST Doyl3052 (Partial)
Roud #7307
NOTES: A very widely cited song, though the author is unknown. The list of captains mentioned implies a date in the period between 1865 and 1880. For Captain William Jackman, see "Captain William Jackman, A Newfoundland Hero." Chafe reports that Captain Bowman later became a member of the House of Assembly. - RBW
File: Doyl3052
===
NAME: Sealer's Song (II), The
DESCRIPTION: "The Terra Nova, Captain Kean, With two hundred and three men, Went through the gap this morning To try their luck again." A total of 20 ships and captains set out for the ice. The singer hopes they all return safely and with large loads of seals 
AUTHOR: Johnny Burke
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting ship moniker nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 79, "The Sealer's Song" (1 text\)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships)
cf. "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (ships)
cf. "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (ships)
NOTES: Although this deals with the same subject, and even some of the same ships, as "The Sealer's Song (I)," the two are clearly distinct: This deals with the departure of the ship, that with their return. - RBW
File: RySm070
===
NAME: Sealer's Strike of 1902, The (The Sealers Gained the Strike)
DESCRIPTION: "Attention, all ye fishermen, and read this ballad down, And hear about the sealer's strike the other day in town." The sealers, led by "brave Colloway," unite and present their demands. A. B. Morine secures their demands
AUTHOR: probably Johnny Burke
EARLIEST_DATE: 1925 (Murphy, Songs Sung by the Old Time Sealers of Many Years Ago)
KEYWORDS: ship hunting strike labor-movement
HISTORICAL_REFERENCES: Mar 8, 1902 - Beginning of the Sealer's Strike
Mar 12, 1902 - Sealers' demands granted
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 64, "The Sealer's Strike of 1902"; p. 63, "The Sealers Gained the Strike" (2 texts); also p. 66, "The Luck Went With the Sealers Since Brave Colloway Led the Strike" (1 text, a sequel to the above)
NOTES: Although all sources for this are printed and literary, the divergences between the two texts in Ryan and Small may imply oral transmission. Murphy seemingly was unaware of the attribution to Burke. - RBW
File: RySm064
===
NAME: Sealers Gained the Strike, The: see The Sealer's Strike of 1902 (The Sealers Gained the Strike) (File: RySm064)
===
NAME: Sealers of Newfoundland, The
DESCRIPTION: "Ho! We be the Sealers of Newfoundland! We clear from a snowy shore, Out into the gale with our steam and sail...." The singer describes life on a sealing voyage, and tells how tough the sealers are -- and how they rejoice to return home
AUTHOR: George Allan England
EARLIEST_DATE: 1924 (England, Vikings of the Ice)
KEYWORDS: hunting ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 108, "The Sealers of Newfoundland" (1 text, 1 tune)
File: RySm108
===
NAME: Sealers of Twillingate and New World Island, The
DESCRIPTION: The poet recalls the hardships faced by the sealers of 1862, then turns to the modern hunt, as SPCA planes fly overhead. He warns against actual interference with the hunt, and declares seal hunting both good commerce and a good source of food
AUTHOR: John C. Loveridge
EARLIEST_DATE: 1973 (Loveridge, Story in Pictures and Poetry of the 1973 Seal Hunt....)
KEYWORDS: hunting animal political nonballad technology
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 150-151, "The Sealers of Twillingate and New World Island" (1 text)
NOTES: Despite this song's vicious and inflated rhetoric, seal hunting has of course been restricted in the last 30 years -- in part because of opposition from animal rights' groups, but mostly because the sealers have destroyed the seal populations, and have been forced to cut back to preserve the herds.
Seals were indeed an important food source to the Newfoundland fishermen -- and even more to the Inuit. According to Bob Bartlett (who should know; see his biography under "Captain Bob Bartlett"), "The seal is the one indispensible animal of the Arctic. The flesh is by no means disagreeable, though it has a general flavor of fish, which constitutes the seal's chief food" (see p. 54 of _The Last Voyage of the Karluk_, as told to Ralph T. Hale; published 1916; now available with a new introduction by Edward E. Leslie as _The Karluk's Last Voyage_). - RBW- RBW
File: RySm150
===
NAME: Sealers, The [Laws D10]
DESCRIPTION: Four ships set out to seal. After a four day voyage, they arrive at the ice. On their very first day they take nine hundred pelts. Having filled their quota, they head for home
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: ship work hunting
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws D10, "The Sealers"
DT 613, SEALERS
Roud #2234
File: LD10
===
NAME: Sealers' Ball, The
DESCRIPTION: The sealers get their money at the wharf, more at the store, and "a couple of gallons" on Saturday evening. After the dance Jack Burke's girl was with Jim McGee. When their fight was over "they found the lady she'd a-gone."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Peacock)
KEYWORDS: courting fight hunting shore dancing drink party humorous
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 94-95, "The Sealers' Ball" (1 text, 1 tune)
Ryan/Small, pp. 123-124, "The Sealer's Ball" (1 text, 1 tune)
ST Pea094 (Partial)
Roud #9957
ALTERNATE_TITLES:
Be Ye Much of a Hand Aboard a Vessel
File: Pea094
===
NAME: Sealing Cruise of the Lone Flier, The
DESCRIPTION: The song chronicles the life of sealers traveling from Twillingate to St. John's then north to the ice fields for seals. Miscellaneous mishaps and achievements are told during the song and many names and factual information mentioned.
AUTHOR: (supposedly the whole crew in question)
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: sea travel hunting
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 123, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Doyle2, pp. 14-15, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Blondahl, pp. 76-77, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
Ryan/Small, pp. 126-128, "The Sealing Cruise of the Lone Flier" (1 text, 1 tune)
ST Doy14 (Partial)
Roud #7308
NOTES: The cruise in question is reported to have taken place from March 10 to April 25, 1929.
Very formulaic introduction of the "come-all-ye" variety with the singer assuring that he will neither "offend" the listener or run too long. [This even though Doyle's version runs 16 verses! - RBW] This is a very typical humble attitude of singers from Newfoundland as shown in many songs. - SH
File: Doy14
===
NAME: Sealing Fifty Years Ago
DESCRIPTION: "'Four hundred sail of shipping fine Could then be seen at anchor Awaiting time to fall in line And for a sou'west spanker." Fifty years ago, they caught 600,000 seals a year; now, they catch half as much "with hearts not half so gay."
AUTHOR: James Murphy
EARLIEST_DATE: 1901 (The Duke of York Songster and Christmas Advertiser)
KEYWORDS: hunting nonballad hardtimes recitation
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 63, "Sealing Fifty Years Ago" (1 text)
File: RySm063
===
NAME: Sealing Fleet, The
DESCRIPTION: "What means this hurrying to and fro -- This busy stirring scene? "This scene laid now before you Is not of war or strife But 'tis a fight of honest men... They go to catch the northern seal...." The sealers are described; the singer wishes them well
AUTHOR: unknown
EARLIEST_DATE: 1861 (The Newfoundland Express)
KEYWORDS: hunting nonballad orphan
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 135, "" (1 text, apparently to the tune "Garryowen")
File: RySm135
===
NAME: Sealing Trip of the S. S. Greenland 1891, The
DESCRIPTION: "All ye who love old Newfoundland And her Sons who plow the sea... I will sing to you A song about the Greenland And her hardy sailing crew." The singer praises Captain Henry Dawe, describes the efficient steamer, and tells of a good seal hunt
AUTHOR: unknown (said to be by "one of her crew")
EARLIEST_DATE: 1891 (Harbour Grace Standard)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 35-36, "The Sealing Trip of the S. S. Greenland 1891" (1 text, 1 tune)
File: RySm035
===
NAME: Seaman and His Love, A (The Welcome Sailor) [Laws N29]
DESCRIPTION: The singer hears a girl wailing for her love, gone these seven years at sea. He offers a token from her love, saying he is dead and she should marry whoever carries it. She says she will mourn forever. The stranger reveals himself as her missing love
AUTHOR: unknown
EARLIEST_DATE: 1620 (Stationer's Register -- apparently)
KEYWORDS: love separation brokentoken
FOUND_IN: US(MW) Ireland Canada(Mar,Newf)
REFERENCES: (9 citations)
Laws N29, "A Seaman and His Love (The Welcome Sailor)"
Gardner/Chickering 53, "A Seaman and His Love" (1 text)
SHenry H581, pp. 318-319, "The Love Token" (1 text, 1 tune)
Peacock, pp. 530-533, "Jimmy and Nancy" (2 texts, 2 tunes)
Creighton-Maritime, p. 58, "Down by the Seaside" (1 text, 1 tune)
PBB 77, "The Valiant Seaman's Happy Return to His Love, After a Long Seven Years' Absence" (1 text, presented as traditional though it includes references to Hero and Leander, "Ulisses" and Penelope, and Dido and Aeneas. Presumably it is a broadside reworking of a traditional text, this being the best candidate for the original)
BBI, ZN2883, "When Sol could cast no light"; ZN2884, "When Sol did cast no light"
DT 763, SEAMLOVE
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; notes to #189, ("The Sailors") (1 text)
Roud #604
BROADSIDES:
Bodleian, Douce Ballads 2(236a), "The Valiant Sea-Mans Happy Return to His Love, After a Long Seven Years Absence," P. Brooksby (London), 1672-1696; also Wood E 25(153), "The Valiant Sea-Mans Happy Return to His Love, After a Long Seven Years Absence"; Douce Ballads 2(237b), "The Valiant Seamans Happy Return to His Love, After a Long Seven Years Absence"
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there, especially N34
SAME_TUNE:
"I Am So Deep In Love" or "Through the Cool Shady Woods" (per broadsides Bodleian Douce Ballads 2(236a), Bodleian Wood E 25(153), Bodleian Douce Ballads 2(237b))
NOTES: Bodleian Douce Ballads 2(236a) broadside seems to be the version cited above for PBB 77; the theme and some lines match Creighton-Maritime but, as the comment for PBB 77 notes, there are a lot of additional frills.
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Love Token" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001)) - BS
File: LN29
===
NAME: Seaman of Plymouth, The
DESCRIPTION: A sailor must go to sea before he can wed Susan. When she refuses to marry a rich man, her parents send her to Holland. The sailor, now rich, accidentally meets her; they return home; she disguises herself from her parents and they are wed
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown)
LONG_DESCRIPTION: A sailor and beautiful Susan are to wed, but she becomes sick; he is forced to sail away. While he is gone, her parents try to wed her to a rich man; when she refuses, they send her to Holland. The sailor returns, having become rich, and is told she is dead. He sails away in grief, is shipwrecked in Holland, meets her, and they return home to wed. The girl arrives in disguise; her parents continue their play-acting. At last she reveals herself, and all ends happily
KEYWORDS: love courting sailor separation betrayal money disguise reunion marriage trick
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 141-147, "The Seaman of Plymouth" (1 text, 1 tune, very long and quite clumsy; there is probably a broadside version in its very recent ancestry)
ST FlBr141 (Partial)
Roud #2811
File: FlBr141
===
NAME: Sean a Duir a'Ghleanna
DESCRIPTION: The first verse describes an unsuccessful fox hunt: "for royalty is banished" Sean meets beautiful Anna who invites him to "take compassion" He takes off his beaver hat and, answering her invitation, introduces himself as "a Galway man by extraction"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 15(149b))
KEYWORDS: courting beauty hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 81, "Sean a Duir a'Ghleanna" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 15(149b), "John Adwire Anglanna," H. Such (London), 1863-1885; also Harding B 11(4385), "John Adwire Anglanna"; 2806 b.9(41), 2806 b.11(44), Harding B 19(42), "John O'Dwyer-a-Glana"
CROSS_REFERENCES:
cf. "After Aughrim's Great Disaster" (form)
NOTES: The name of the song in both OLochlainn and the Bodleain broadsides is from the last line: "I'm a Galway man by extraction, bred in Connamara, And [song title] they call me by name." It's easiest to find versions from the first line which is always close to "One morning I started From the arms of Morpheus."
The ornate descriptions and the ending with an introduction to a beautiful woman remind me of Thomas Moore's "Rich and Rare Were The Gems She Wore." Adding to my suspicion that there is more nationalism coded here than I understand is the OLochlainn note that 'the late Canon Sheehan wrote a fine song "After Aughrim's great disaster" founded on this ballad.' 
In this connection see the Mudcat Cafe threads re "After Aughrim's Great Disaster" and "Sean O'Duibhir A Ghleanna." The text of "Sean O Duibhir An Ghleanna" ("Sean O'Dwyer of the Glen") listed there is either the source or derivative of this song and is clearly a song of desperation; the source there is Danny Spooner and Mick Farrell 'In Limbo and Other Songs and Places' Anthology AR003. The text of "After Aughrim's Great Disaster" refers to the battle of July 12, 1691: "Ah, Sean o Duibhir an Ghleanna, we were worsted in the game." - BS
File: OLoc081
===
NAME: Sean Treacy
DESCRIPTION: "We often heard our fathers tell How in the Fenian times The noblest of Tipperary's sons Imprisoned spent their lives." The police pursue Treacy; he kills two before being slain himself. The song reports, "He died for Ireland free."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Galvin)
KEYWORDS: Ireland rebellion police death IRA
HISTORICAL_REFERENCES: Oct 14, 1920 - death of Sean Treacy (Tracey)
FOUND_IN: Ireland
REFERENCES: (1 citation)
PGalvin, pp. 65-66, "Sean Treacy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Tipperary Far Away" (subject: the death of Treacy)
cf. "The Station of Knocklong" (for other activities of Treacy)
NOTES: This English-language song conclude with the ironic words, "In our Gaelic tongue we'll tell our sons How brave Sean Treacy died."
It might be more interesting to start by telling why Treacy was pursued. According to the distinctly pro-Irish historian Calton Younger, "Two Irish policement were shot dead at Soloheadbeg, on January 21st, 1919....
"[E]ight men of the south Tipperary Brigade of what was soon to be widely known as the Irish Republican Army... lay in ambush for five days waiting for a cart of gelignite [or 'blasting gelatine' -- nitroglycerine plus collodion, a shapable high explosive created by Alfred Nobel].
"[T]he car was guarded by two unwary constables, MacDonnell and O'Connell.... [Both] were popular enough in the district. With them were two employees of the South Tipperary County Council.... [They] were shot down by Sean Treacy, second-in-command of the South Tipperary Brigade." (Younger, _Ireland's Civil War_, p. 85).
Robert Kee, in _Ourselves Alone_, being volume III of _The Green Flag_, p. 58, says of the reaction to this incident, "The two Irish constables, both Catholics, one a widower with four children, were very popular locally and had never had any connection with political prosecutions. Their deaths aroused widespread indication and horror, and there was a poignant moment at the inquest when one of McDonnell's sons asked if they had been given any time to surrender the explosives or if they had had a dog's chance."
It may be that the two made an attempt at resistance. But there is no question: Treacy was a terrorist. Fighting for an Irish republic, but a terrorist. In fact, in  Younger's view at least, he was the prototype: "[Treacy and Dan Breen] were the first to steel themselves to kill, to acquire the kind of mentality that men must acquire to win freedom" (p. 87).
The popular reaction was less positive. Kee p. 58 adds, "The action was condemned as a crime at the masses throughout Tipperary the following Sunday and the Archbishop of Cashel in Thurles Cathedral proclaimed it an offense against the law of God.... [A]nother cleric, Monsignor Ryan, cried, 'God help poor Ireland if she follows this deed of blood.'
"Nevertheless, in spite of an offer of [a thousand pound reward], the killers were able to vanish without a trace until an even more sensational appearance three months later."
Their bloody work did have some effect. Kee, p. 59, notes, "[t]heir objects were often more successfully served by the British authorities' reaction to Volunteer  exploits than by the military results of the exploits themselves." Which, of course, is exactly what happened with the Easter Rebellion, too: The Irish despised the initial rebellious act, but despised the severe British response even more.
After many months on the run for this and other incidents (see also the notes to "The Station of Knocklong" and "Tipperary Far Away"), Treacy finally died in a shoot-out with police. According to Younger, p. 121, "they had caught up with him, bringing an armoured car and two lorry loads of auxiliaries." Treacy opened fire, killing at least two of the attackers; they responded with machine gun fire, killing Treacy and two bystanders.
Younger adds that the woman "who identified his body saw that it had been impeccably laid out, and a soldier on guard gave her a lock of Treacy's hair." But Younger does not cite a single source with regard to the death of Treacy; I wonder if parts of his account, incluing the hair, might not be taken from this song and "Tipperary Far Away" (which mentions the hair business).
Kee, p. 116, adds that he "easily became a hero as legendary as Cuchulain." And yet, of eight histories I consulted, Kee is the only one to mention Treacy in three contexts (Knocklong, Soloheadbeg, and his death). One mentions Soloheadbeg and his death, two mention only Soloheadbeg (one of them mentioning him also in his role as part of the hit squad led by Michael Collins), one tells of Knocklong, and the rest don't mention him at all. - RBW
File: PGa065
===
NAME: Seanduine Doighte, An: see The Burnt-Out Old Fellow [An Seanduine Doighte] (File: K045)
===
NAME: Search and Rescue, The
DESCRIPTION: On August 14, 1955, Daniel Morris and his wife are cod fishing off Souris. The engine dies. They anchor off Cape Spry's rocks in a heavy wind. They are finally rescued by two Mounties, Leonard MacDonald, and his big engine boat.
AUTHOR: Mrs. Dan Morris
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: rescue fishing sea ship storm
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 27-29, "The Search and Rescue" (1 text, 1 tune)
Roud #12476
NOTES: Souris is in the northeast corner of Kings, Prince Edward Island. - BS
File: Dib027
===
NAME: Searching for Lambs
DESCRIPTION: A young man meets a girl and asks her where she is going. She is going to feed her father's "tender lambs." He begs her to stay with him. They court for long. (He hopes that) they marry.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: sheep courting marriage love
FOUND_IN: Britain(England) Ireland
REFERENCES: (4 citations)
Sharp-100E 48, "Searching for Lambs" (1 text, 1 tune)
SHenry H548, p. 341, "One Morning Clear" (1 text, 1 tune)
DT 474, SRCHLAMB
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 43, "Searching for Lambs" (1 text, 1 tune)
ST LO09A (Partial)
Roud #576
CROSS_REFERENCES:
cf. "Branded Lambs" [Laws O9] (theme)
NOTES: For the rather vexed relationship of this song with "Branded Lambs" [Laws O9], see the notes to that song. - RBW
File: LO09A
===
NAME: Searching for Young Lambs: see Searching for Lambs (File: LO09A)
===
NAME: Sebastopol (Old England's Gained the Day; Capture and Destruction of Sebastopol; Cheer, Boys, Cheer)
DESCRIPTION: "Cheer lads, cheer! the enemy is quaking ... our foes we did defeat, ... Sebastopol is taken." Pellisier and Simpson lead the French and English "their cannons loud did rattle ... and the flags of France and England waved on Sebastopol."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: army battle war England France Russia shanty
HISTORICAL_REFERENCES: Sep 9, 1855 - Fall of Sevastopol following an 11 month siege
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Smith/Hatt, p. 31, "Old England's Gained the Day" (1 text)
Hugill, pp. 428-429, "Sebastopol" (1 text, 1 tune) [AbEd, pp. 322-323]
ST SmHa041 (Partial)
Roud #8293
BROADSIDES:
Bodleian, Firth b.26(215) , "Capture and Destruction of Sebastopol" ("Cheer lads, cheer! the enemy is quaking"), A. Ryle and Co. (London), 1855?; Firth b.25(586), "Capture and Destruction of Sebastopol"
CROSS_REFERENCES:
cf. "Newfoundland and Sebastopol" (subject, theme)
cf. "Cheer, Boys, Cheer!" (tune, per broadsides Bodleian Firth b.26(215) and Bodleian Firth b.25(586))
NOTES: Bodleian, Harding B 26(95), "Cheer, Boys Cheer, for the Fall of Sebastopol" ("Cheer lads cheer, for Brittannia's sons none bolder"), J. Moore (Belfast), 1846-1852 [not possible] is a similar broadside.
Smith/Hatt has this fragment as a capstan shanty. - BS
Hugill also has it as a capstan shanty, and calls it a "broken-down version of the original march, or rather of its chorus. The original march tune was known as the 'Loth-to-depart.'" - [RBW, BS]
There are quite a few other broadsides floating around called "Cheer, Boys, Cheer," celebrating other events. I haven't seen any evidence that they're traditional. Similarly, Charles Mackay wrote "Cheer Boys! Cheer! No More of Idle Sorrow," with music set by Henry Russell, but it never seems to have escaped from the straitjacket of sheet music. - RBW
File: SmHa041
===
NAME: Section Gang Song
DESCRIPTION: "Oh, captain, captain, I'm goin' away to leave you (x3), By next payday, oh captain, next payday." The singer talks of work on the section gang, complains about not being paid, and declares that he will leave
AUTHOR: unknown
EARLIEST_DATE: 1927 (T. C. I. Section Crew, according to Cohen)
KEYWORDS: worksong railroading nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Cohen-LSRail, p. 647, "Section Gang Song" (1 text)
Roud #17785
RECORDINGS:
T. C. I. Section Crew, "Section Gang Song" (Paramount 12478, 1927)
NOTES: According to Cohen, this is one of only two railroad worksongs released on a commercial 78 (the other being "Track Linin'," which appears to be a version of "Can'cha Line 'Em"). He thinks they may be the earliest worksong recordings of any sort. - RBW
Almost, but not quite; Robert Winslow Gordon was recording sea chanteys in the San Francisco Bay Area in the early 1920s" - PJS
File: LSRai647
===
NAME: See See Rider: see Easy Rider (File: LxU022)
===
NAME: See That My Grave Is Kept Clean
DESCRIPTION: Singer, dying, asks that his grave be kept clean, that his grave be dug with a silver spade, and that he be lowered with a golden chain.
AUTHOR: probably Blind Lemon Jefferson
EARLIEST_DATE: 1928 (recording, Blind Lemon Jefferson)
KEYWORDS: death dying funeral nonballad religious floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
Asch/Dunson/Raim, p. 92, "See That My Grave Is Kept Clean" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 114-115, "Sad and Lonesome Day" (1 text, 1 tune)
Courlander-NFM, p. 139, "(One Kind Favor)" (1 text)
Gilbert, p. 81, "See That My Grave Is Kept Clean" (1 partial text)
Darling-NAS, pp. 300-301, "See That My Grave Is Kept Clean" (1 text)
Roud #7382
RECORDINGS:
[Joe] Evans & [Arthur] McClain, "Two White Horses in a Line" (Oriole 8081/Perfect 182/Romeo 5081, 1931; on BefBlues1)
Blind Lemon Jefferson, "See That My Grave Is Kept Clean" (Paramount 12608B, 1928; on AAFM3; improperly listed as "Two White Horses" on the CD reissue cover though not in the notes; also on Jefferson01, JeffersonCD01)
Mike Seeger, "Sad and Lonesome Day" (on MSeeger01)
Hobart Smith, "See That My Grave Is Kept Clean" (on LomaxCD1704)
Ruby Vass, "Lonesome Day" (on Persis1)
ALTERNATE_TITLES:
Two White Horses In a Line
NOTES: In 1870, Gus Williams composed an item "See that My Grave's Kept Green"; I have no idea whether it affected  this song. - RBW
I've seen the sheet music for Williams's piece, and the only thing it has in common with this song is the title phrase.  The rest is a sentimentally melancholy bit of Victoriana. - PJS
For those who want to hear the song itself, there are several 78 recordings, one by Bela Lam & his Greene County Singers (OKeh 45126, 1927) and a variety by the Carter Family (as "Sad and Lonesome Day": Victor 23835, 1933;  Melotone 7-04-53/Conqueror 8735, 1937; Zonophone [Australia] 4379, n.d.). - RBW, PJS
File: ADR92
===
NAME: See the Waters A-Gliding: see One Morning in May (To Hear the Nightingale Sing) [Laws P14] (File: LP14)
===
NAME: See the Woman at the Well
DESCRIPTION: "Jesus going through the land and on his way got thirsty; He stopped at the well in Canaan's land The town was called S(y)myrna." The story of Jesus and the Woman of Samaria, with chorus, "Oh, there's no one can love you like Jesus."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Bible religious Jesus
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 208-211, "See the Woman at the Well" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Jesus Met the Woman at the Well" (subject)
cf. "The Maid and the Palmer" [Child 21] (subject)
cf. "Lift Him Up That's All" (subject)
NOTES: Although this doubtless sounds like a version of "Jesus Met the Woman at the Well," it appears from the lyrics that they are separate.
For the story of Jesus and the Woman of Samaria, see John 4:5-26. This song follows that account fairly closely except for the name of the town. John 4:5 gives the location of Jacob's Well as "Sychar" (well, a few unimportant manuscripts read something else, but none read Smyrna, a town in Asia Minor mentioned in the first two chapters of the Revelation to John). The King James Bible in any case says "Sychar." - RBW
File: ThBa208
===
NAME: See This Pretty Little Girl of Mine: see King William was King James's Son (File: R543)
===
NAME: See-Saw, Marjorie Daw
DESCRIPTION: "See, saw, Margery Daw, The old hen flew over the malt house, She counted her chickens one by one, Still she missed the little white one, And this is it, this is it, this is it."
AUTHOR: unknown
EARLIEST_DATE: 1853 (Halliwell, according to Opie-Oxford2)
KEYWORDS: chickens nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 337, "See-saw, Margery Daw" (1 text)
Baring-Gould-MotherGoose #578, p. 233, "(See, saw, Margery Daw)"; cf. #622, p. 247, "(See saw, Margery Daw)"; #624, p. 248, ("See Saw, Margery Daw)"
Roud #13028
NOTES: Opie-Oxford2 has two other entries beginning "See-saw,Margery Daw, Jacky shall have a new master" [Opie-Oxford2 335] and "See-saw, Margery Daw, Sold her bed and lay upon straw" [Opie-Oxford2 336].
in 1873, T. B. Aldrich wrote a story about Marjorie Daw (who did not actually exist). I don't know if the story inspired some of the rhymes, or whether they all predate it. - RBW
File: BGMG578
===
NAME: See, See, The Cape's In View: see So It's Pass (File: CrNS056)
===
NAME: Seeds of Love, The
DESCRIPTION: The singer "sowed the seeds of love to bloom all in the spring." She asks the gardener to choose flowers for her; she does not like his offers, but chooses the rose. This in turn brings her to the willow tree
AUTHOR: unknown
EARLIEST_DATE: 1689 (cited in Sharp; first full text from Campbell, 1816)
KEYWORDS: gardening seduction
FOUND_IN: US(MW) Britain Australia
REFERENCES: (7 citations)
Eddy 28, "Once I Had Plenty of Thyme" (2 texts, 1 tune, both texts being mixed with "In My Garden Grew Plenty of Thyme")
Sharp-100E 33, "The Seeds of Love" (1 text, 1 tune)
Kennedy 167, "The Seeds of Love" (1 text, 1 tune)
Meredith/Anderson, pp. 162-163, "The Red Rose Top" (1 text, 1 tune, linked by the authors to this tune, although it's so short it might be part of "In My Garden Grew Plenty of Thyme")
Meredith/Covell/Brown, pp. 55, "The Seeds of Love" (1 fragmentary text, 1 tune, with some words similar to "The Seeds of Love" though the only surviving verse looks more like a courting song)
MacSeegTrav 54, "The Seeds of Love" (1 text, 1 tune)
DT,  (THYMTH2) (RUETHYME*)
Roud #3
RECORDINGS:
George Maynard, "The Seeds of Love" (on Maynard1, Voice10)
BROADSIDES:
Bodleian, Harding B 11(1657), "I Sowed the Seeds of Love ("I sowed the seeds of love it was all in the spring"), J. Pitts (London), 1819-1844; also Harding B 11(3855)[many lines illegible; title damaged], "I Sow[ed the] Seeds [of love]"; Firth c.18(98), 2806 c.17(381), "Seeds of Love"
CROSS_REFERENCES:
cf. "In My Garden Grew Plenty of Thyme" (plot, lyrics)
cf. "The Gowans Are Gay"
cf. "The Wanton Seed" (theme)
NOTES: In flower symbolism, the rose stood for love and the willow for weeping. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener." - RBW
File: K167
===
NAME: Seeing Nellie Home
DESCRIPTION: "In the sky the bright stars glittered; On the bank the pale moon shone. It was from Aunt Dinah's quilting party I was seeing Nellie home." The singer professes his love for Nellie on the way. Evidently they get married, because they are now old together
AUTHOR: Words: F. Kyle / Music: John Fletcher
EARLIEST_DATE: 1856 (sheet music)
KEYWORDS: love courting age party
FOUND_IN: US(MW,SE)
REFERENCES: (5 citations)
Dean, p. 79, "Seeing Nellie Home" (1 text)
RJackson-19CPop, pp. 229-232, "When I Saw Sweet Nellie Home" (1 text, 1 tune)
BrownIII 289, "Seeing Nelly Home" (1 text)
Silber-FSWB, p. 254, "Seing Nellie Home (Aunt Dinah's Quilting Party)" (1 text)
DT, NELLHOME
ST RJ19229 (Full)
Roud #5492
RECORDINGS:
Floyd County Ramblers, "Aunt Dinah's Quilting Party" (Victor V-40331, 1930; Bluebird B-5107, 1933)
Haydn Quartet, "Aunt Dinah's Quilting Party" (Victor 2456, 1903)
Lester McFarland & Robert Gardner, "Seeing Nellie Home" (Brunswick 199, 1928; rec. 1927)
ALTERNATE_TITLES:
Aunt Dinah's Quilting Party
NOTES: The early history of this song is slightly confused. It first appeared in 1856, but evidently in an unauthorized edition perhaps taken from a minstrel troupe performance.
In 1859 the composer, John Fletcher, issued an official edition -- complete with complaints about the previous editions. Yet in this text Nelly was not brought home from "Aunt Dinah's quilting party" but "from an august evening party." Jackson thinks this an error; it strikes me as possible that this was a deliberate change intended to differentiate the editions. Even stranger, the cover of the 1859 edition calls the girl "Nellie," but inside she is "Nelly." One can only suppose that neither she nor her swain could read too well.
Even the name of the author varies; the 1856 edition calls her(?) Frances Kyle; the 1859 edition omits the name; in 1884 the name is given variously as Frances and Francis. - RBW
File: RJ19229
===
NAME: Seeing Nelly Home: see Seeing Nellie Home (File: RJ19229)
===
NAME: Seeing the Elephant (When I Left the States for Gold)
DESCRIPTION: "When I left the states for gold, Everything I had I sold." The singer encounters various troubles (and Mormons) on the way west, and warns, "Leave, you miners leave... Take my advice, kill off your lice...." (To the tune of "De Boatman Dance")
AUTHOR: Words: David Robinson? John A. Stone?/Music: Daniel Decatur Emmett
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: travel hardtimes gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 347, "When I Left the States for Gold" (1 text)
Roud #7773
CROSS_REFERENCES:
cf. "De Boatman Dance" (tune)
NOTES: The history of this is a bit obscure. It was David "Doc" Robinson who founded the "Seeing the Elephant" show in San Francisco in 1850. But this song, to the tune of "De Boatman Dance," appeared in _Put's Original California Songster_. I can't tell whether Put worked on something Robinson wrote, or just commemorated his performances.  - RBW
File: Beld347
===
NAME: Seek Not from Whence Love She Came
DESCRIPTION: The singer loves a colleen who's "happy in old Donegal." "Her figure is proper and tall,' her voice is "sweeter by far than the songbird." Singer says "I know she's an angel, And I'm not going to tell you her name." Soon they will marry.
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: courting Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #17897
RECORDINGS:
Mary Anne Connelly, "Seek Not from Whence Love She Came" (on IRHardySons)
CROSS_REFERENCES:
cf. "The Pride of Kilkee" (motif: hiding a sweetheart's name) and references there
cf. "Tons of Bright Gold" (motif: hiding a sweetheart's name) and references there
File: RcSNWLSC
===
NAME: Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen)
DESCRIPTION: The singer describes the fine clothing she would place on Jimmy Owen. She says how the girls would fight over him. She wishes he had been in battle with O'Donnell. She looks back on the days of a united Ireland, and thinks that Jimmy would have been king
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected by Peter Kennedy)
KEYWORDS: foreignlanguage love clothes beauty royalty
HISTORICAL_REFERENCES: 1598 - The Tyrone/O'Donnell Rebellion
FOUND_IN: Ireland
REFERENCES: (1 citation)
Kennedy 46, "Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen)" (1 text, 1 tune)
NOTES: Kennedy describes this as "an entirely local song from west Donegal" (though the tune is known in Scotland). He is probably right; I've never seen any other versions. But the band Scartaglen (the group in which Connie Dover got her start) recorded a version, apparently derived from Kennedy, so I thought we should include the song just because people might look it up.
For the background on the rebellion referred to in this song, see the notes to "O'Donnell Aboo (The Clanconnell War Song)." - RBW
File: K046
===
NAME: Seizure of the E J Horton: see The E. A. Horton [Laws D28] (File: LD28)
===
NAME: Selling the Cow: see The Crafty Farmer [Child 283; Laws L1] (File: C283)
===
NAME: Seno Wreck, The: see The C. & O. Wreck (1913) [Laws G4] (File: LG04)
===
NAME: Serafina
DESCRIPTION: Halyard shanty. "In Callyo there lives a girl named Serafina" who works very hard drinking, smoking, and robbing sailors of their money and clothes.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy whore warning robbery trick
FOUND_IN: West Indies South America
REFERENCES: (2 citations)
Hugill, pp. 397-398. "Serafina" (1 text, 1 tune) [AbEd, pp. 302-303]
DT, SERAFINA*
NOTES: Hugill says this is a "notorious" shanty from the west coast of South America, but this was the first time it had been printed because it was so hard to clean up. - SL
File: Hugi397
===
NAME: Sergeant Neill
DESCRIPTION: "If you want your praties sprayed, well you can call on Sergeant Neill. Oh he's the bot that'll do it well, and he'll not destroy your kale." Many of Neill's satisfied customers are named.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: farming moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 12, pp. 29-30,105,160, "Sergeant Neill" (1 text, 1 tune)
Roud #2921
NOTES: Morton-Maguire: In County Fermanagh [ex-police] Sergeant Neill had a spraying machine for bluestone, a potato fungicide. Everyone called on him to do their spraying. "John tells me that it was sometime in the early 1920s that Sergeant Neill began his business enterprise." - BS
For more on bluestone, see the notes to "Mary Anne McGuinan." Given the date, one wonders if Neill wasn't a former member of the Royal Ulster Constabulary. Must have been quite a change of pace. - RBW
File: MoMa12
===
NAME: Sergeant Small
DESCRIPTION: "Oh, I wish I were about fourteen stone And only six foot tall. I'd take the train back north, Just to beat up Sergeant Small."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: train police railroading
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 209, "Sergeant Small" (1 text, 1 tune)
NOTES: Meredith's informant, Muriel Whalan, explained that Sergeant Small made a minor career during the depression of posing as a bagman in order to catch other travellers riding the rods of trains. - RBW
File: MA209
===
NAME: Sergeant Tally-Ho
DESCRIPTION: Singer boasts of his travels; he's courted all over America, England, France and Spain. The colonel's wife, hearing of his prowess, wishes to see "the naked truth", so he pulls out his "lusty pin;" she says, "You shall be my handy man."
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Warde Ford)
LONG_DESCRIPTION: Singer boasts of his wide travels, saying he's courted all over America, England, France and Spain. The colonel's wife, having heard of his prowess, wishes to see "the naked truth", so he pulls out his "lusty pin" as she leads him to the bedroom, saying, "You shall be my handy man." And, frustratingly, there the only recorded version of the song ends.
KEYWORDS: sex bragging request army travel bawdy
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Warde Ford, "Sargeant Tally-Ho" (AFS 4100 B1, 1938; tr.; in AMMEM/Cowell)
NOTES: I've not seen this anywhere else, and neither has Ed Cray. The magnificent tune is distinctly British-sounding. - PJS
File: RcSTH
===
NAME: Sergeant, He Is the Worst of All, The
DESCRIPTION: "The sergeant, the sergeant he is the worst of all; He gets us up in the morning before the early call, With squads right, and squads left, and left front into line; Then the slimy son of a gun, he gives us double time."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: army soldier
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 435, "The Sergeant, He Is the Worst of All" (1 short text, 1 tune)
File: San435
===
NAME: Sergeant's Lamentation, The
DESCRIPTION: The Sergeant of Grouse Hall answers the hackler's song. He rejects its accusations but acknowledges that the song is "the source of all my grief and shame." "This curst Grouse Hall caused my downfall" He would know the song writer before he leaves.
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: prison drink Ireland humorous police
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 39A, "The Sergeant's Lamentation" (1 text, 1 tune)
Roud #3070
CROSS_REFERENCES:
cf. "The Hackler from Grouse Hall" (prequel to this ballad)
cf. "Moses Ritoora-li-ay" (theme)
NOTES: "The hackler was a distiller of high quality Poitin in 19th century Ireland" (source: Hearing before Trademark Trial and Appeal Board, US Patent and Trademark Office, January 6, 2000 in re United Distillers plc "On December 16, 1996 United Distillers plc filed an intent-to-use application to register the mark HACKLER on the Principal Register for 'alcoholic beverages, namely, distilled spirits, except Scotch whisky, and liqueurs.'....) 
Apparently the more common definition is "one that hackles [to chop up or chop off roughly]; esp: a worker who hackles hemp, flax, or broomcorn." (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976); its this last definition that OLochlainn follows.
OLochlainn notes to "The Hackler from Grouse Hall" and its answer, "The Sergeant's Lamentation," explain the Sergeant's deeds and the references to people named in both songs and happenings in County Cavan. His source for notes is the singer.
The occurrences appear to be during Arthur Balfour's tour as Chief Secretary of Ireland in the late 1880s [1887-1891; his repressive methods earned him the nickname "Bloody Balfour" - RBW]. See for example the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). I'd guess, no doubt naively, that the issue here is moonshining to defeat high alcohol taxation. - BS
The other possibility for the date is 1902-1905, when Balfour was prime minister in succession to his uncle Lord Salisbury. Gladstone's proposals for Irish Home Rule had of course failed, but the issue never entirely went away, and the Liberals were increasingly in favor of it in the early twentieth century.
Supporting this dating is the fact that, during the Balfour administration, there was a movement for "tariff reform" -- i.e. lowering of duties within the British Empire, which would have made it easier for the Irish to export to England. Balfour tried to calm the controversy, but succeeded mostly in turning his party purely protectionist, thus making the Liberals even more popular with the Irish, since they were more likely to favor both Home Rule and Free Trade. So the song might well look forward to the 1906 election which shunted the Conservatives from power. - RBW
File: OLoc039A
===
NAME: Sergent, Le
DESCRIPTION: Canadian French: The young boy runs off to America to fight the hated British. He joins the army and is made a sergeant, but is wounded and returns home. His father, who warned him against leaving, says "I told you so!"
AUTHOR: unknown
EARLIEST_DATE: 1961
KEYWORDS: soldier injury home Canada foreignlanguage
HISTORICAL_REFERENCES: 1775-1776: American attack on Canada. The chief battle of the campaign was fought outside Quebec on December 31, 1775
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 60-61, "Le Sergent" (1 text, 1 tune)
NOTES: During the American Revolution, the Colonials made an abortive attack on Canada, thinking that the French inhabitants would rebel against the British. It didn't happen; the French generally preferred the British (who at least guaranteed their religious liberty) to the unknown quantity that was the Americans. The Colonial assault failed before Quebec.
A few Canadians, however, decided they hated the British enough to return south with the Colonials and fight. As this song shows, those who stayed at home felt these soldiers to be more than a little foolish. - RBW
File: FMB060
===
NAME: Servant Man: see The Rejected Lover [Laws P10] (File: LP10)
===
NAME: Serves Them Fine
DESCRIPTION: Singer tells how back in 1920, "The mills ran good and everyone had plenty;" in 1925, mountain people came to work there. Now it's 1930, and more people are unemployed than working. Singer tells fellow mountaineers to go back home and live as they used to
AUTHOR: Dave McCarn
EARLIEST_DATE: 1931 (recording, David McCarn)
KEYWORDS: warning factory unemployment hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 234-235, "Serves Them Fine" (1 text, 1 tune)
RECORDINGS:
David McCarn, "Serves 'em Fine" (Victor 23577, 1931)
New Lost City Ramblers, "Serves Them Fine" (on NLCR09) (NLCR12)
NOTES: Mountain people moved to industrial towns in the boom of the 1920s, as the agricultural economy was already depressed; many of them were then stranded when the Depression hit industry. - PJS
File: CSW234
===
NAME: Set Down, Servant
DESCRIPTION: "'Set down, servant.' I can't set down... my soul's so happy that I can't set down." The servant describes the various things God promises: A long white robe, a starry crown, a golden waistband, etc. An angel is instructed to supply all these
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Lomax-FSUSA 105, "Set Down, Servant" (1 text, 1 tune)
Lomax-ABFS, pp. 584-585, "Set Down, Servant" (1 text, 1 tune)
Silber-FSWB, p. 367, "Set Down, Servant" (1 text)
Roud #10076
File: LxU105
===
NAME: Set You Down, My Own True Love: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Settin' on a Rail
DESCRIPTION: "As I went out by the light of the moon... Thar I spies a fat raccoon A-settin' on a rail." The singer pulls the coon off a rail and fights with it. In at least one version, the singer is a slave who helps his master on toward death
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal fight slave
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 177-179, "Settin' on a Rail" (2 texts, 1 tune)
ST ScNF177B (Partial)
CROSS_REFERENCES:
cf. "Davy Crockett" (lyrics)
NOTES: This shares a first line with a few versions of "Davy Crockett," which also involves a bare-hands fight with a coon -- but the overall form and feel is different enough that I think they're separate song which has cross-fertilized a little. - RBW
File: ScNF177B
===
NAME: Settin' Side that Road
DESCRIPTION: "I'm settin' side that road with a ball and chain on my leg (x2), If I had my way I'd catch-a that westbound train." "That judge gave me six months because I didn't want to work (x3)."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scott-BoA, pp. 314-315, "Settin' Side that Road" (1 text, 1 tune)
File: SBoA314
===
NAME: Settler's Lament, The (The Beautiful Land of Australia)
DESCRIPTION: "Now all intent to emigrate, Come listen to the doleful fate...." The singer sailed for Australia, was wrecked, was spared by cannibals as too thin, and had his sheep die of rot. Coming home, he will sell matches before returning to Australia
AUTHOR: unknown
EARLIEST_DATE: 1854 (John Henderson's _Excursions and Adventures in New South Wales_)
KEYWORDS: emigration humorous hardtimes cannibalism return
FOUND_IN: 
REFERENCES: (1 citation)
Paterson/Fahey/Seal, pp. 101-105, "The Settler's Lament" (1 text)
CROSS_REFERENCES:
cf. "The King of the Cannibal Islands" (tune)
File: PFS101
===
NAME: Seven Blessings of Mary, The: see The Seven Joys of Mary (File: FO211)
===
NAME: Seven Brethren, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Brothers, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Cent Cotton and Forty Cent Meat
DESCRIPTION: The cotton farmer complains about dreadful prices; with "Seven cent cotton and forty cent meat, How in the world can a poor man eat?" With everything he has wearing out, replacements are too expensive. (He sees improvements under Roosevelt)
AUTHOR: Bob Miller & Emma Dermer
EARLIEST_DATE: 1928 (recording, Bob Ferguson)
KEYWORDS: poverty hardtimes food clothes farming political money
FOUND_IN: US
REFERENCES: (3 citations)
Botkin-AmFolklr, pp. 877-878, "Seven-Cent Cotton and Forty-Cent Meat" (1 text, 1 tune)
Silber-FSWB, p. 117, "Seven Cent Cotton And Forty Cent Meat" (1 text)
DT, SVNCENT*
RECORDINGS:
Vernon Dalhart, "Eleven Cent Cotton" (Victor V-40050, 1929; Bluebird B-8406, 1940) (Harmony 821-H [as Mack Allen], 1929; rec. 1928) (Edison N-20001, 1929)
Bob Ferguson, "Eleven Cent Cotton, Forty Cent Meat, pts. 1 & 2" (Columbia 15297-D, 1928)
Bob Miller, "'Leven Cent Cotton And Forty Cent Meat" (Radiex 5044, c. 1929); "Eleven Cent Cotton And Forty Cent Meat" (Okeh 45475, 1930)
Carson Robison, "'Leven Cent Cotton, Forty Cent Meat" (Champion 15746, 1929) (Pathe Actuelle 32438/Cameo 9092 [both as Carson Robison's Trio], 1929)
Pete Seeger, "Seven Cent Cotton and Forty Cent Meat" (on PeteSeeger13, AmHist1)
Hank Smith [pseud. for Al Bernard] "Eleven Cent Cotton and Forty Cent Meat" (Vocalion 5318, 1929)
CROSS_REFERENCES:
cf. "The Flies Are On the Tummits" (theme of poor living for farmers)
NOTES: The 1928 recording by Bob Ferguson (recorded in August of that year) might seem to throw doubt on the authorship claim of Bob Miller. But his recording is on Radiex, part of the Grey Gull family of records, and dating those records is notoriously difficult and uncertain. For the moment, though, I've assigned the Earliest Date to the Ferguson recording, as it's the earliest for which we have unambiguous information.
Also, there's some ambiguity about Miller's 1930 OKeh recording; one source lists the title as "Four Cent Tobacco and Forty Cent Meat.
Interesting that most of these recordings appeared in 1928-1929, just *before* the stock market crash that most urbanites see as the beginning of the Great Depression. But times had been hard on the farms for several years before then. - PJS
And, of course, demand for recordings fell dramatically after the crash, so nobody was producing new versions.
Incidentally, low cotton prices were not a new phenomenon, and neither were wild price fluctuations. According to  Allan Nevins, _The Ordeal of the Union: Fruits of Manifest Destiny 1847-1852_ [volume I of _The Ordeal of the Union_] (Scribners, 1947), p. 242, cotton in 1845 sold in the American south for sixteen cents a pound. By 1848, when the total production was half again as large, the price dropped to a mere four and a half cents a pound. - RBW
File: BAF877
===
NAME: Seven Gypsies in a Row: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seven Gypsies on Yon Hill: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seven Joys of Mary, The
DESCRIPTION: The carol relates the (five, seven, nine) joys that Mary had: bearing Jesus, raising him, seeing his success and miracles, observing his crucifixion and resurrection, etc.
AUTHOR: unknown
EARLIEST_DATE: 1833 (Sandys)
KEYWORDS: carol Jesus religious
FOUND_IN: US(Ap,NE) Canada(Mar) Britain(England) Ireland
REFERENCES: (12 citations)
Flanders/Olney, pp. 211-213, "The Seven Joys of Mary" (1 text, 1 tune)
Creighton/Senior, pp.275-278 , "The Joys of Mary"; "The Blessings of Mary" (2 texts, 1 tune)
Creighton-Maritime, pp. 172-173, "The Blessings of Mary" (1 text, 1 tune)
OBB 105, "The Twelve Good Joys" (1 text)
OBC 70, "Joys Seven" (1 text, 1 tune)
JHCox 135, "The Twelve Joys" (1 text)
BrownII 51, "The Twelve Blessings of Mary" (1 text)
Lomax-FSNA 123, "The Seven Blessings of Mary" (1 text, 1 tune)
Silber-FSWB, p. 363, "The Seven Blessings of Mary" (1 text)
DT, SEVNJOYS* SEVNJOY2
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 107-110, "Seacht Suailci Na Maighdine Muire" ("The Seven Beatitudes of the Virgin Mary") [Gaelic and English]
Ian Bradley, _The Penguin Book of Carols_ (1999), #76, "The First Good Joy that Mary Had" (1 text)
Roud #278
BROADSIDES:
Bodleian, Douce adds. 137(19), "The Seven Joys," T. Bloomer (Birmingham), 1817-1827; also Harding B 7(34), Johnson Ballads 2833, Douce adds. 137(61), Harding B 7(28), Harding B 7(7), Harding B 7(66), Firth b.27(211), "The Seven Joys"; Harding B 7(65), Harding B 7(63), Harding B 7(30), "The Joys"
ALTERNATE_TITLES:
Joys Seven
NOTES: The notion of counting Mary's joys apparently goes back to at least the fourteenth century. In the liturgical poem "Marie Moder, Wel Thee Be!" we find a reference to Mary's "joyes five" (poem known from some fifty texts. For full text see MS. Rawlinson liturgical g.2. or the printing as #46 in Stevick-100MEL).
Although the number of joys in traditional texts runs as high as twelve, I suspect the original had about seven. This is because so many of the joys in the long texts are forced, even unbiblical. We can demonstrate this point by marching down the joys compiled in Brown and Cox:
One -- To think that her son Jesus Was God's eternal son: Luke 1:15
Two -- Could read the Bible through. Luke 2:46-47 shows Jesus, as a boy, discussing scripture, but it doesn't say he read it. It's likely enough that he could read, though; most Jewish children could, and Luke 4:17fff. shows him reading from Isaiah.
Three -- Could make the blind to see. Repeated references to this; the most primitive is perhaps in Mark 8:22-30.
Four -- Could turn the rich to poor. No known Biblical evidence of this. James 5:1 says "Your riches have rotted," and Jesus has warnings for the rich (e.g. the Wise Fool, Luke 12:16-21), but we don't see Jesus doing anything about it, unless it's a reference to cleansing the Temple (Mark 11:15-17, etc.)
Five -- Could make the dead alive. See, e.g., the raising of Lazarus, John 11.
Six: -- Brown (cf. Cox) "Heal the lame and sick." Numerous examples. But we also see "bear the crucifix," which is complicated. John says he bore his own cross (John 19:17), but the other gospels say Simon of Cyrene bore it (Mark 15:21, etc.)
Seven -- Carried the keys of heaven. Not biblical, and of course the issue of who will be saved is a controversial one.
Eight -- Brown: "Make the crooked straight. Cox: "Open the gates of heaven." Obviously an attempt to force an explanation
Nine -- Turn water to wine. The wedding at Cana, John 2.
Ten -- Brown: "Was a friend to sinful men." Compare the sinner washing Jesus's feet, Luke 7:37-50, etc. Cox: "Could write without a pen." Perhaps a reference to John 8:6 (a passage not found in the earliest manuscripts), but singularly inept in any case.
Eleven -- Could open the gates of heaven. Haven't we been here before?
Twelve -- Brown: "Came down to earth to dwell." Basic doctrine. Cox: "Done all things well." Allusion to Mark 7:37 or parallel. - RBW
The Bell/O Conchubhair melody is not the one I know but O Conchubhair's notes make the connection. Here the seven joys are (1) That she bore Him in a lowly byre (2) That she travelled with Him along the road (3) That He'd gone by reading His book (4) When he turned the water into wine (5) When He made the dead to live (6) When He redeemed the world with his blood (7) When He raised her to heaven alive. - BS
File: FO211
===
NAME: Seven Long Years (II): see My Father Gave Me a Lump of Gold (Seven Long Years) (File: R834)
===
NAME: Seven Long Years (III): see The Prisoner's Song (File: FSC100)
===
NAME: Seven Long Years (IV): see For Seven Long Years I've Been Married (File: RcFSLYBM)
===
NAME: Seven Long Years I've Been Married: see For Seven Long Years I've Been Married (File: RcFSLYBM)
===
NAME: Seven Long Years in State Prison: see The Prisoner's Song (I) (File: FSC100)
===
NAME: Seven Old Ladies
DESCRIPTION: Seven old ladies, to the tune of "Oh, Dear, What Can the Matter Be," encounter various difficulties in the lavatory.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: humorous scatological age derivative
FOUND_IN: Australia Britain(England) US(MA,SW)
REFERENCES: (2 citations)
Cray, pp. 119-122, "Seven Old Ladies" (1 text, 1 tune)
DT, SEVENOLD*
Roud #10227
CROSS_REFERENCES:
cf. "Oh, Dear, What Can the Matter Be" (tune & meter)
File: EM119
===
NAME: Seven Sailor Boys, The: see Willie o Winsbury [Child 100] (File: C100)
===
NAME: Seven Sleepers, The: see Earl Brand [Child 7] (File: C007)
===
NAME: Seven Virgins, The (The Leaves of Life)
DESCRIPTION: The singer, (Thomas), meets seven virgins, including the Virgin Mary. They are seeking Jesus, who is being crucified. Mary asks Jesus why he must suffer so; Jesus tells her it is for the sake of humanity. He dies. The singer commends God's charity
AUTHOR: unknown
EARLIEST_DATE: 1847
KEYWORDS: Bible Jesus religious dialog
FOUND_IN: Britain(England(West))
REFERENCES: (6 citations)
Leather, pp. 187-188, "The Seven Virgin, or, Under the Leaves" (1 text plus an excerpt, 1 tune)
OBB 111, "The Seven Virgins" (1 text)
OBC 43, "The Seven Virgins" (1 text, 1 tune)
PBB 4, "The Seven Virgins" (1 text)
DT, SVNVIRG SVNVRG2
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #479, "The Seven Virgins" (1 text)
Roud #127
RECORDINGS:
May Bradley, "Under the Leaves" (on Voice11)
CROSS_REFERENCES:
cf. "Tam Lin" [Child 39] (tune)
NOTES: The details here are generally from the Gospel of John. Only in John is Mary present at the cross, and John is the only gospel in which Thomas has a speaking role (though he was popular in the Apocryphal Gospels). Jesus's last words ("sweet mother, now I die," or similar) are perhaps closer to the fourth gospel ("it has been finished/completed/perfected," 19:30) than any of the other gospels.
In addition, Jesus's instruction to his mother to take John as her son is found only in the fourth gospel (John 19:26-27, though in fact the disciple involved is not named there; in fact, John is not even mentioned in the fourth gospel, though he is widely believed to be the "beloved disciple" referred to in chapter 19).
One might note that there was a legend that John and his brother James were Mary's nephews and Jesus's first cousins. - RBW
File: OBB111
===
NAME: Seven Years: see The Maid and the Palmer [Child 21] (File: C021)
===
NAME: Seven Years I Loved a Sailor: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Seven Years in Dublin
DESCRIPTION: "My parents reared me tenderly I being their only heir, I lived with my grandmother, Of me she took great care, Seven years in Dublin I was taught in the academy, My learning might have served a knight Or a lord of high degree"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: home
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 108, "Seven Years in Dublin" (1 fragment, 1 tune)
Roud #2781
NOTES: The current description is all of the Creighton-SNewBrunswick fragment. - BS
File: CrSNB108
===
NAME: Seven Years O'er Young
DESCRIPTION: "'Twas in between twa  bonnie woods and valleys Where I and my love aye met so rare" that the man asks the singer if she will wed. She says she is "seven years o'er young to wed." But he finally lures her into his arms, then says he has another love
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting sex abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 170-171, "Seven Years O'er Young" (1 text, 1 tune)
Roud #380
CROSS_REFERENCES:
cf. "Pretty Little Miss" [Laws P18] (plot)
NOTES: This is a bit of a problem song. Roud lumps it with "Pretty Little Miss" [Laws P18]. I have to wonder if MacColl and Seeger's "Too Young" might not also be this. This song has effectively the same plot as Laws P18, but no similarity in lyrics. Laws, however, admits that P18 is textually unstable.
The only additional point is that Laws does not cite this song with P18 (or anything else, e.g. P19, "Tripping o'er the Lea," which also has some contact with this song). On that basis, I split them -- but it's a very uncertain question, and readers probably need to study the matter carefully. - RBW
File: Ord170
===
NAME: Seven Yellow Gipsies, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Seventeen Come Sunday [Laws O17]
DESCRIPTION: The singer meets a pretty young girl. He gets acquainted by asking questions: "What are you doing?" "Where do you live?" "How old are you?" "May I visit you tonight?" She agrees to the meeting; they have their fun despite her mother's opposition
AUTHOR: unknown
EARLIEST_DATE: 1792 (Burns)
KEYWORDS: questions courting nightvisit
FOUND_IN: US(Ap,MA,MW,SE) Canada(Mar,Newf) Britain(England(Lond,North,South),Scotland) Ireland
REFERENCES: (20 citations)
Laws O17, "Seventeen Come Sunday"
Eddy 74, "My Pretty Maid" (2 texts)
Warner 52, "Hi Rinky Dum" (1 text, 1 tune, much worn down; there is no nightvisit, and the two mutually decide against marriage)
BrownIII 11, "Where Are You Going, My Pretty Maid" (2 texts, both very short)
Lomax-FSNA 106, "How Old Are You, My Pretty Little Miss?" (1 text, 1 tune -- a badly eroded version)
FSCatskills 128, "Where Are You Going, My Pretty Fair Maid?" (1 text, 1 tune)
Creighton/Senior, pp. 164-165, "I'm Scarce Sixteen Come Sunday" (1 text plus 2 fragments, 1 tune)
Creighton-Maritime, p. 32, "I'm Seventeen Come Sunday" (1 text, 1 tune)
Creighton-SNewBrunswick 16, "Seventeen Come Sunday" (1 text, 1 tune)
Peacock, pp. 284-286, "I'll Be Seventeen Come Sunday" (2 texts, 2 tunes)
SharpAp 127, "I'm Seventeen Come Sunday" (4 texts, 4 tunes)
Sharp-100E 61, "I'm Seventeen Come Sunday" (1 text, 1 tune)
JHCox 126, "My Pretty Maid" (1 text)
JHCoxIIA, #25, pp. 99-100, "The Modesty Answer" (1 text, 1 tune, in which the girl asks her mother if she may marry, is refused, and decides to run away to North Carolina and eat cream and honey!)
SHenry H152, pp. 266-267, "I'm Seventeen 'gin Sunday"; H793, pp. 267-268, "As I Gaed ower a Whinny Knowe";(2 texts, 2 tunes)
MacSeegTrav 44, "Seventeen Come Sunday" (1 text, 1 tune)
Ford-Vagabond, pp. 99-102, "My Rolling Eye" (1 text, 1 tune)
Darling-NAS, pp. 128-129, "Seventeen Come Sunday"; "When Cockle Shells Make Silver Bells" (1 text plus a fragment)
DT 334, YONHIGH* ROCKYMT (TROOPRM2* -- apparently a cross between this piece and Child 299)
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 45, 'Seventeen Come Sunday" (1 text, 1 tune)
Roud #277
RECORDINGS:
Harry Cox, "Seventeen Come Sunday" (on HCox01)
Mary Delaney, "New Ross Town" (on IRTravellers01)
Seamus Ennis, "As I Roved Out" (on FSB1)
Bob Hart, "Seventeen Come Sunday" (on Voice10)
Joe Heaney, "Who Are You, My Pretty Fair Maid" (on Voice01)
Ken Peacock, "I'll be Seventeen Come Sunday" (on NFKPeacock)
Jean Ritchie & Doc Watson, "Where Are You Going?" (on RitchieWatson1, RitchiteWatsonCD1)
Tony Wales, "Seventeen Come Sunday" (on TWales1)
BROADSIDES:
Bodleian, Firth b.34(67), "Seventeen Come Sunday," J. Paul and Co. (London), 1838-1845; also Johnson Ballads 547, Firth b.34(264), Firth c.14(204), Harding B 11(690), "Seventeen Come Sunday"; Harding B 11(1732), "I'm Seventeen Come Sunday"
CROSS_REFERENCES:
cf. "Rolling in the Dew (The Milkmaid)"
cf. "The Overgate" (tune, theme)
cf. "Courting the Widow's Daughter (Hard Times)" [Laws H25] (plot)
cf. "Fly Around My Pretty Little Miss" (floating lyrics, some tunes)
cf. "I Love My Love (I)  (As I Cam' Owre Yon High High Hill)" (lyrics)
ALTERNATE_TITLES:
Sixteen Come Sunday
Flash Girls and Airy Too
NOTES: There are versions of this song which have mixed with "Trooper and Maid" [Child 299]; these generally file under that ballad and are sometimes known as "As I Roved Out." The Sam Henry text "My Darling Blue-Eyed Mary" has lost the key question about the girl's age, but the rest is clearly this song. - RBW
Also collected and sung by David Hammond, "As I Roved Out" (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: LO17
===
NAME: Seventy-Two Today: see I'm Seventy-Two Today" (File: R433)
===
NAME: Sewing Machine, The
DESCRIPTION: A soldier visits "the Heidelberg whore." He has sex with her, that is, he sews on her "sewing machine," and ends up cursing her for giving him "the clap and the blue-balls too."
AUTHOR: unknown
EARLIEST_DATE: Prob. 1940s (recording by unknown artist) but may be earlier
KEYWORDS: bawdy disease curse soldier
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 406-407, "The Sewing Machine" (1 text, 1 tune)
Roud #10406
RECORDINGS:
Unknown artist, "The Sewing Machine" (Party Platters 332a, n.d.)
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Charlotte the Harlot I, II, III, IV"
NOTES: The reference to the Heidelberg whore suggests this song or version dates from the post World War II occupation of Germany. [It was] probably inspired by "Charlotte the Harlot." - EC
I'm not sure about placing this song during the occupation of Germany. The [Party Platters] record cited above doesn't mention the Heidelberg Whore, and it *may* be prewar. It'd be good to have a date for it. - PJS
File: EM406
===
NAME: Sexual Life of the Camel, The
DESCRIPTION: A sophisticated exposition of the supposed mating habits of the "Clipper Ship of the Desert" -- added comments about the homosexual proclivities of naval personnel, hedgehogs, Harvard, Yale, Oxford, and Cambridge.
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: bawdy humorous animal homosexuality
FOUND_IN: Australia Britain(England) US(MW,SW)
REFERENCES: (1 citation)
Cray, pp. 243-245, "The Sexual Life of the Camel" (2 texts, 1 tune)
Roud #10122
File: EM243
===
NAME: Sgeir-Mhara, An (The Sea-Tangle, The Jealous Woman)
DESCRIPTION: Scots Gaelic. A woman weaves a tangle of gold to bind another by the water. The bound woman awakes to find herself in danger of drowning. She begs for pity, but finds none, for her or her babes; the other will sleep with her man that night
AUTHOR: unknown
EARLIEST_DATE: 1917 (Kennedy-Fraser)
KEYWORDS: jealousy homicide drowning children foreignlanguage
FOUND_IN: Britain(Scotland(Hebr)
REFERENCES: (2 citations)
Kennedy 3, "A Bhean Iadach (The Jealous Woman)" (1 text+English translation, 1 tune)
Kennedy-Fraser II, pp. 55-63, "The Sea-Tangle, or, The Sisters (An Sgeir-Mhara)" (1 text+English translation, 1 tune)
CROSS_REFERENCES:
cf. "The Twa Sisters [Child #10]" (plot)
cf. "The Ghost's Bride" (theme)
NOTES: The Kennedy and Kennedy-Fraser texts between them parallel almost the entire plot of "The Twa Sisters": Kennedy's text is the exchange between the jealous sisters, while Kennedy-Fraser is a tale of the murder attempt. The two have only slight overlap, but it seems clear they are fragments of a longer item.
If the references in Kennedy are to be believed (and they often aren't), this must be one of the most popular songs in the Hebrides; he lists fifteen versions from as far afield as Nova Scotia. - RBW
File: K003
===
NAME: Sh-Ta-Ra-Dah-Dey (Snagging the Klacking)
DESCRIPTION: "Sh-ta-ra-dah-dey, sh-ta-dey, Times is mighty hard. A dollar a day is all they pay For work on the boulevard." Alternately, "Hip-fa-lad-di-dee/Graybacks/Are mighty thick/A dollar a day/Is all they pay/For snaggin'/The Klacking Creek."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work lullaby hardtimes lumbering nonballad logger worksong
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, pp. 36-37, "Sh-Ta-Ra-Dah-Dey" (1 short text, 1 tune)
Beck 23, "Snaggin' the Klacking" (1 short text)
Roud #6515 and 8861
NOTES: While Beck gives no information about the circumstances under which the song was sung, it sounds enough like a worksong that I've given it that keyword. - PJS
Whereas Sandburg lists his as a lullaby. I can't prove that these two are the same song -- but they're too similar to separate until fuller versions come along. - RBW
File: San036
===
NAME: Shab-i-da Ru-dy: see I'll Not Marry at All (File: E072)
===
NAME: Shack Bully Holler
DESCRIPTION: "Raise up, boys, raise up -- Breakfas' on de table an a coffee's gittin' col'." Bits and pieces of life in a levee camp: Poor food, not enough sleep, hard work, hard-driving White bosses. Much of the piece is recited rather than sung
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work food hardtimes nonballad recitation
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 45-46, "Shack Bully Holler" (1 text, 1 tune)
Roud #15531
File: LxA045
===
NAME: Shad, The
DESCRIPTION: Fragment: "Bait a hook to catch a shad/The first thing he bit was my old Dad/Pulled her away with all my might/Trying for to get the old man out/Fishpole broke and I got mad/Down to the bottom went old Dad"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: age fishing death drowning animal father
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 254, "The Shad" (1 fragment, 1 tune)
Roud #3663
CROSS_REFERENCES:
cf. "Lulu (II)" (lyrics)
NOTES: Fragment it may be, but it has a coherent story. Most of the lyrics appear as floaters in "Lulu (II)," but that's a nonballad with a thoroughly different gestalt, and I assume the words floated over there on their own. - PJS
File: ShAp2254
===
NAME: Shades of the Palmetto, The: see The Dying Ranger [Laws A14] (File: LA14)
===
NAME: Shadow of the Pines
DESCRIPTION: The singer recalls walking with his love in the shadow of the pines. But "some hasty words were spoken...." and she departed in anger. Now he awakens from his dreams calling her name, and hopes that she will forgive him
AUTHOR: Hattie Loomis & G. O. Lang ?
EARLIEST_DATE: 1895
KEYWORDS: love separation loneliness
FOUND_IN: US(SE)
REFERENCES: (1 citation)
McNeil-SFB1, pp. 135-136, "Shadow of the Pines" (1 text, 1 tune)
Roud #4289
RECORDINGS:
Archibald & Fish, "In the Shadow of the Pines" (CYL: Edison [BA] 2073, n.d.)
Carter Family, "In the Shadow of the Pines" (Decca 5539, 1938; Montgomery Ward M-8003, 1939)
[Byron] Harlan & [Frank] Stanley, "In the Shadow of the Pines" (Columbia 258, 1901)
Kelly Harrell, "In the Shadow of the Pine" (Victor 20657, 1927; on KHarrell02)
Carl Harris, "In the Shadow of the Pine" (Challenge 229, 1927)
Herb Jennings, "In the Shadow of the Pine" (Champion 15209, 1927)
Earl Johnson & his Dixie Entertainers [or Dixie Clodhoppers], "In the Shadow of the Pine" (OKeh 45192, 1928; rec. 1927)
Buell Kazee, "In the Shadow of The Pines" (Brunswick 216/Vocalion 5221, 1928)
M. O. [Murray?] Keller, "In the Shadow of a Pine" (Brunswick 188, 1927)
Bascom Lamar Lunsford, "In the Shadow of the Pines" (on BLLunsford01)
Fiddlin' Doc Roberts Trio, "In the Shadow of the Pines" (Silvertone 5006 [possibly as Dock Roberts, his real name]/Challenge 229 [as Carl Harris]/Champion 15209 [as Billy Jorday]/Gennett 6025, 1927; Supertone 9252, 1928; rec. 1926) (Conqueror 8208, 1933; Conqueror 8566, 1935)
Connie Sides, "In the Shadow of the Pine" (Columbia 15009-D, rec. 1924)
Ernest Stoneman, "In the Shadow of the Pine" (OKeh 45048, 1926) (Pathe 32380/Perfect 12459, 1928)
NOTES: The liner notes to the Kelly Harrell album mention "somebody's happy idea of having Harrell sing the last line of the chorus out of tempo." This seems, however, to be a traditional approach to the song -- Lunsford also breaks the tempo, although in a different way. - RBW
File: MN1135
===
NAME: Shady Grove
DESCRIPTION: The singer talks about courting (in) Shady Grove. There is no particular plot. A typical chorus runs, "Shady Grove my little love, Shady Grove I say, Shady Grove my little love, I'm bound to go away." Shady Grove may be a place or a girl's name
AUTHOR: unknown
EARLIEST_DATE:  1916 (Cecil Sharp collection); +1893 (JAFL6)
KEYWORDS: courting love nonballad
FOUND_IN: US(Ap,SE,SW)
REFERENCES: (10 citations)
Sharp/Karpeles-80E 57, "Betty Anne" (1 text, 1 tune -- an odd version which seems to have some foreign elements mixed in, and with the tune moved from minor to Mixolydian)
Lomax-FSNA 120, "Shady Grove" (1 text, 1 tune)
BrownIII 485, "Shady Grove" (2 texts, neither much like the standard version of this song, but even less like anything else); also 97, "Uncle Joe Cut Off His Toe" (3 texts plus mention of 2 more, but "B" is probably "Shady Grove"; "A" is an incredible mix with verses typical of "Raccoon," "If I Had a Scolding Wife," a "Liza Jane" song, a mule song, and "Shady Grove"); also 111, "Wish I Had a Needle and Thread" (7 text, of which only "E" is really substantial; it is certainly the "Italy" version of "Going Across the Sea." The other fragments contain verses typical of "Shady Grove," "Old Joe Clark," and others); also 286, "Fly Around, My Blue-Eyed Girl" (4 texts; "A"-"C" are "Fly Around, My Pretty Little Miss," but the "D" text is mostly "Shady Grove")
Ritchie-SingFam, pp. 46-47, "Shady Grove" (1 text, 1 tune)
Ritchie-Southern, p. 37, "Shady Grove" (1 text, 1 tune)
Randolph 358, "Now I Am a Big Boy" (2 texts, both fragments; the "A" text is associated with this ballad, though -- as only a single verse -- it could go anywhere)
SharpAp 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Cohen/Seeger/Wood, p. 195, "Shady Grove" (1 text, 1 tune)
Silber-FSWB, p. 152, "Shady Grove" (1 text)
DT, BETTYANN* SHADYGRV*
Roud #4456
RECORDINGS:
Clarence Ashley & New River Jack Burchett, "Shady Grove" (on Ashley03, WatsonAshley01)
Rufus Crisp, "Shady Grove"  (on Crisp01)
Goldie Hamilton, "Shady Grove" (AAFS 2787 A2)
Kentucky Thorobreds, "Shady Grove" (Paramount 3080, 1928; Broadway 8184 [as Old Smokey Twins], n.d.; rec. 1927)
J. M. Mullins, "Shady Grove" (AAFS 1566 A)
J. W. Russell, "Shady Grove" (AAFS 3162 B1)
Kilby Snow, "Shady Grove" (on KSnow1)
Pete Steele, "Shady Grove" (on PSteele01)
The Virginia Dandies [alternate name for Walter "Kid" Smith & The Carolina Buddies], "Shady Grove" (Crown, unissued, 1931)
Vernie Westfall, "Shady Grove" (AAFS 4118 B1)
CROSS_REFERENCES:
cf. "Black-Eyed Susie (Green Corn)" (floating lyrics)
cf. "Going Across the Sea" (floating lyrics)
cf. "Kansas Cyclone" (tune)
cf. "Don't Get Trouble in Your Mind" (floating phrase)
cf. "Pig at Home in the Pen" (floating lyrics)
cf. "Mary from Dungloe" (floating verse)
ALTERNATE_TITLES:
Little Betty Ann
File: SKE57
===
NAME: Shady Road to Clane, The
DESCRIPTION: The singer describes an idyllic spot on "the shady road from Bodenstown to Clane." He meets a beautiful maid who asks "is this the shady road to Clane?" He assures her it is. She leaves. He is dejected. He must find "the maid that stole my heart"
AUTHOR: John Dennis (source: OLochlainn-More)
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: love beauty separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 77, "The Shady Road to Clane" (1 text, 1 tune)
Roud #9769
File: OLcM077
===
NAME: Shady Valley: see The Jealous Lover (II) (File: E104)
===
NAME: Shady Woods of Trugh, The
DESCRIPTION: Before joining Owen Roe O'Neill to fight the English, M'Kenna rides from "the Shady Woods of Trugh" to bid farewell -- in case he were killed -- to Maureen McMahon at Glaslough castle. After the battle on Benburb's plains they are married.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: love marriage battle Ireland patriotic war reunion
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 35, "The Shady Woods of Trugh" (1 text, 1 tune)
Roud #2911
NOTES: Morton-Ulster: "Trugh was one of the Baronies of Monaghan.... The McMahons and the M'Kennas are two of the leading families in the area.... Major John M'Kenna, perhaps the M'Kenna of our song, lost his life in 1689; his being the first blood of the Williamite campaign."
Owen Roe O'Neill defeated the Ulster Puritan commander Munroe at Benburb in the Spring of 1646 (source: "Owen Roe O'Neill - The Cavan Connection" by Jim Hannon at the Cornafean Online site). I assume that's the battle of this ballad. - BS
I think it must be, since, first, it does not seem to have been a disaster for the Irish, and second, there were no other memorable battles there. For more on Owen Roe O'Neill, see the notes to "General Owen Roe." - RBW
File: MorU035
===
NAME: Shake Hands with Mother Again
DESCRIPTION: "Now, if I would be a-living when Jesus comes, And know the day and the hour, I'd like to be a-standing at mother's tomb...." The singer hopes Jesus will tell him to "shake hands with mother again"; he will tell her that of his life and never again part
AUTHOR: unknown
EARLIEST_DATE: 1934 (recording, Asher Sizemore & Little Jimmie)
KEYWORDS: religious death nonballad
FOUND_IN: US(SE)
REFERENCES: (0 citations)
Roud #5741
RECORDINGS:
Happy Valley Family, "Shake Hands With Mother Again" (Perfect 6-03-54, 1936)
J. E. Mainer's Mountaineers, "Shake Hands With Mother Again" (Bluebird B-6596, 1936)
Frank Proffitt, "Shake Hands with Mother Again" (on FProffitt01)
Asher Sizemore & Little Jimmie, "Shake Hands with Mother Again" (Bluebird B-5568, 1934)
File: RcSHWMAg
===
NAME: Shaker Funeral Hymn
DESCRIPTION: "Our brother's gone, he is no more, He's quit our coast, he's left our shore, He's burst the bonds of mortal clay, The spirit's fled and soars away." All alike are told to be prepared; the righteous will triumph over death
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: religious nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 38, "Shaker Funeral Hymn" (1 text, 1 tune)
Roud #66670
NOTES: The final reference to the sting of death and the victory of the grave is a reference to 1 Corinthians 15:55 (itself citing Hosea 13:14 as it occurs in the Greek Old Testament).
The citation exactly matches the King James Version -- which, however, is translated from an inferior Greek text. The earliest Greek manuscripts read "Where, O death, is your victory; where, O death, is your sting"; another important group reads "Where, O death, is your sting, where, O Hades [i.e. "grave"], is your victory"; still a third has "Where, O death, is your sting; where, O death, is your victory."
(If anyone actually cares about these things, the reading victory... death... sting is supported by P46 [second or third century], by the great fourth century Vatican manuscript B, by the first hand of the fourth century Sinai manuscript, by C of the fifth century, and by the first hand of the major manuscript 1739, as well as many Latin texts; the so-called "Western" manuscripts D F G, from the sixth century and after, read sting... death.... victory; several interesting manuscripts of the ninth and tenth centuries, with the symbols 0121 0243 33 and the second hand of 1739, read victory... hades... sting; the King James reading sting... hades... victory is read by probably at least 90% of all manuscripts, but the earliest appear to be the seventh century correctors of the Sinai and Alexandrian manuscripts, which are regarded as being of little value.) - RBW
File: LoF038
===
NAME: Shaker Life: see Come, Life, Shaker Life (File: LoF037)
===
NAME: Shall I Show You How the Farmer
DESCRIPTION: "Shall I show you how the farmer (x3) Sows his barley and wheat?" "It is so, so, that the farmer... Sows his barley and wheat." "Shall I show you how the farmer... Hoes his barley and wheat?" "Shall I show... Now will dance and be gay?"
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: nonballad farming playparty food
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 50-51, "Shall I Show You How the Farmer" (1 text, 1 tune)
ST Lins050 (Partial)
File: Lins050
===
NAME: Shall My Soul Pass Through Ireland
DESCRIPTION: "In a dreary British prison where an Irish rebel lay, By his side a priest waits... 'Father, tell me if I die shall my soul pass through Ireland?'" The rebel dies for Irish freedom; the singer asks that his prayer be granted
AUTHOR: unknown
EARLIEST_DATE: 1959 (NFOBlondahl03)
KEYWORDS: Ireland rebellion death prison
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, p. 67, "Terence McSwiney" (1 text, 1 tune)
DT, SOULPASS
RECORDINGS:
Omar Blondahl, "Shall My Soul Pass Through Ireland" (on NFOBlondahl03)
CROSS_REFERENCES:
cf. "Kevin Barry" (tune)
NOTES: Galvin reports this piece under the name "Terence McSwiney," connecting it with a Lord Mayor of Cork (properly Terence MacSwiney) who resisted British rule (more or less; he was found to be carrying notes for an anti-British speech), was imprisoned in London, and died after a 73-day hunger strike (1920).
It should be added that the British were right about his opposition to British rule: MacSwiney was a senior officer in the Volunteers (second in command in Cork, according to Tim Pat Coogan, _Michael Collins_, p. 122), and that he did not win election in Cork as such. Rather, his superior Tomas MacCurtain was elected Mayor in the great Sinn Fein election of January 1920. MacSwiney was appointed his deputy, and succeeded when MacCurtain was shot.
MacSwiney's slow death was part of a movement of hunger strikers, of whom McSwiney was the most notable but perhaps not the one who was making the greatest sacrifice; according to Calton Younger, _Ireland's Civil War_, p. 116, he also had tuberculosis -- and died in a hospital ward, not a prison, where he was treated with great care.
The British had originally tried force feeding the prisoners (which at the time meant pouring milk and beaten eggs down a tube forcibly inserted into the throat via the mouth or, if the prisoner would not open his mouth, the nostrils). Even in the hands of a good doctor, this inevitably resulted in bruising of the nose, mouth, and throat, and in the hands of an incompetent, the results could be disastrous. Another hunger striker, Thomas Ashe, had died of the effects of force feeding (see Robert Kee, _Ourselves Alone_, being volume III of _The Green Flag_, pp. 33-34). This caused a commission to declare force feeding barbaric; as a result, the British stopped using it, and hunger strikers started dying of hunger instead.
It is not impossible that the song is about MacSwiney, but supporting evidence is lacking. See also the notes on "The Boys from County Cork."
This is listed in at least one place as by "AE" (with no space). - RBW
Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Shall My Soul Pass Through Ireland" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: PGa067
===
NAME: Shall We Gather at the River
DESCRIPTION: "Shall we gather at the river, Where bright angel feet have trod... Yes, we'll gather at the river, the beautiful, the beautiful river... That flows by the throne of God." A description of the happy life after death in the land of God
AUTHOR: Robert Lowry
EARLIEST_DATE: 1866
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (2 citations)
RJackson-19CPop, pp. 26-29, "Beautiful River" (1 text, 1 tune)
DT, GATHRIVR*
Roud #14037
RECORDINGS:
Alcoa Quartet, "Shall We Gather at the River" (Columbia 15022-D, 1925)
Chuck Wagon Gang, "Shall We Gather at the River" (Columbia 20630, 1949)
Kanawha Singers, "Shall We Gather at the River" (Brunswick 328, 1929)
Uncle Dave Macon, "Shall We Gather at the River" (Vocalion 5162, 1927)
Mr. & Mrs. Douglas Swagerty, "Shall We Gather at the River?" (OKeh 40216, 1924)
NOTES: Reverend Robert Lowry (1826-1899) wrote this piece (which he titled 'Beautiful River") on a hot day in 1864. Although it is perhaps the only memorable thing Lowry ever produced, it is reported that he was not fond of it. - RBW
File: RJ19026
===
NAME: Shallo Brown (Shallow Brown)
DESCRIPTION: Shanty. Characteristic line: "Shallo, Shallo Brown." The sailor admits that he is leaving, and regrets being parted from his wife and baby. In some versions he may be a slave sold for the "Yankee Dollar"; in others, he is a whaler going about his work.
AUTHOR: unknown
EARLIEST_DATE: 1882
KEYWORDS: shanty separation family slave
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (8 citations)
Doerflinger, p. 44, "Shallo Brown" (1 text, 1 tune)
Colcord, p. 61, "Shallo Brown" (1 text, 1 tune)
Harlow, pp. 126-127, "Shallow Brown" (1 text, 1 tune)
Hugill, pp. 257-260, Shallow Brown (4 texts, 4 tunes) [AbEd, pp. 188-191]
Sharp-EFC, LV, p. 60, "Shallow Brown" (1 text, 1 tune)
Smith/Hatt, p. 22, "Shiloh Brown" (1 text)
DT, SHALOBRN SHALBRN2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). A fragment of "Shallow Brown" is in Part 3, 7/28/1917.
Roud #2621
CROSS_REFERENCES:
cf. "Hullabaloo Belay" (character)
ALTERNATE_TITLES:
Challo Brown
NOTES: According to Hugill, the name "Challo" used in some versions is "a West Indian word of Carib extraction meaning a 'half-caste.'" - RBW
File: Doe044
===
NAME: Shallow Brown (II)
DESCRIPTION: Has the refrain of "Shallo Brown" but the solo text is taken from "Blow, Boys, Blow (I)" and the tune is the same as "Hilo, Boys, Hilo." The meter alternates from 3/4 to 2/4 throughout.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty sailor
FOUND_IN: Britain US
REFERENCES: (2 citations)
Hugill, pp. 257, Shallow Brown (1 text, 1 tune - quoted from Sharp-EFC) [AbEd, p. 187]
Sharp-EFC, XXX, p. 35, "Shallow Brown" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Blow, Boys, Blow (I)" (text)
cf. "Hilo, Boys, Hilo" (tune)
NOTES: Though it has the same title, this is so drastically different from "Shallo Brown" that I thought it warranted a separate entry. - SL
Entirely agreed. If it matters, this is what The Boarding Party called "Fast Shallow," to distinguish it from the more common "Slow Shallow." - RBW
File: Hugi257
===
NAME: Shallows Field: see The Battle of Vicksburg (File: R225)
===
NAME: Shambles Fight, The
DESCRIPTION:  St Patrick's day 3000 Ribbonmen march in Downpatrick with muskets. Their flags are pulled down in the Shambles. They run from Protestant guns. "The Police done their best the poor rebels to save, As the Protestant strength roll'd on like a wave"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: violence Ireland patriotic political
HISTORICAL_REFERENCES: Mar 17, 1848 - "St Patrick's Day parades at Ballynahinch, Downpatrick and Hilltown ended in riots...." (source: Neil Jarman and Dominic Bryan, _From Riots to Rights; Nationalist Parades in the North of Ireland_ (1997), p. 11)
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 12, "The Shambles Fight" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Croppies Lie Down" (tune, according to OrangeLark)
NOTES: Zimmermann p. 19: "In some parts of Ulster, Protestant and Catholic tenants were mingled and contended for the land; the peasantry was thus divided into two camps, each having its oath-bound association. This led to a sort of religious war. At the end of the eighteenth century the Catholic "Defenders" were opposed to the Protestant "Peep o'Day Boys" or "Orangemen." The "Defenders were succeeded by the "Ribbonmen, (song [Zimmermann] 39). In parts of counties Tyrone and Monaghan, according to Carleton [p. 19 fn. 14: W. Carleton's _Autobiography_, p. 83], the whole Catholic population was affiliated to Ribbonism, and it would have been dangerous to avoid being involved in the system." Zimmermann 34, "Owen Rooney's Lamentation": "My prosecutor swore so stout I was the man he saw, That encouraged all the Ribbonmen that came from Lisbellaw."
OrangeLark: "As their outrages were recognisably sectarian, the name came to be used as a blanket term for those who attacked Protestants."
"Situated at the junction which leads to Downpatrick Head, the Shambles is one of Ballycastle's oldest landmarks... It was erected between 1830's-1840's as a Co-Op for the buying of local farm produce." (source: "The Shambles" at Ballycastle Co. Mayo site) - BS
File: OrLa012
===
NAME: Shamrock Boys from Kill, The
DESCRIPTION: The Boys from Kill "march down by Lavey's Strand ... with O'Connell's likeness on their breasts, for to conquer Orange Bill." None fought at Tara as well as the boys from Kill. Many Protestant girls would have liked to be with a boy from Kill.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 36, "The Shamrock Boys from Kill" (1 text, 1 tune)
Roud #2912
NOTES: O'Connell is Daniel O'Connell. Orange Bill is William of Orange. This appears not to be about any particular battle in spite of lines like "none could chase ould Luther's race Like the Shamrock boys from Kill."
Morton-Ulster: ."..there is a townland of Kill on the borders of Co. Cavan.... This song seems to me more militant than pure 'O'Connellism' would allow and not militant enough for 'Young Irelanders'. (Remember they bear 'O'Connell's likeness on their breasts'.) It may be that the Shamrock Boys from Kill were a sort of intermediate stage between the fall of O'Connell and the accession of Mitchel and 'Young Ireland'."
"Rebels posted on Tara Hill, County Meath, were routed on May 26 [,1798]." (Zimmermann, p. 155) - BS 
 I believe the reference to fighting at Tara is to the rally at that place described in "The Meeting of Tara," since that was organized by Daniel O'Connell. - RBW
File: MorU036
===
NAME: Shamrock Cockade, The
DESCRIPTION: "St Patrick he is Ireland's Saint And we're his Volunteers." We are ready to fight the French, if they invade. The Cork Volunteer societies are named: Union, True Blue, Boyne, Aughrim, Enniskillen and Blackpool.
AUTHOR: John Sheares? (see Croker-PopularSongs note)
EARLIEST_DATE: 1780 (_The Cork Remembrancer_, according to Moylan)
KEYWORDS: France Ireland nonballad patriotic soldier
FOUND_IN: Ireland
REFERENCES: (2 citations)
Moylan 3, "The Shamrock Cockade" (1 text, 1 tune)
Croker-PopularSongs, pp. 42-46, "The Shamrock Cockade" (1 text)
CROSS_REFERENCES:
cf. "The Green Cockade" (subject of the 1782 Volunteers)
cf. "The Song of the Volunteers" (subject of the 1782 Volunteers)
cf. "Ally Croker" (tune, according to Croker-PopularSongs)
NOTES: Moylan p. 1: "On St Patrick's Day, 1778, the first company of Belfast Volunteers was formed in response to the danger of a possible war between Britain and France. [According to Peter and Fiona Somerset Fry, _A History of Ireland_, p. 186, the year was 1777, though few other companies formed until 1778.] The movement spread like wildfire and soon there were companies in all parts of Ireland."
Croker-PopularSongs: "Fitzgerald thus chronicles the matter in his 'Cork Remembrancer:'--'1780, March 17. The armed societies of this city paraded on the Mall with shamrock cockades, and fired three volleys in honour of the day."
Croker-PopularSongs has the text "from a manuscript copy in the autograph of Mr John Shears [executed in Dublin for high treason in 1798]" sung at the 1780 dinner. - BS 
For more on the Volunteers and their effect on Anglo-Irish relations, see the notes to "The Song of the Volunteers." The reference to Saint Patrick may seem a little strange from a pro-British force, but many of the Volunteers were Catholic though the majority were  Protestants. It should be remembered that the Volunteers helped encourage the formation of the independent Irish parliament -- and, since they were granted that parliament, they were relatively pro-British.
For John Sheares (the usual spelling), see the notes to "The Brothers John and Henry Sheares." - RBW
File: Moyl003
===
NAME: Shamrock from Glenore, The
DESCRIPTION: The singer recalls his mother's speech as he set out walking on a Saint Patrick's Day: She plucks a shamrock and praises it. But she is old; he must cross the sea. Still he cherishes the token of mother and home
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: emigration separation homesickness mother
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H34, p. 213, "The Pretty Three-Leaved Shamrock from Glenore" (1 text, 1 tune)
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 2, "The Three-leafed Shamrock from Glenore" (text, music and reference to Decca F-3283 recorded Aug 12, 1932)
Roud #8126
ALTERNATE_TITLES:
The Four-Leaved Shamrock from Glenore
My Little Four-Leaf Shamrock from Glenore
NOTES: The date and master id (GB-4738-1/2) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: HHH034
===
NAME: Shamrock from Tiree, A
DESCRIPTION: The singer, who will "see [Erin] no more," recalls the green fields, the red roses, the birds' songs. He dreams of home and its history -- the feasts in the halls of the O'Cahans, the playing of Rory Dall. All this was called back by receipt of a shamrock
AUTHOR: James O'Kane
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: homesickness flowers bird emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H716, pp. 218-219, "A Shamrock from Tiree" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH176
===
NAME: Shamrock Shore (I), The
DESCRIPTION: Hard times and high taxes force the singer to leave Ireland for America. He and his friends spend six weeks in the woods, and the other three all die. He warns against coming to America. He hopes to return to Ireland
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: emigration hardtimes death
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H69, p. 201, "The Happy Shamrock Shore" (1 text, 1 tune)
ALTERNATE_TITLES:
The Irishman's Farewell to His Country
NOTES: This is truly a curious song; how did the singer and friends get in trouble so quickly? Unless something has been lost, I have to suspect this was composed by someone who had never been to America, and thought it all a vast wilderness. - RBW
File: HHH069
===
NAME: Shamrock Shore (II), The: see Paddy's Green Shamrock Shore (File: HHH192)
===
NAME: Shamrock Shore (IV), The: see The Irishman's Farewell to his Country (The Shamrock Shore IV) (File: OLcM088)
===
NAME: Shamrock Shore, The (The Maid of Mullaghmore)
DESCRIPTION: The singer calls on the muses to help him express his grief over leaving home. Having left Ireland for (Scotland), he says that (Glasgow) girls are pretty but they aren't the girl he left behind. He warns others against leaving their loves behind
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(494))
KEYWORDS: love separation homesickness
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H20a, p. 216, "The Maid of Mullaghmore" (1 text, 1 tune)
O'Conor, p. 74, "The Shamrock Shore" (1 text)
OLochlainn-More 88A, "The Shamrock Shore" (1 text)
Roud #2287
RECORDINGS:
Paddy Tunney, "The Shamrock Shore" (on IRPTunney01)
BROADSIDES:
Bodleian, Harding B 11(494), "The Shamrock Shore" ("In a musing mind with me combine"), H. Such (London), 1863-1885; also 2806 b.9(258), 2806 b.11(168)[Misprint in title--The Shamrore.coShk--and text], Harding B 26(598), "The Shamrock Shore" ("You muses nine, with me combine"); 2806 c.8(285), "The Shomrock Shore," printed at Cork between 1800 and 1899, shelfmark Harding B.26(598).
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
cf. "Girls of the Shamrock Shore" (theme of separation -- not transportation -- and one verse)
NOTES: O'Conor includes "In the blooming spring, when the small birds sing, and the lambs did sport and play, My way I took, and friends forsook, till I came to Dublin Quay." - BS
Paddy Tunney's version on IRPTunney01 has the singer going to New York rather than to Glasgow. - BS
File: HHH20a
===
NAME: Shamrock Sod No More, The: see The Irish Emigrant's Lament (File: HHH235)
===
NAME: Shamus O'Brien
DESCRIPTION: "Oh Shamus O'Brien, I'm loving you yet, And my heart is still trusting and kind... Oh why did I let you get out of my arms Like a bird that was caged and is free." The singer promises extreme devotion and asks Shamus to return to her
AUTHOR: Will S. Hays
EARLIEST_DATE: 1867 (sheet music)
KEYWORDS: love separation betrayal request
FOUND_IN: US(MW,So) Ireland
REFERENCES: (3 citations)
Randolph 758, "Shamus O'Brien" (2 texts, 1 tune)
Dean, pp. 69-70, "Shamus O'Brien" (1 text)
O'Conor, p. 160, "Shamus O'Brien" (1 text)
Roud #4975
CROSS_REFERENCES:
cf. "Nora O'Neal"
NOTES: Randolph reports that this is the answer to an earlier Will S. Hays song, "Nora O'Neal." - RBW
There is a Missouri fiddle tune called "Shamus O'Brien's Waltz"; it's somewhat different from the tune to this song, but is perhaps a descendant. - PJS
Grove's Dictionary of Music also reports a "romantic comic opera in two acts" with the title "Shamus O'Brien"; the book is by J. H. Jessop and the music by "Stanford." But it didn't premiere until March 2, 1896. - RBW
File: R758
===
NAME: Shan Van Voch, The: see The Shan Van Voght (File: PGa027)
===
NAME: Shan Van Vocht, The: see The Shan Van Voght (File: PGa027)
===
NAME: Shan Van Voght (1828), The
DESCRIPTION: "O'Connell gained the day," "Catholic victory is shouted." Vesey Fitgerald and parson Fleury are vexed. "The Bible saints are routed" "Lord Tyrone, we will crack his collar bone, The County Clare will be our own, says the Shan Van Vught"
AUTHOR: unknown
EARLIEST_DATE: 1828 (Zimmermann)
KEYWORDS: pride Ireland nonballad political
HISTORICAL_REFERENCES: July 1828 - Daniel O'Connell defeats Vessey Fitzgerald as Westminster MP from County Clare.
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 7B, "A New Song Called the Shan Van Vught" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Shan Van Voght" (1848) for Shan Van Voght song on another subject.
cf. "The Battle of Ballycohy" (1828) for Shan Van Voght song on another subject.
cf. "The Shan Van Voght" and references there, including Shan Van Voght broadsides on other subjects.
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: "In a symbolic protest against the anti-Catholic oath MPs had to take on entering parliament, O'Connell stands for election in Co. Clare and defeats the liberal protestant incumbent, Vessey Fitzgerald" (source: _The McClintock Bunbury Family History and other stories 1800 to 1899_ on the Lisnavagh site). - BS
For the career of Daniel O'Connell (1775-1847), see e.g. "Daniel O'Connell (I)" and "Daniel O'Connell (II)"; also, for some context on the period, "Fergus O'Connor and Independence." - RBW
File: Zimm007B
===
NAME: Shan Van Voght (1848), The
DESCRIPTION: We'll defeat the Tories in this year of 1848. Pitt and Castlereagh "stole our Parliament away." The French drove out the royalists. Smith O'Brien and John O'Connell will do that here. The French are on the sea "to be here the 10th of May"
AUTHOR: unknown
EARLIEST_DATE: 1848 (Zimmermann)
KEYWORDS: rebellion France Ireland nonballad patriotic
HISTORICAL_REFERENCES: 1848 - The Young Ireland uprising fails
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 7C, "A New Song Called the Shan Van Vocht" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "John Mitchel" and references there for the 1848 Irish uprising
cf. "Lament of John O Mahony" and references there for the 1848 Irish uprising
cf. "Skibbereen" and references there for the 1848 Irish uprising
cf. "The Wee Duck" and references there for the 1848 Irish uprising
cf. "The Shan Van Voght" (1828) for Shan Van Voght song on another subject.
cf. "The Battle of Ballycohy" (1828) for Shan Van Voght song on another subject.
cf. "The Shan Van Voght" and references there, including Shan Van Voght broadsides on other subjects.
cf. "The Game of Cards" (II) for references to the "stealing" of Grattan's Parliament
cf. "The Wheels of the World" for Pitt and Castlereigh
NOTES: Among the European revolutions of 1848 was the French revolt driving Louis Philippe from Paris in February. Once again the United Irishmen looked to France as their model. The Irish famine persisted. When the government suspended Habeus Corpus in July the leaders of Young Ireland -- William Smith O'Brien, John Blake Dillon and Francis Meagher -- planned an uprising that failed. (source: _The 1848 Uprising_ by Donagh MacDonagh at the Waterford Ciry History site, copyright Waterford City History).
The reference "Billy Pitt and Castlereagh ... They stole our Parliament away ... The people's curse, I give my oath, caused Castelreagh to cut his throat" is to the 1801 "Act of Union" --supported by Pitt and Robert Stewart (Lord Castlereagh) --  that formed the United Kingdom of Great Britain and Ireland" and abolished the Dublin Parliament. [For the brief life of Grattan's Parliament, see the notes to "Ireland's Glory."]
Castlereagh committed suicide in 1822 by cutting his throat. (sources: _Britain and Ireland_ by Marjie Bloy on the Victorian Web site; _Robert Stewart, Lord Castlereagh_ on the Dukes of Buckingham and Chandos site). [The fault may have been genetic; his nephew Robert Fitzroy, one-time captain of the _Beagle_ who would oppose evolution tooth and nail, would commit suicide in 1845; see Arthur Herman, _To Rule the Waves_, p. 437. - RBW]
John O'Connell is Daniel O'Connell's son and led the Repeal Association which differed in tactics but not objective from William Smith O'Brien's Young Ireland but both groups supported Irish independence. "Smith O'Brien led a delegation to Paris. Though rebuffed by Lamartine's new government, the delegates were intoxicated by the revolutionary atmosphere in France. On their return caution was thrown to the winds." O'Brien was one of the organizers of the 1848 uprising. (source:_Young Ireland_ by Richard Davis on the Ohio University site) - BS
As so often, of course, when Ireland looked to other nations for help, they found none. 1848 -- "The Year of Revolution" -- did overthrow kings, but not nations. The Habsburg monarchy replaced the feeble-minded Ferdinand I (reigned 1835-1848) with the less addled by hardly more effective Franz Joseph. France got rid of Louis Philippe and eventually replaced him with Louis Napoleon (Napoleon III) -- a man who liked independence movements but didn't like democracy at all. And so it went.
The revolution in France (February 24, 1848) did inspire the Young Ireland leaders, but they could do very little. Young Ireland leaders such as Thomas Francis Meagher (for whom see "The Escape of Meagher") and John Mitchel (for whom see the song by that name) urged revolt, and eventually brought in the more peaceful William Smith O'Brien  (1803-1864). (See Terry Golway, _For the Cause of Liberty_, pp. 115-116).
According to Robert Kee (_The Most Distressful country_, being volume I of _The Green Flag_, p. 276), even the beginning of the rebellion was an accident. On July 23, 1848, Smith O'Brien was visiting a friend in Wexford, when Meagher and John Blake Dillon arrived with word that habeas corpus had been suspended; there may also have been a warrant for Smith O'Brien's arrest. He had little choice but to scrape up what strength he could and fight to survive. But there was no organization and no plan; truly Smith O'Brien had been forced into violence. The "rebellion" followed.
Or, rather, collapsed. There was no help from France (presumably the reference is a hangover from one of the earlier Shan Van Voght songs). A few half-armed bands wandered around Ireland, and a few leaders tried to scrape up troops, but no one actually set out to fight the British. Smith O'Brien gave a lot of speeches, but was so cautious that he ended up visiting the same places several times rather than seek new recruits (Kee, p. 280). As Peter and Fiona Somerset Fry put it, "in July 1848 the 'revolt' collapsed in an inglorious scuffle in a widow's back garden patch at Ballingarry. O'Brien, Meagher and others surrendered, and mercifully were not put to death but transported to join Mitchel in Australia" (_A History of Ireland_, p. 238).
According to Golway, p. 121, "The Battle of Widow McCormack's Cabbage Patch" resulted in two people being killed, though they may not have been rebels. And that was it for armed conflict.
To give you an idea of how trivial the whole rising was, R. F. Foster's _Modern Ireland_ mentions the Battle of Ballingary -- the site of the siege on Widow McCormackÕs house -- only in its chronology, not in its text.  Even its leader Smith O'Brien said that it was an "escapade" and that it "does not deserve the name of insurrection" (Kee, p. 286). The _Oxford Companion to Irish History_ doesn't even give it an entry, or mention it in its article on Smith O'Brien, though it does include a brief description in the article regarding the Revolution of 1848. Still, it's clear that the whole thing is remembered mostly because Young Ireland was first and foremost a literary movement. Odds are there were more Irishmen writing about the revolt in 1848 than actually participated.
Smith O'Brien's erratic behavior continued at his trial. He was, naturally, found guilty of rebellion, which meant that he was subject to the death penalty. The jury strongly urged mercy -- but Smith O'Brien refused to petition for clemency; it took a special act of parliament to allow him to be transported (Kee, p. 287). Even in Tasmania, he long refused to apply for a ticket-of-leave (parole). He was fully pardoned in 1854, and returned to Ireland in 1856. He generally stayed out of politics after that; people seemed to understand that he was a gifted speaker who somehow couldn't come up with much to say. - RBW
File: Zimm07C
===
NAME: Shan Van Voght, The
DESCRIPTION: The Shan Van Vogt declares that the French are at hand, and will rescue Ireland. The troops are called together; they will wear green; they will free Ireland and proclaim liberty
AUTHOR: unknown
EARLIEST_DATE: 1797 (Sparling)
KEYWORDS: Ireland freedom rebellion
HISTORICAL_REFERENCES: 1796 - A French fleet (carrying, among others, Wolfe Tone) sets out for Ireland. At Christmas, one of the ships is in Bantry Bay. Bad weather and incompetent French seamanship, however, keeps the fleet at sea, and the French (distracted by their ongoing revolution) do not pursue the matter
1798 - main Irish rebellion. Wolfe Tone tries again
FOUND_IN: Ireland
REFERENCES: (10 citations)
O'Conor, p. 32, "Shan Van Vogh" (1 text)
PGalvin, p. 27, "The Shan Van Vocht" (1 text, 1 tune)
OLochlainn-More 60, "The Shan Van Vocht" (1 text, 1 tune)
Zimmermann 7A, "The Shan Van Vocht" (3 texts, 1 tune)
Moylan 28, "The Shan Van Vocht" (1 text, 1 tune)
Tunney-StoneFiddle, p. 23, "Sean-Bhean Bhocht" (1 fragment)
Silber-FSWB, p. 322, "Shan Van Voght" (1 text)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 18-20, 514, "The Shan Van Vocht"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 297-299, "The Shan Van Vocht" (1 text plus a portion of a parody about Home Rule by Susan Mitchell)
ADDITIONAL: Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), pp. 256-257, "The  Shan Van Vocht"  (1 text)
Roud #6529
CROSS_REFERENCES:
cf. "The Escape of James Stephens" (tune)
cf. "Lord Wathe'ford" (tune and repeated lines)
cf. "The Shan Van Voght" (1828) for Shan Van Voght song on another subject
cf. "The Shan Van Voght" (1848) for Shan Van Voght song on another subject
cf. "General Wonder" (subject of Hoche's expedition)
cf. "Poor Old Man (II)" (tune, theme)
SAME_TUNE:
The Bird Is Left His Nest (Healy-OISBv2, pp.122-124)
Up for the Land (Healy-OISBv2, pp. 151-152, apparently to this tune)
The Escape of James Stephens (File: OLcM003A)
ALTERNATE_TITLES:
The Shan Van Voch
NOTES: Sparling dates his text 1797 and says it is "the first song I can find with this refrain."
Zimmermann p.56: "The name Shan Van Vocht (Seanbhean Bhocht: Poor Old Woman), Gaelic as it sounds, seems to have had a political meaning almost exclusively in songs written in English, and constantly adapted to new events. [Cf. "The Shan Van Voght" (1828), "The Shan Van Voght" (1848), "The Battle of Ballycohy"]
The most famous variant is said to date from 1797, though no text was printed before the 1840s. According to Donal O'Sullivan this name was borrowed from a non-political song; prior to the 1790's, 'there is no trace in Irish or Anglo-Irish literature of any such allegorical conceptions'. [D. Osullivan _Songs of the Irish_ pp. 130-131]."
Moylan notes "Bunting collected a (non-political) song called "An tSeanbhean Bhocht" in 1792. By the end of the 18th century the air had become the bearer of political verses, this one the most famous. It did not see print, however, until the mid-19th century, when it was published in _The Nation_." 
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, "Shan Van Vocht" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS  
Although the Irish often looked to the French for help (as in the case of the United Irish rebellion of 1798), the French supplied it for their own reasons. In this case, it was to distract Britain (as a result of the French Revolution, France was at war with most of Europe) and found a base at their back.
When the 1796 expedition under Hoche failed (due mostly to incompetent seamanship; France had purged most of its experienced naval officers), the French simply gave it up and went on to other things.
It was one of those things that had people talking about a "Protestant Wind," as in 1688. Hoche was one of the best, if not the best, young French general. But the wind that let the French fleet get out of Brest also scattered it. (David Davies, _A Brief History of Fighting Ships: Ships of the Line and Napoleonic sea battle 1793-1815_, Carroll & Graf, 1996, 2002, pp. 76-77, attributes much of this to the action of Sir Edward Pellew in the frigate _Indefatigable_, which during the night flitted in and out of the French fleet spreading confusion with spurious signals, but bad French seamanship and confused instructions from the admiral are generally considered more important).
Most of the fleet made it to Bantry Bay, but the ship with Hoche aboard was blown off-course. The fleet waited a day, hoping for its general -- and its admiral, who might have a better idea how to land on the rough coasts of the bay. Then the winds came and scattered the fleet. End of landing. Later French expeditions would be made with small raiding forces rather than true armies of invasion.
"Shan Van Voght" is the anglicized form of "Sean Bhean Bhocht," "poor old woman," a title for the oppressed Irish people. Toward the end of the nineteenth century, a Belfast literary journal would arise with the title _Shan Van Vocht_ devoted to promoting an independent Irish culture.
Theobald Wolfe Tone was, interestingly, a Protestant (the whole 1798 rebellion was basically a Protestant idea), but wanted a free Ireland with equal rights for both religions. After a (much too brief) period of resistance with the pen, he turned to the sword.
After the fiasco of Bantry Bay, Tone would make two more attempts to invade Ireland. The first, in a Dutch fleet, was destroyed by the British at the Battle of Camperdown (October 11, 1797) -- by which time Tone had given up anyway; the army he and the Hoche had assembled had to be disbanded. Hoche died soon after, and he was the one committed Frenchman.
Tone had, by then, already set off to appeal to Napoleon. But Napoleon turned him down; an Irish expedition, even if it succeeded, would not be practical (read: cost-effective; there was no treasure to be collected in impoverished Ireland). Napoleon went to Egypt instead, and did not send a force to Ireland until after the 1798 rebellion had been crushed.
Still, three small French forces sailed in 1798: Three ships under General Humbert (see "The Men of the West"), one ship with Napper Tandy aboard (see "The Wearing of the Green"), and a large force -- ten ships and nearly 3000 men -- with Tone aboard.
Tone's force was caught by a superior British fleet off Donegal on October 12, 1798. Tone himself was taken and condemned to death by hanging (as a traitor). He requested that he instead be shot as a soldier. When this was denied, he cut his own throat. He was 35.
The sad irony is that the British government in Ireland, under Lord Grattan, was sincerely trying to improve conditions in Ireland at the time of the 1798 rising. As recently as 1782, Ireland had received the right to an independent parliament. (Prior to that, it had had a parliament, but it was under the thumb of the British parliament. For details on this, see the notes to "Ireland's Glory.")
But, of course, this was the era of George III, with all the Crown high-handedness that implied; a few local officials could hardly make up for the stupidity at the top. And the military under General Lake made things worse with a policy of pure brutality.
The rebellion generally put an end to that. (Nor was this the only time a rebellion slowed liberalization.) Indeed, the British decided that the problems had gone on long enough, and for the first time united Ireland with Britain.
The "Lord Edward" of some texts is Lord Edward Fitzgerald (1763-1798), one of the leaders of the United Irishmen and the last one to retain his liberty after the government cracked down (March 12). He doesn't seem to have been particularly smart, and was eventually wounded and captured (May 19); he died in prison of the effects of his wound.  For more about him, see the notes to "Edward (III) (Edward Fitzgerald)." - RBW
Bodleian Library site Ballads Catalogue does not have broadsides for this song but has a number of songs modelled on it. For example,
Bodleian, Harding B 18(151), "The Escape of Stephens, the Fenian Chief," H. De Marsan (New York), 1864-1878
Bodleian, Harding B 19(87), "The Shan Van Vouch" ("Oh, the time is coming on ... News of battles won and lost ... The tax that's still to come..."), unknown, n.d.
Bodleian, 2806 c.8(54), "The Shan Van Vought ("I am sure you heard of Warner, says the Shan Van Vought"), unknown, handwritten: "A Fenian Ballad 1866"
Bodleian, Harding B 11(3483), "The Shan Van Vought on Garibaldi" ("I've a story to relate, says the Shan Van Vought"), T. Pearson (Manchester) , 1850-1899
Bodleian, 2806 c.8(49), "Shan Van Vought's Farewell to Ireland" ("My sons are going away says the shan van vought"), unknown, n.d.
Another Bodleian broadside version to "remember '98": 2806 b.9(68),"A new song call'd the Gay Old Hag" ("Will you come a boating my gay old hag"), P. Brereton (Dublin), c.1867; also Johnson Ballads 2191c, "A new song call'd the Gay Old Hag"
Broadside Harding B 18(151): 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: PGa027
===
NAME: Shanadar (I)
DESCRIPTION: Fragment only. "Shanadar is a rolling river, E-O... I-O... E-O... I-O..." May be a variant of "Shenandoah" but the meter is quite different, alternating between 2/2 and 3/2.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty river derivative
FOUND_IN: Britain
REFERENCES: (2 citations)
Hugill, p. 178, "Shanadar" (1 text, 1 tune - quoted from Sharp-EFC)
Sharp-EFC, LIII, p. 58, "Shanadar (Second version)" (1 text, 1 tune)
Roud #324
CROSS_REFERENCES:
cf. "Shenandoah" (text)
NOTES: Not too surprisingly, Roud lumps this with "Shenandoah," and I don't think there is much doubt that the two are related. But this does appear distinct enough (barely) to deserve its own listing. Note that there are "Shenandoah" texts with a "Shanadar" refrain -- but they're from Cecil Sharp, who may well have put "Shenandoah" verses to this chorus. - RBW
File: Hugi178
===
NAME: Shanadar (II): see Shenandoah (File: Doe077)
===
NAME: Shandrum Boggoon
DESCRIPTION: There are no songs about Shandrum boggoon. "The reason is plain -- no praise did it need." The singer would trade Midas's touch for a touch for Shandrum boggoon. If the Devil tastes it a host of clergy will be needed to banish him.
AUTHOR: Edward Quin (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: food humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 287-289, "Shandrum Boggoon" (1 text)
CROSS_REFERENCES:
cf. "The Black Joke" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs: "Boggoon is the Irish for bacon.... Shandrum ... in the county of Cork ... [remarkable] for the excellence of the bacon produced there." - BS
File: CrPS287
===
NAME: Shane Crossagh
DESCRIPTION: Squire Staples sets out to take Shane Crossagh, once a plowboy but now an outlaw "for the wearin' o' the green." Crossagh -- helped by his hound, who destroys the pursuing dogs -- escapes across the Roe. (Shane later is able to take revenge on Staples.)
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: outlaw manhunt escape dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H97, pp. 130-131, "Shane Crossagh" (1 text, 1 tune)
Roud #13373
CROSS_REFERENCES:
cf. "Charlie Is My Darling" (floating lyrics)
File: HHH097
===
NAME: Shanghai Rooster (Shanghai Chicken)
DESCRIPTION: "Shanghai chicken an' he grow so tall, Hooday! Hooday! Take dat egg a month to fall, Hooday! Hooday!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: chickens
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 195, "Shanghai Chicken" (1 short text, 1 tune)
Roud #5247
NOTES: Roud includes several items under this number that I'm not convinced are related, but it does appear that this is a rather disjointed song. - RBW
File: ScaNF195
===
NAME: Shankill Boozers, The
DESCRIPTION: "If you feel like getting full boys, the Shankill is your bet, Have a pint in ev'ry pub and see how far you get" "We'll start us off in North Street at the Elephant Bar ... [until] the Woodvale Arms, all things to an end must come."
AUTHOR: Bernard Keenan (source: Hammond-Belfast)
EARLIEST_DATE: 1978 (Hammond-Belfast)
KEYWORDS: drink nonballad travel
FOUND_IN: 
REFERENCES: (1 citation)
Hammond-Belfast, pp. 48-49, "The Shankill Boozers" (1 text, 1 tune)
NOTES: Hammond-Belfast: Written in 1966: "an accurate account of an alcoholic odyssey from North Street to Woodvale [Belfast]." - BS
File: Hamm048
===
NAME: Shannelly's Mill: see John Whipple's Mill (File: FSC171)
===
NAME: Shannon and the Chesapeake, The: see The Chesapeake and the Shannon (I) [Laws J20] (File: LJ20)
===
NAME: Shannon Scheme, The
DESCRIPTION: The Shannon Scheme will "light our houses," "stitch our blouses," "milk our cows," "churn the cream," "reap and mow," "spin and sew," provide "more employment and more enjoyment and happier homes." A toast to the scheme and its promoters
AUTHOR: Sylvester Boland (source: notes to IRClare01)
EARLIEST_DATE: 1992 (IRClare01)
KEYWORDS: river technology humorous nonballad
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #18468
RECORDINGS:
Nonie Lynch, "The Shannon Scheme" (on IRClare01)
CROSS_REFERENCES:
cf. "The Straightened Banks of Erne" (theme: Ireland's hydro-electrification)
NOTES: Notes to IRClare01: "The Shannon Scheme for the Electrification of the Irish Free State, by harnessing the fall in the River Shannon between Killaloe and Limerick, was commenced in 1925 and completed in 1929 and, within six years, was supplying 85% of Ireland's electricity requirements. The song was written in 1927...." - BS
According to John A. Murphy, _Ireland in the Twentieth Century_(Gill and MacMillan, 1975, 1989), p. 65, "[T]he most far-sighted step in the development of natural resources by the state was the Shannon Scheme -- the beginning of the national supply of electricity -- and the establishment of the Electricity Supply Board in 1927, destined to be perhaps the most successful of those semi-state bodies which in future years became characteristic and indispensible features of the Irish economy."
For a later song about Ireland's electrification, see "The ESB in Coolea." - RBW
File: RcShaSch
===
NAME: Shannon Side, The
DESCRIPTION: "'Twas in the month of April... I met a comely damsel Upon the Shannon side." He tries to seduce her, and fails; he throws her down against her will. He departs; six months later, pregnant, she begs him to marry; he says he is pledged to another
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting sex rape pregnancy betrayal rejection
FOUND_IN: Britain(England(Lond),Scotland) Ireland
REFERENCES: (1 citation)
Ord, pp. 200-202, "The Shannon Side" (1 text)
Roud #1453
RECORDINGS:
Mary Delaney, "Peter Thunderbolt" (on IRTravellers01)
Phoebe Smith, "Captain Thunderball" (on Voice10)
BROADSIDES:
Murray, Mu23-y4:028, "Shannon Side," unknown, 19C
CROSS_REFERENCES:
cf. "Reynardine" [Laws P15] (plot, lyrics)
ALTERNATE_TITLES:
Captain Thunderbolt
NOTES: This not only shares much of the plot of "Reynardine," the lyrics also overlap to a degree. I have to think there has been some sort of cross-fertilization. Still, they are clearly distinct songs. - RBW
In Broadside Murray Mu23-y4:028, [the Mary Delaney recording,] and Phoebe Smith's version on Voice10... the man gives his name as Captain, or Peter, Thunderbolt... "that's when my baby is born as that may be the same." I assume it is an integral part of the ballad when the text is well enough remembered. - BS
File: Ord202
===
NAME: Shannon's Flowery Banks
DESCRIPTION: Teddy and Patty, the singer, exchange vows of "eternal truth." He is impressed "just when we named next morning fair To be our wedding day." At war's end he does not return:  "my Teddy's false and I forlorn"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: infidelity promise war separation pressgang
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 289-292, "Shannon's Flowery Banks" (1 text)
Roud #17000
BROADSIDES:
Bodleian, Harding B 22(361), "The Banks of Shannon" ("In summer when the leaves were green"), J. Evans (London), 1780-1812; also 2806 c.18(13), Harding B 28(163), Harding B 28(62), Harding B 25(106)[some illegible words], "[The] Banks of Shannon"
NOTES: Croker-PopularSongs: "The music of this song was by Mr Carter, a member ofthe choir of Cloyne, who also composed the beautiful and well-known melody of 'O, Nannie, wilt thou gang with me?'" - BS
File: CrPS289
===
NAME: Shanty Boy: see The Farmer and the Shanty Boy (File: Wa033)
===
NAME: Shanty Boy and the Farmer's Son, The: see The Farmer and the Shanty Boy (File: Wa033)
===
NAME: Shanty Boy on the Big Eau Claire, The [Laws C11]
DESCRIPTION: A girl loves a shanty boy. Her (father/mother) sends her away to keep them apart. She dies of disease and grief; her lover kills himself. They haunt her (father), whose business goes bankrupt. The moral: Don't fall in love with a shanty boy (?!)
AUTHOR: William T. Allen (Shan T. Boy)
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: separation suicide ghost love father mother family humorous
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Laws C11, "The Shanty Boy on the Big Eau Claire"
Rickaby 11, "The Shanty-boy on the Big Eau Claire" (2 texts plus a fragment, 2 tunes)
DT 819, EAUCLAIR
Roud #2219
RECORDINGS:
Art Thieme, "The Shanty Boy on the Big Eau Claire" (on Thieme02) (on Thieme05)
NOTES: Like many of Allen's songs, this has a "serious" plot but is couched in humorous language, with lines such as:
Every girl has her troubles; each man likewise has his.
But few can match the agony of the following story, viz.
It relates about the affection of a damsel young and fair
Who dearly loved a shanty boy on the Big Eau Claire.
Allen reported writing this around 1875, but by the time Rickaby met him some forty years later, he had forgotten the tune he used. - RBW
File: LC11
===
NAME: Shanty Boy, Farmer Boy: see The Farmer and the Shanty Boy (File: Wa033)
===
NAME: Shanty Boy's Reveille
DESCRIPTION: "Beans are on the table/Daylight's in the swamp/You lazy lumberjack/Ain't you ever gettin' up?"
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work logger nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 17, "Shanty Boy's Reveille" (1 text)
Roud #8864
CROSS_REFERENCES:
cf. "Wake Up Jacob" (theme)
File: Be017
===
NAME: Shanty Boys in the Pine, The: see The Lumber Camp Song (File: Doe210)
===
NAME: Shanty Boys, The: see The Lumber Camp Song (File: Doe210)
===
NAME: Shanty Man, The: see The Shantyman's Life (I) (File: Doe211)
===
NAME: Shanty Man's Life, The: see The Shantyman's Life (I) (File: Doe211)
===
NAME: Shanty Teamster's Marseillaise
DESCRIPTION: "Come all ye gay teamsters, attention I pray, I'll sing you a ditty composed, by the way." The listeners are urged to cheer up in "this wretched country, the Opeongo." The new-hired crew, oppressed by the boss and Jerry Welch, walk out of their jobs
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: work logger hardtimes boss Indians(Am.) strike recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Rickaby 28, "Shanty Teamster's Marseillaise" (1 text)
Roud #5091
CROSS_REFERENCES:
cf. "Canaday-I-O, Michigan-I-O, Colley's Run I-O" [Laws C17] (theme)
cf. "The Buffalo Skinners" (Laws B10a) (plot)
cf. "Boggy Creek or The Hills of Mexico" [Laws B10b]
NOTES: This is item cC31 in Laws's Appendix II. Laws does not so identify it, but I wouldn't be surprised if it derives from the Canaday-I-O or Buffalo Skinners family of songs. - RBW
File: Rick113
===
NAME: Shanty-Man's Life, The: see The Shantyman's Life (I) (File: Doe211)
===
NAME: Shanty-man's Song, The: see The Logger's Alphabet (File: Doe207)
===
NAME: Shantyboy's Alphabet, The: see The Logger's Alphabet (File: Doe207)
===
NAME: Shantyboy's Song, The: see The Logger's Alphabet (File: Doe207)
===
NAME: Shantyman's Life (I), The
DESCRIPTION: "The shantyman's life is a wearisome one, Though some say it's free from care; It's the ringing of the axe from morning until night in the middle of the forest drear." The singer lists the hazards of his life; he plans to go home, marry, and settle down
AUTHOR: George W. Stace?
EARLIEST_DATE: 1858 (broadside)
KEYWORDS: logger nonballad lumbering
FOUND_IN: Canada(Mar) US(MA,MW,NE,NW,Ro) Canada(Mar)
REFERENCES: (13 citations)
Dean, pp. 87-88, "The Shanty Man's Life" (1 text)
Rickaby 9, "The Shanty-man's Life" (2 texts plus a fragment, 3 tunes)
Gardner/Chickering 103, "The Shantyman's Life" (1 text plus an excerpt, 1 tune)
Doerflinger, pp. 211-213, "A Shantyman's Life" (2 texts, 1 tune)
Fowke/Johnston, pp. 66-67, "The Shantyman's Life" (1 text, 1 tune)
Creighton/Senior, pp. 274, "Shantyman's Life" (1 text, 1 tune)
Mackenzie 150, "The Lumberman's Life" (1 text)
FSCatskills 1, "A Shantyman's Life" (1 text, 1 tune)
Warner 34, "The Shanty Man" (1 text, 1 tune)
Sandburg, pp. 390-391, "The Shanty-Man's Life" (1 text, 1 tune)
Botkin-NEFolklr, pp. 567-568, "The Lumberman's Life" (1 text, 1 tune)
Beck 6, "A Shantyman's Life" (1 text)
DT, SHNTLIFE*
Roud #838
RECORDINGS:
Pierre La Dieu, "The Shanty Man's Life" (Columbia 15278-D, 1928)
Pete Seeger, "The Shantyman's Life" (on PeteSeeger29)
CROSS_REFERENCES:
cf. "Barbara Allen" (tune) (the usual tune for this piece is what Charles Seeger called the "type 1" Barbara Allen tune and Bronson labelled the "Group D" tune)
cf. "A Cowboy's Life" (tune & meter; lyrics)
NOTES: Some versions of this song refer to a lack of liquor; Doerflinger reports that strong drink was banned in most logging camps in the years after 1860. The only recourse was a "visit to the dentist" or the like -- an excuse that obviously could only be tried so many times.
The broadside version of this is credited to George W. Stace of "La Crosse Valley, Wis[consin]." For what it's worth, La Crosse is in the heart of what used to be the Big Woods country. - RBW
File: Doe211
===
NAME: Shantyman's Life (II), A: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Shantyman's Life (III): see The Lumber Camp Song (File: Doe210)
===
NAME: Share 'Em
DESCRIPTION: "Oh, I din' ka' how you share (shear?) 'em So you share 'em eben; Share yo' sheep and blankets -- Share 'em, share 'em, share 'em! If you want er see dem pretty gals, Look on Mon'lyn's Baniel."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: sheep
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 510, "Share 'Em" (1 text)
Roud #11811
File: Br3510
===
NAME: Shaver, The
DESCRIPTION: Capstan shanty. Tells of going to sea "when I was just a hairless boy," getting kicked around, enduring bad weather, and jumping ship at the first chance. Cho: "When I was just a shaver, a shaver. Oh, I was fed up with sea, when I was just a shaver."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty sailor homosexuality youth desertion abuse sex
FOUND_IN: Britain
REFERENCES: (1 citation)
Hugill, pp. 338-339, "The Shaver" (1 text, 1 tune)
Roud #9534
CROSS_REFERENCES:
cf. "Paddy Works on the Railway" (Hugill's tune for "Poor Paddy")
NOTES: Hugill says he left out several unprintable verses dealing with homosexual themes which, however common in practice, were rarely sung about. - SL
It sounds, based on Hugill's notes, as if the original did not use the word "shaver," but rather an obscenity, presumably referring to a catamite. I have added keywords on that basis. - RBW
File: Hugi338
===
NAME: Shawneetown Is Burnin' Down
DESCRIPTION: "Shawneetown is burnin' down, Who tole you so? (x2)." "Cythie, my darlin' gal...." "How the hell d'ye expect me to hold her, Way down below, I've got no skin on either shoulder...."
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: fire nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 590, [no title] (1 text)
NOTES: I suspect this is a variant of a song I learned as "Down by the River" (not to be confused with "Down by the Riverside"). But this version appears to have been bowdlerized, and lacks a tune, so I cannot tell this with certainty.
File: BMRF590B
===
NAME: She Came Rollin' Down the Mountain
DESCRIPTION: A young woman takes a succession of men up the hills of West Virginny to engage in an act of prostitution, after which she comes rollin' down the mountain.
AUTHOR: Buddy DeSylva, Brown and Henderson
EARLIEST_DATE: 1932
KEYWORDS: sex whore bawdy
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman II, p. 604, "She Came Rollin' Down the Mountain" (1 partial text)
RECORDINGS:
Blue Ridge Mountain Girls, "She Came Rollin' Down the Mountain" (Champion 16743, 1934)
NOTES: There is an allusion to the onset of the Depression, dating the song to approximately 1930. This formerly popular song is of questionable oral currency. - EC
There's a commercial version, presumably cleaned-up (or the original from which the bawdy version is derived). See the Blue Ridge Mountain Girls' recording. - PJS
File: RL604
===
NAME: She Died on the Train: see Liza Jane (File: San132)
===
NAME: She Done Got Ugly
DESCRIPTION: "Says huh Julie, Hullo gal. Says early in the mornin' baby... I come to your window baby.... Says get away from my window baby... Says got another man baby, don't want you no more... You done got ugly... Hey rock that baby...."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Archie Lee Hill)
KEYWORDS: love abandonment
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 107-108, (no title) (1 text); pp. 263-264, "She Done Got Ugly" (1 text, 1 tune)
Roud #10991
RECORDINGS:
Archie Lee Hill, "She Done Got Ugly" (on NFMAla1)
File: CNFM107B
===
NAME: She Gets There Just the Same (Jim Crow Car)
DESCRIPTION: "The white gal smells like Castile soap, The yeller gal try to do the same, The poor black gal smell like little billy goat, But she gets there just the same." Verses comparing the methods and results of several groups
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: discrimination train clothes travel drink food money
FOUND_IN: US(SE,Ap)
REFERENCES: (2 citations)
BrownIII 477, "White Cal, Yaller Gal, Black Gal" (5 texts plus 3 fragments; 3 of the texts have the chorus of "Coming Round the Mountain (II -- Charming Betsey)"); also 483, "Rich Man Ride on a Pullman Car" (1 fragment)
Darling-NAS, p. 355, "[no title]" (1 text)
Roud #7052
CROSS_REFERENCES:
cf. "Coming Round the Mountain (II -- Charming Betsey)" (floating lyrics)
NOTES: I've heard this sung by Sixties folk groups in a form which contrasts city and country girls. This may be the original form -- but I suspect it's a clean-up.
The version in Darling is only a fragment, but describes the fate of Blacks forced to ride "Jim Crow cars" on trains (poor-quality cars, often used to ship animals and, quite possibly, not cleaned out after being used for such a purpose).
Brown's verses are much more diverse: The White women ride cars, yellow women ride trains; Blacks are stuck in carts. Whites use cold cream, Blacks lard. Clothing, beds, alcoholic beverages -- in all cases, the Blacks have it worst, but they look good, sleep, get drunk just the same. - RBW
File: DarNS355
===
NAME: She Had a Dark and a Rovin' Eye: see The Fire Ship (File: EM068)
===
NAME: She is Far From the Land
DESCRIPTION: "She is far from the land where her young hero sleeps." She rejects other lovers. She sings wild songs he loved about home. "He had lived for his country, for his country he died." She will join him soon.
AUTHOR: Thomas Moore (1779-1852)
EARLIEST_DATE: 1846 (_Irish Melodies_ by Thomas Moore, according to Zimmermann)
KEYWORDS: grief love death nonballad patriotic
FOUND_IN: 
REFERENCES: (3 citations)
Moylan 157, "She Is Far From the Land" (1 text, 1 tune)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 332-333, "She Is Far From the Land"
ADDITIONAL: Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), pp. 267-268, (no title) (1 text)
BROADSIDES:
Bodleian, Harding B 20(142), "She Is Far From the Land" ("She is far from the land where her young hero sleeps"), J. Harkness (Preston), 1840-1866; also Firth b.26(319), "She Is Far From the Land"
CROSS_REFERENCES:
cf. "Oh! Breathe Not His Name" (subject: concealed allusions to Robert Emmet)
cf. "When He Who Adores Thee" (subject: concealed allusions to Robert Emmet)
cf. "The Man from God-Knows-Where"  (subject: concealed allusions to Robert Emmet)
NOTES: Zimmermann p. 77 fn. 11 uses "She is far from the land" as an example of "songs [that] evoke prudently Robert Emmet's fate." - BS
If so, that gives an interesting possible dual meaning to this one. One part would refer to the many Irish exiles around the world. The other might refer to Sarah Curran, Emmet's sweetheart, who was disowned by her father for her closeness to the condemnned rebel. No one seems to know her final fate, though.
Moore, we should add, knew Emmet; according to Robert Kee, Moore was "Emmet's old friend and fellow student at Trinity" (see _The Most Distressful Country_, being volumeI of _The Green Flag_, p. 168).  Kee regards Moore as having "set the tone" for Emmet's legend. - RBW
Moylan: "The subject of this song is Sarah Curran, Emmet's fiancee and daughter of John Philpot Curran, the lawyer who had defended Wolfe Tone." Hayes's notes are along the same line, but with more details. - BS
File: BrdSHFfL
===
NAME: She Is More to Be Pitied than Censured
DESCRIPTION: A pack of boys jeer at "a girl who had fallen to shame." An old woman declares "She is more to be pitied than censured," and points out that "a man was the cause of it all." A clergyman, too, hopes she will find God's pity
AUTHOR: William B. Gray
EARLIEST_DATE: 1928 (recording, Richard Brooks & Reuben Puckett)
KEYWORDS: infidelity help
FOUND_IN: US
REFERENCES: (3 citations)
Spaeth-ReadWeep, pp. 190-191, "She Is More to Be Pitied than Censured" (1 text, 1 tune)
Silber-FSWB, p. 267, "She Is More To Be Pitied Than Censured" (1 text)
DT, PITYCENS*
Roud #15477
RECORDINGS:
Richard Brooks & Reuben [or Riley] Puckett, "She's More To Be Pitied" (Brunswick 281, 1928; Supertone S-2075, 1930)
Four Aces, "She's More to be Pitied" (Bluebird B-7765/Montgomery Ward M-7724, 1938)
Lester McFarland & Robert Gardner, "She's More to be Pitied than Censured" (Melotone 12241 [may have been issued as by Bob Lester & Bud Green], 1931; Conqueror 8004 [as Mac and Bob], 1932; rec. 1930)
CROSS_REFERENCES:
cf. "Let Old Nellie Stay" (theme)
File: SRW190
===
NAME: She Just Kept Kissing On: see Kissing Song (II -- She Just Kept Kissing On) (File: Br3313)
===
NAME: She Leaves Memphis: see Captain Jim Rees and the Katie (File: MWhee010)
===
NAME: She Loves Coffee and I Love Tea
DESCRIPTION: "I love coffee, I love tea, I love the boys and the boys love me, Wish my mama would hold her tongue, She loved the boys when she was young." "I wish my papa would do the same, For he caused a girl to change her name."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: courting nonballad playparty
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 91, "She Loves Coffee and I Love Tea" (2 text plus 1 excerpt and mention of 2 more)
Roud #740
CROSS_REFERENCES:
cf. "Grandma's Advice" (theme)
NOTES: This looks like it might be a fragment of "Grandma's Advice" or something similar. Since, however, the Brown texts all seem to survive in similar form, I've given it a separate listing. - RBW
I concede that it is a stretch to make a connection with Opie-Oxford2 386, "One, two, three": "One, two, three, I love coffee, And Billy loves tea, How good you be, One, two, three, I love coffee, And Billy loves tea" (earliest date in Opie-Oxford2 is 1842). - BS
Whatever the origin of the Opie item, it is also found in Baring-Gould-MotherGoose #629, p. 249-250. - RBW
File: Br3091
===
NAME: She May Have Seen Better Days
DESCRIPTION: "While strolling along Õmidst the cityÕs vast throng, On a night that was bitterly cold," the singer sees a crowd teasing a woman in tears. She has clearly fallen on hard times, but someone notes "she might have seen better days." The crowd is silenced
AUTHOR: James Thornton
EARLIEST_DATE: 1894 (sheet music)
KEYWORDS: drink poverty hardtimes
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 123-124, "She May Have Seen Better Days" (1 text)
Roud #9582
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_, pp. 255-256, James Thornton was a very popular songwriter from about 1892 to 1898, producing such songs as "My Sweetheart's the Man in the Moon," "Don't Give Up the Old Love for the New," "Going for a Pardon," and (especially) "When You Were Sweet Sixteen." Spaeth, p. 256, notes that this song is "usually paired with William B. Gray's She Is More to Be Pitied than Censured" as the acme of the maudlin." - RBW
File: Dean123
===
NAME: She Moved Through the Fair (Our Wedding Day)
DESCRIPTION: Singer meets his love, who tells him it will not be long until their wedding day, then leaves and "moves through the fair." (Later, her ghost repeats that it will not be long until their wedding. Alternately, she deserts him and he enlists in the army)
AUTHOR: unknown
EARLIEST_DATE: 1909 (Hughes)/1926 (Sam Henry)
KEYWORDS: love wedding death ghost nightvisit supernatural abandonment army
FOUND_IN: Ireland
REFERENCES: (5 citations)
Kennedy 165, "Our Wedding Day" (1 text, 1 tune)
SHenry H141, pp. 395-396, "Out of the Window" (1 text, 1 tune); H534, p. 454, "Our Wedding Day" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 153-154, "My Young Love Said to Me" (1 text, 1 tune)
DT, MOVEFAIR
ADDITIONAL: Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), p. 322, "She Moved Through the Fair" (1 text, the Colum recension)
Roud #861
RECORDINGS:
Margaret Barry, "She Moved Through the Fair" (on Lomax42, LomaxCD1742, Voice10); "She Moved Through the Fair (Our Wedding Day)"and "She Moved Through the Fair" [long version] (both on IRMBarry-Fairs; one of these is the same as the preceding); "She Moves Through the Fair" (on Pubs1)
Robert Cinnamond, "She Moves Through the Fair" (on IRRCinnamond02)
Francis McPeake, "Our Wedding Day" (on FSB1)
Pete Seeger, "She Moved Through the Fair" (on PeteSeeger14)
Paddy Tunney, "Our Wedding Day" (on IRPTunney01)
CROSS_REFERENCES:
cf. "I Once Had a True Love" (floating lyrics)
NOTES: [The well-known version "She Moved Through the Fair" is credited to Padraic Colum (lyrics) and Herbert Hughes (arrangement of traditional tune). This was published in 1909 in volume I of Hughes's _Irish Country Songs_. - RBW]
Colum and Hughes apparently pieced this together from traditional fragments. The Margaret Barry version has become canonical in the folk revival -- but she learned it from a John McCormack 78! - PJS
Proving exactly what happened here is a difficult task, because the first actual publication of the song was of the Colum/Hughes text in 1909. But it's noteworthy that traditional versions, such as Kennedy's and the Sam Henry "Out of the Window," are much longer than the Colum/Hughes text.
It would appear that Colum and Hughes did more cutting-down than actual reworking. If we compare the "standard" text of "She Moved Through the Fair" with, say, the Kennedy text, we find that Colum's first two stanzas are straight out of tradition. The final stanza, about the dead love, is largely from traditional sources -- but doesn't mention the dead love! And we see parallels to that verse in one of the Sam Henry texts (H534), though the latter may have been inspired by the published text.
Margaret Barry's version omits the third stanza of the Colum text. I observe that this verse doesn't scan very well to the tune; you can make it fit, but it sounds a bit unnatural.
Kennedy actually refers *five* texts in the Henry collection to this piece, but only the two above are properly this song; the others are of the "If I Were A Blackbird/Courting Too Slow" type (and filed on that basis); they may have influenced Colum's final verse (since there are lyric similarities), but they are assuredly not the same song.
I thought about listing "She Moved Through the Fair" and "Our Wedding Day" as two separate songs, but this would obscure the clear relationship between the two. I decided on the title "She Moved Through the Fair," even though it's not properly traditional, because it is so much more familiar. - RBW
Tunney-StoneFiddle: The first verse is identical to Padraic Collum's "She Moved Through the Fair." Tunney refers also to a Sam Henry version "but my mother's tune and indeed some of the words are quite different." The reference seems to be to H534, p. 454, "Our Wedding Day." - BS
File: K165
===
NAME: She Moves Through the Fair: see She Moved Through the Fair (Our Wedding Day) (File: K165)
===
NAME: She Perished in the Snow: see Three Perished in the Snow [Laws G32] (File: LG32)
===
NAME: She Promised She'd Meet Me: see Hungry Hash House (File: San207)
===
NAME: She Said She Was Only Flirting
DESCRIPTION: "They stood on the beach at evening, Under the sunset so fair." He tells of his love for her; she tells him, "Oh sir, I was only flirting...." She says she is engaged to another, and goes her way. We are told he is "Too soon grown worn and old."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: love courting lie betrayal parting
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 764, "She Said She Was Only Flirting" (1 text plus mention of 1 more, 1 tune)
Roud #7359
CROSS_REFERENCES:
cf. "Willie Down by the Pond (Sinful to Flirt)" [Laws G19]
cf. "Juanita" (theme)
NOTES: The middle stanzas of this piece are almost identical in meaning (except with genders reversed) to "Juanita," though the wording is somewhat different. The endings, however, are completely different. - RBW
File: R764
===
NAME: She Said the Same to Me
DESCRIPTION: "'Twas in the month of August, or the middle of July, One evening I went walking, a fair maiden I did spy; She was mournin' for her true love, who was in Amerikee, Agh, divil a word I said to her, and she said the same to me!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: separation emigration
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 38-39, "She Said the Same to Me" (1 short text, 1 tune)
Roud #13616
File: San038
===
NAME: She Sat on Her Hammock: see Oh, How He Lied (File: FSWB031B)
===
NAME: She Tickled Me
DESCRIPTION: The singer meets Molly in Kent. Seeing her home they stop under a tree to avoid the rain. "She tickled me and I tickled her." After twelve months they marry. After dinner "we had a few games of card dice and chess and we both toddled off into bed"
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: courting marriage humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 63, "She Tickled Me" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "I Tickled Nancy" (floating lyrics)
File: McB1063
===
NAME: She Was a Rum One
DESCRIPTION: Singer falls in with a girl and asks why she walks in such an inhibited way. He says he can solve her problem; she says the problem lies between her thighs. He lays her down and provides a plaster, and says she's given him "a stable for my stallion"
AUTHOR: unknown
EARLIEST_DATE: 1953 (recorded from Jeannie Robertson)
LONG_DESCRIPTION: Singer, in the moonlight, falls in with a young girl walking and asks why she walks in such an inhibited way; she tells him to go away. He says he can solve her problem; she says the problem lies between her thighs, and its tickling keeps her from her striding. He lays her down and provides a plaster, whereby she can walk freely again. He says she's given him his winter's beef and fuel, but, better than that, "a stable for my stallion." Chorus: "She was a rum one, fol-the-diddle-di-do-day/But a bonny one, fol-the-diddle-di-do"
KEYWORDS: sex bawdy
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Kennedy 190, "She Was a Rum One" (1 text, 1 tune)
DT, RUMONE*
Roud #2128
RECORDINGS:
Jeannie Robertson, "She is a Rum One" (on FSB2CD)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" (general situation)
File: K190
===
NAME: She Was Happy Till She Met You
DESCRIPTION: A young wife leaves her abusive husband and goes home to her mother. Eventually he shows up at the mother's door, asking her forgiveness. The mother sends him away, saying, "She was happy till she met you, and the fault is all your own...."
AUTHOR: Charles Graham and Monroe H. Rosenfeld
EARLIEST_DATE: 1899 (copyright)
KEYWORDS: separation abuse abandonment husband wife
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 827, "She Was Happy Till She Met You" (2 texts)
BrownII 164, "She Was Happy till She Met You" (1 text)
Roud #6565
File: R827
===
NAME: She Was Poor But She Was Honest (I)
DESCRIPTION: A mock lament in which the village maid seduced goes to London to become a prostitute. While her customers prosper, she becomes a pox-ridden streetwalker burdened with piles. The moral: the rich takes their pleasures while the poor get the blame.
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: bawdy humorous
FOUND_IN: Australia Canada Britain(England) US(SW)
REFERENCES: (6 citations)
Cray, pp. 128-132, "She Was Poor But She Was Honest I" (3 texts, 1 tune)
PBB 108, "She Was Poor, But She Was Honest" (1 text, 1 tune)
Sandburg, pp. 200-201, "It's The Syme the Whole World Over" (1 text, 1 tune)
JHJohnson, pp. 15-16, "She Was Poor But She Was Honest" (1 text)
Silber-FSWB, p. 27, "It's The Syme The Whole World Over" (1 text)
DT, SYMEOVR5*
Roud #9621
CROSS_REFERENCES:
cf. "She Was Poor But She Was Honest (II)" (tune & meter)
NOTES: The Sandburg text is described as "fortified in part by H.L Mencken and a contributor to The American Mercury." - RBW
File: EM128
===
NAME: She Was Poor But She Was Honest (II)
DESCRIPTION: An adaptation of the English original, this is a lampoon of a former governor of Alabama, "Kissing Jim" Folsom, who sired a child out of wedlock.
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: bawdy humorous political seduction
FOUND_IN: US(SW,So,Ap,SE)
REFERENCES: (3 citations)
Cray, pp. 132-133, "She Was Poor But She Was Honest II" (1 text, 1 tune)
Randolph-Legman I, pp. 286-288, "She Was Poor But She Was Honest" (1 text, 1 tune)
DT, SYMEOVER* SYMEOVR4
RECORDINGS:
Anonymous singer, "Big Jim Folsom" (on Unexp1)
CROSS_REFERENCES:
cf. "She Was Poor But She Was Honest (I)" (tune & meter)
File: EM132
===
NAME: She Won't Get Up: see Lazy Mary (She Won't Get Up) (File: R396)
===
NAME: She'll Be Coming Round the Mountain
DESCRIPTION: "She'll coming round the mountain when she comes."  The unidentified "she" arrives with great pomp and ceremony, and is greeted with celebration (e.g. the killing and cooking of the old red rooster). The song often is supplemented by summer camp nonsense
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Henry Whitter)
KEYWORDS: travel nonballad
FOUND_IN: US(SE)
REFERENCES: (6 citations)
BrownIII 460, "She'll Be Coming 'Round the Mountain" (1 text)
Sandburg, pp. 372-373, "She'll Be Comin' Round the Mountain" (1 text, 1 tune plus a spiritual Sandburg describes as the source of the song)
Lomax-FSNA 214 "She'll Be Comin' Around the Mountain" (1 text, 1 tune)
Pankake-PHCFSB, p. 276, "She'll Be Comin' 'Round the Mountain" (1 text)
Fuld-WFM, pp. 496-497, "She'll Be Comin' Round the Mountain"
DT, COMRND2*
Roud #4204
RECORDINGS:
H. M. Barnes & his Blue Ridge Ramblers, "She'll Be Comin' 'Round the Mountain When She Comes" (Brunswick 310, 1929/Supertone S-2052, 1930)
Vernon Dalhart, "She's Comin' Round the Mountain" (Montgomery Ward M-8148, 1939)
Vernon Dalhart & Co., "She's Comin' 'Round the Mountain" (Edison 51608, 1925)
Al Hopkins & his Buckle Busters, "She'll Be Comin' Round the Mountain" (Brunswick 181/Vocalion 5240 [as the Hill Billies], 1927)
Uncle Dave Macon & John McGhee, "Comin' Round the Mountain" (Brunswick 263, 1928; Brunswick 425, 1930)
John D. Mounce et al, "She'll Be Comin' Round the Mountain" (on MusOzarks01)
Elmo Newcomer, "She'll Be Comin' 'Round the Mountain" CroMart 100, n.d. but prob. late 1940s - early 1950s)
Parman and Snyder, "She'll Be Coming Around the Mountain" (OKeh 45302, 1929; rec. 1928)
Pickard Family, "She'll Be Comin' Round the Mountain" (Oriole 1502/Conqueror 7251/Microphone [Canada] 22388, 1929; Challenge 992, n.d.; Broadway 8148 [as Pleasant Family], n.d.)
Red River Dave, "She'll Be Coming Round the Mountain" (Musicraft 287, 1944)
Rhythm Wreckers, "She'll Be Comin' Round the Mountain" (Vocalion 3341, 1936)
Carson Robison [Trio], "She'll Be Comin' 'Round the Mountain" (Crown 3027, c. 1930)
Roe Bros. & Morrell, "She'll Be Coming Round the Mountain" (Columbia 15156-D, 1927)
Pete Seeger, "She'll Be Coming Round the Mountain" (on PeteSeeger03, PeteSeegerCD03) (on PeteSeeger21)
Gid Tanner & his Skillet Lickers, "She'll Be Comin' Round the Mountain" (Columbia 15200-D, 1927; rec. 1926)
Henry Whitter, "She'll Be Comin' Round the Mountain" (OKeh 40063, 1924)
Jimmie Wilson & his Catfish String Band, "She's Comin' Round the Mountain" (Victor V-40163, 1929)
CROSS_REFERENCES:
cf. "The Old Ship of Zion (I)"  (form, tune, lyrics)
cf. "I Am Growing Old and Gray" (tune)
cf. "Drive It On" (tune)
cf. "Ye Cannae Shove Yer Granny" (tune)
cf. "Ding Dong Dollar" (tune)
cf. "Ballymurphy" (tune)
SAME_TUNE:
I'm Going to Ship on the Mike Davis (Wheeler, p. 115)
Bill Cox, "She'll Be Comin' 'Round the Mountain - No. 2" (Supertone 9556, 1929)  [Also apparently issued as by Charley Blake, same record number]
Fiddlin' John Carson, "The New 'Comin' Round the Mountain'" (Bluebird B-5401, 1934)
Mickey Katz, "She'll Be Coming 'Round the Katzkills" (Capitol 1718, 1951)
Anonymous singer, "There's a 'Skeeter" (on Unexp1)
NOTES: Fuld reports that "substantially this melody" was in print in 1899 in "Old Plantation Hymns," but the text was "When the Chariot Comes." Fuld assumes the "Round the Mountain" lyrics are more recent (he knows of no printing before Sandburg).
The notes in Brown list it as a "parody or secularization of 'The Old Ship of Zion'" (included in the index as "The Old Ship of Zion (I), but note that the phrase is not found in Sandburg's spiritual version); Roud goes so far as to lump them. The Brown text does mention Mary, though it's not clear that this is the mother of Jesus. - RBW
The anonymous singer on Unexp1 sings "There's a 'skeeter on my peter, sweet Marie." Folk process. - PJS
File: San372
===
NAME: She's a Flower from the Fields of Alabama
DESCRIPTION: "It was one evening long ago" when the singer went to ask the hand of the girl. Her mother gladly consents. He looks back happily. Chorus: "She's a flower from the fields of Alabam, Take her for she loves you, yes I know...."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Emry Arthur)
KEYWORDS: love courting marriage
FOUND_IN: US
REFERENCES: (1 citation)
DT, FLWRALBM
RECORDINGS:
Emry Arthur, "She's a Flower from the Fields of Alabama" (Vocalion 5234, 1928)
[Richard] Burnett & [Leonard] Rutherford, "She's a Flower from the Fields of Alabama" (Gennett 6688/Challenge 420 [as Bunch & Jennings], 1929; rec. 1928; on BurnRuth01, KMM)
Sue & Rawhide, "She's a Flower from the Fields of Alabama" (OKeh 45577, 1934)
NOTES: Given the near-lack of plot, I have to suspect that this is a nineteenth century parlour piece. But I can't trace it back past the Burnett & Rutherford recording (made at their last dated recording session in 1928). - RBW
 I've traced it back a little farther; the Emry Arthur recording was made sometime in January, 1928, while the Burnett & Rutherford was made on October 29 of that year. - PJS
File: DTflweral
===
NAME: She's Gone to be a Mormonite
DESCRIPTION: "I'll tell you what I'm going to do And that without delay, I'll pack my trunk and I'll be off, I'll go this very day." The singer tells of a girl who's "Gone to be a Mormonite In the new Jerusalem." (He?) knows not where she is, except that she's Mormon
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: separation travel marriage religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 501, "She's Gone to be a Mormonite" (1 text)
Roud #7640
NOTES: Although I have no direct evidence of it, I suspect -- both for psychological reasons (why would a *girl* want to be a Mormon?) and the strange constructions in Randolph's text of the song -- that it was a man who was originally referred to here. (So, apparently, in Hubbard's version.) How it came to refer to a woman I do not know.
To be fair, there was a legend that said that Mormon men were particularly sexually proficient (see the notes to "The Mormon Cowboy" in Logdson's _The Whorehouse Bells Were Ringing_), and Fawn M. Brodie's biography of Joseph Smith, _No Man Knows My History_ (1945, 1971; I use the 1995 Vintage Books edition), p. xii, notes that Smith had some fifty wives in his life, most of them voluntary -- and that over 200 wives "married" him after his death. (Of course, they were safe from him when dead.) - RBW
File: R501
===
NAME: She's Got the Money Too: see He's Got the Money Too (File: R299)
===
NAME: She's Like the Swallow
DESCRIPTION: "She's like a swallow that flies so high, She's like a river that never runs dry, She's like the sunshine on the lee shore, I love my love and love is no more." A lament for a lost girl: "She laid her down, no word she spoke, until [her] heart was broke"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Karpeles-Newfoundland)
KEYWORDS: death separation loneliness
FOUND_IN: Canada(Newf)
REFERENCES: (7 citations)
Peacock, pp. 711-714, "She's Like the Swallow" (2 texts, 2 tunes)
Fowke/Johnston, pp. 140-141, "She's Like the Swallow" (1 text, 1 tune)
Fowke/MacMillan 63, "She's Like the Swallow" (1 text, 1 tune)
Karpeles-Newfoundland 83, "She's Like the Swallow" (1 text, 1 tune)
Blondahl, p. 120, "She's Like the Swallow" (1 text, 1 tune)
Silber-FSWB, p. 150, "She's Like The Swallow" (1 text)
DT, SWLLOW*
Roud #2306
RECORDINGS:
Anita Best and Pamela Morgan, "She's Like the Swallow" (on NFABestPMorgan01)
Omar Blondahl, "She's Like the Swallow" (on NFOBlondahl05)
NOTES: Fowke observes, "The lines suggest an English origin, and probably they formed part of a longer song [perhaps similar to "The Butcher Boy"?], but the years have polished the fragment that survives until it approaches perfection." - RBW
File: FJ140
===
NAME: Shearer and the Swaggie, The
DESCRIPTION: A gun shearer finishes his work, collects his pay, and takes to the road. He meets a swaggie; they camp. In the night, afraid for his pay, he flees at a noise. The swaggie also runs, afraid of the shearer. They meet again and wonder why they are running
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: money rambling hobo sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 147-149, "The Shearer and the Swaggie" (1 tune)
File: MCB147
===
NAME: Shearer's Dream
DESCRIPTION: "Oh, I dreamt I shore in a shearin'-shed, and it was a dream of joy, For every one of the rouseabouts was a girl dressed up as a boy." He dreams of clean sheep, of a cool, comfortable shed, of happy dances with the girls... and wakes to find it a dream
AUTHOR: attributed to Henry Lawson
EARLIEST_DATE: 1902 (Lawson's _Children of the Bush_)
KEYWORDS: dream work sheep Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 116-117, "The Shearer's Dream" (1 text, 1 tune)
Manifold-PASB, pp. 164-165, "The Shearer's Dream" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 202-204, "The Shearer's Dream" (1 text)
NOTES: Henry Lawson published this, but it is not clear from the extant records whether he actually wrote it or just touched it up. Paterson/Fahey/Seal, note an informant who claim to have learned it in 1884. It is worth noting that two different tunes are known. - RBW
File: MA116
===
NAME: Shearer's Hardships, The: see The Station Cook (File: PASB090)
===
NAME: Shearer's Song, The: see Four Little Johnny Cakes (File: PFS276)
===
NAME: Shearin's Nae for You, The
DESCRIPTION: The girl is urged to "tak the ribbons fae yer hair" or the "flounces frae yer gown," because her "belly's roarin' fu'." She blames the young man (soldier?) for seducing her. He urges her to mind her baby. Other mutual accusations may follow
AUTHOR: unknown
EARLIEST_DATE: 1906 (Grieg collection)
KEYWORDS: sex seduction childbirth soldier dialog accusation abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
DT, SHEARNAE* SHEARNA2*
Roud #4845
CROSS_REFERENCES:
cf. "Alford Vale" (tune)
cf. "Kelvingrove" (tune)
ALTERNATE_TITLES:
Bonnie Lassie O
NOTES: This song supplies the melody for a poem by Thomas Lyle, "Kelvingrove" or "Kelvin Grove," which apparently is sung in the Scottish schools despite being utterly disdained by folksingers.
Lest we be too nasty about Kelvin Grove, we note that the Kelvin Stream (a small river near Glasgow) gave its name to William Thomson, who would in time become Baron Kelvin of Largs (commonly called Lord Kelvin). The Kelvin temperature scale of course is named after him.
And well deserved, because -- while Kelvin did not invent thermodynamics (depending on how you look at things, either Sadi Carnot or James Joule did that), he expanded on Joule's work and made it a part of the standard physics. Which is extremely important, since thermodynamics is pretty much the basis of all of physics (e.g. the inverse square law governing gravity and electromagnetism follows from the first law of thermodynamics -- think of a source giving off a pulse of gravity waves, which expand along the surface of the sphere. Since the total energy must be constant, and the surface area of a sphere increases according to the square of the radius, the potential must decrease with the square of the radius.)
So, anyway, though Kelvingrove the poem is unmemorable, Kelvin the place has a noble niche in the history of science. - RBW
File: RcShNaYo
===
NAME: Shearing at the Castlereigh
DESCRIPTION: "The bells are set a-ringing and the engine gives a toot, There are five-and-thirty shearers here a-shearing for the loot." The shearers are reminded that London depends on Castlereigh wool. The boss complains that the shearers were "born to swing a pick"
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work boss sheep Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 275, "Shearing at the Castlereigh" (1 text, 1 tune)
File: MA275
===
NAME: Sheath and Knife [Child 16]
DESCRIPTION: The princess (Jeannie) is pregnant by her brother. Rather than reveal the truth, the two leave for the greenwood, where he shoots here and buries her "with their bairn at her feet." He returns home, but even the joys of royalty cannot console him.
AUTHOR: unknown
EARLIEST_DATE: 1796 (Scots Musical Museum)
KEYWORDS: homicide incest pregnancy burial mourning royalty
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Child 16, "Sheath and Knife" (6 texts)
Bronson 16, "Sheath and Knife" (2 versions)
DT 16, SHEATHKF* SHTHKNF2 SHTHKNF3
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #64, "Sheath and Knife" (1 text)
Roud #3960
CROSS_REFERENCES:
cf. "Leesome Brand" [Child 15] (lyrics about the "sheathe and knife)
cf. "The Bonnie Hind" [Child 50] (plot, lyrics)
NOTES: On the scientific evidence that brothers and sisters raised apart are particularly likely to fall in love, and some further speculation as to why, see the notes to "Babylon, or, The Bonnie Banks o Fordie [Child 14]." - RBW
File: C016
===
NAME: Sheelicks
DESCRIPTION: About a riotous wedding, attended by all whether invited or not, at McGinty's. A tailor with a wooden leg loses it in mid-dance; a cyclist is carried home in a wheelbarrow; a man comes with a hundred pounds, goes home with nothing. Plus the food is bad.
AUTHOR: George Bruce Thomson
EARLIEST_DATE: 1910 (Grieg)
LONG_DESCRIPTION: Singer tells of a riotous wedding, attended by all whether invited or not, at McGinty's Meal and Ale. Mrs. McGinty trips over a pig; a tailor with a wooden leg loses it in mid-dance; a bicyclist is carried home in a wheelbarrow; another man comes with a hundred pounds, goes home with nothing. The food is bad, besides. Chorus: "Hi, hi, went the drum! Diddle, diddle, went the fiddle/.../And the jing-a-ring went roond aboot like sheelicks in a riddle"
KEYWORDS: disability wedding dancing drink food party humorous animal
FOUND_IN: Britain(Scotland))
REFERENCES: (2 citations)
MacSeegTrav 109, "Sheelicks" (1 text, 1 tune)
DT, MEALNAL2*
Roud #2518
CROSS_REFERENCES:
cf. "The Blythesome Bridal" (theme) and references there
ALTERNATE_TITLES:
McGinty's Wedding
NOTES: [MacColl & Seeger's] informant, Maggie McPhee, has evidently transplanted bits of another Thompson piece, "McGinty's Meal and Ale", into "Sheelicks." His compositions evidently entered tradition around the turn of the 19th-20th centuries, as Greig collected them from informants over a wide area. "Sheelicks", by the way, are husked grain; a riddle is a sieve. - PJS
File: McCST109
===
NAME: Sheep Shell Corn by the Rattle of His Horn
DESCRIPTION: "Sheep shell corn by the rattle of his horn, blow, horn, blow, Send to the mill by the whippoorwill." "O! blow your horn, blow, horn, blow" (x2) Verses about life at corn-shucking time and a desire to have done for the day.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work food animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 196, "Sheep Shell Corn by the Rattle of His Horn" (1 text plus 1 fragment and a mention of 1 more)
File: Br3196
===
NAME: Sheep Stealer, The
DESCRIPTION: The singer goes out in "the night when the moon do shine bright, There's a number of work to be done ... on another man's ground." He steals sheep and takes them home to be butchered by his children while he stands guard against the constable.
AUTHOR: unknown
EARLIEST_DATE: 1905 (ENMacCollSeeger02)
KEYWORDS: sheep children thief theft
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
DT, SHPSTEAL
RECORDINGS:
Ewan MacColl and Peggy Seeger, "The Sheep Stealer" (on ENMacCollSeeger02)
NOTES: From ENMacCollSeeger02 album cover notes: "H.E.D. Hammond recorded two Dorset sets of this curious song in 1905 and 1906." - BS
File: RcTShSte
===
NAME: Sheep-Shearing, The
DESCRIPTION: Singer praises sheep and shearing. The singer laments that the sheep must be sheared in the June heat. In some versions, the singer tells of the master's demands for more wool. The song ends "when all our work is done" and the crew goes celebrating
AUTHOR: unknown
EARLIEST_DATE: 1760
KEYWORDS: work nonballad sheep drink
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Sharp-100E 95, "The Sheep Shearing" (1 text, 1 tune)
Kennedy 267, "The Black Ram" (1 text, 1 tune)
DT, SHEEPSHR SHEEPSH2*
Roud #879
CROSS_REFERENCES:
cf. "The Sweet Nightingale" (tune)
NOTES: "The Sweet Nightingale", with which this song shares a tune, is not to be confused with "One Morning in May". -PJS
File: ShH95
===
NAME: Sheepcrook and Black Dog
DESCRIPTION: The singer asks the girl to marry him. She says she is too young; she will work for a fine lady for a time. Later she writes to him to say that she is happy where she is and does not wish to wed a shepherd. He abandons his work and its tools
AUTHOR: unknown
EARLIEST_DATE: 1775 (broadside, "The Constant Shepherd and the Unconstant Shepherdess")
KEYWORDS: love betrayal work servant shepherd youth
FOUND_IN: Ireland Britain(England), Canada(Mar,Newf,Ont)
REFERENCES: (5 citations)
SHenry H30a, p. 390, "My Flora and I" (1 text, 1 tune)
MacSeegTrav 70, "Sheep-Crook and Black Dog" (1 text, 1 tune)
Peacock, pp. 480-481, "My Flora and Me" (1 text plus an excerpt, 2 tunes)
Karpeles-Newfoundland 58, "Floro" (1 text, 3 tunes)
Creighton-Maritime, p. 82, "The Young Shepherd" (1 text, 1 tune)
Roud #948
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Sheepcrook and Black Dog" (on ENMacCollSeeger02)
ALTERNATE_TITLES:
Fine Laurel
The Unkind Shepherdess
File: HHH030a
===
NAME: Sheepfold, The
DESCRIPTION: "Whilst tyrants grasp with greedy aim ... As Friends of Freedom we aspire The Rights of Man for to require." Holy scripture tells "that all men shall be one sheepfold and under one great master." That time is coming and "we will strive to haste it faster"
AUTHOR: unknown
EARLIEST_DATE: 1798 (_Paddy's Resource_(New York), according to Moylan)
KEYWORDS: nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 16, "The Sheepfold" (1 text)
NOTES: The discussion of Jesus as Shepherd occupies most of John 10, with the reference to one flock and one shepherd in John 10:16. - RBW
File: Moyl016
===
NAME: Sheepskin and Beeswax: see Aunt Jemimah's Plaster (File: R414)
===
NAME: Sheepwasher, The
DESCRIPTION: "When first I took the Western track, 'twas many years ago, No master then stood up so high, no servant stood so low." The singer recalls how he used to have a much better life. He urges ordinary Queenslanders to unite against tyranny
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: Australia hardtimes poverty work
FOUND_IN: Australia
REFERENCES: (1 citation)
Manifold-PASB, p. 138, "The Sheepwasher" (1 text, 1 tune)
File: PASB138
===
NAME: Sheepwasher's Lament, The
DESCRIPTION: "Come now, ye sighing washers all, Join in my doleful lay, Mourn for the times none can recall." The singer remembers good days: "The master was a worker then, The servant was a man." But since the sixties, conditions have grown much worse
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: hardtimes sheep work
FOUND_IN: 
REFERENCES: (1 citation)
Paterson/Fahey/Seal, pp. 204-207, "The Sheepwasher's Lament" (1 text)
File: PFS204
===
NAME: Sheet Mill Man
DESCRIPTION: "Go away, go away, you sheet mill man, There's a better job in a distant land." The singer plans to head for Knoxville, but arrives home "condemned to die." People cheat him of his pay. He asks to be buried with with "an old flat sheet"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry)
KEYWORDS: technology death burial hardtimes drink
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 12-13, "Sheet Mill Man" (1 text)
NOTES: Nowhere in Henry's (seemingly unique) text does it explain why the sheet mill worker is condemned to die; he goes away to marry a wife in Knoxville, but he comes home sounding like a condemned prisoner. Is it that he cannot find a job elsewhere and so simply has to return to the old grind? Or is it perhaps an industrial accident? The informant learned it at an aluminum plant in Alcoa, Tennessee -- but, at the time this song was composed, there does not seem to have been any reason to think aluminum dangerous. John Emsley, _Nature's Building Blocks: An A-Z Guide to the Elements_, Oxford, 2001, 2003, p. 22. reports that high blood levels of aluminum can cause "dialysis dementia," but this was not known until the 1970s. - RBW
File: MH012
===
NAME: Sheffield 'Prentice Boy, The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Sheffield Apprentice, The [Laws O39]
DESCRIPTION: The singer abandons his work in London to go to Holland. His new mistress proposes marriage. He refuses her; he is already engaged. His mistress plants evidence on him and has him condemned as a thief. He bids his Polly farewell and is hanged
AUTHOR: unknown
EARLIEST_DATE: 1804
KEYWORDS: travel courting farewell trick lie execution apprentice
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf) Britain(Scotland,England)
REFERENCES: (21 citations)
Laws O39, "The Sheffield Apprentice"
Belden, pp. 131-132, "The Sheffield Apprentice" (1 text)
Flanders/Brown, pp. 94-96, "In the Town of Oxford" (1 text, 1 tune)
FSCatskills 55, "The Holland Song"  (1 text, 1 tune)
Warner 80, "Way Up in Sofield (or, The Sheffield Apprentice)"; 152, "The Sheffield 'Prentice" (2 texts, 2 tunes)
JHCox 83, "The Sheffield Apprentice" (1 text)
BrownII 120, "The Sheffield Apprentice" (1 text plus 1 excerpt and mention of 1 more)
Chappell-FSRA 80, "The Sheffield Prentice" (1 text, 1 tune)
Brewster 57, "The Sheffield Apprentice" (1 text)
Cambiaire, pp. 80-81, "Farewell, Lovely Polly" (1 text)
Dean, pp. 18-19. "The Apprentice Boy" (1 text)
Gardner/Chickering 16, "The Sherfield (sic.) Apprentice" (1 tex t plus mention of 1 more)
SharpAp 97, "The Sheffield Apprentice" (5 texts, 5 tunes)
SHenry H31, p. 411, "The 'Prentice Boy" (1 text, 1 tune)
Huntington-Whalemen, pp. 192-194, "The Sheffield 'Prentice Boy" ( text)
Ord, pp. 421-422, "The Sheffield Apprentice" (1 text, 1 tune)
Creighton/Senior, pp. 203-206, "The Sheffield Prentice" (3 texts, 1 tune)
Creighton-SNewBrunswick 17, "The Sheffield Prentice" (1 text, 1 tune)
Peacock, pp. 709-710, "The Sheffield Apprentice" (1 text, 1 tune)
Leach-Labrador 132, "The Sheffield Apprentice" (2 texts, 2 tunes)
DT 489, SHEFFAPP*
Roud #399
BROADSIDES:
Bodleian, Harding B 28(23), "Sheffield Apprentice," W. Armstrong (Liverpool), 1820-1824; also Firth b.26(316), Firth b.34(270), Firth b.26(499), Harding B 11(624), Harding B 15(281a), "Sheffield Apprentice"; 2806 c.16(20), Harding B 11(3489), Firth b.34(269), Harding B 25(1763), Harding B 17(282a), Harding B 28(235), Harding B 28(249), Harding B 11(4098), Harding B 11(3490)[a few illegible words], Harding B 15(282a), Harding B 20(127), "[The] Sheffield 'Prentice"
CROSS_REFERENCES:
cf. "Child Owlet" [Child 291]
ALTERNATE_TITLES:
I Was Brought Up in Cornwall
The Apprentice Boy
NOTES: Compare this story to the biblical tale of Joseph and Potiphar's wife (Genesis 39:1-20) - RBW
File: LO39
===
NAME: Sheffield Prentice, The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Sheila Nee Iyer
DESCRIPTION: Singer meets Sheila Nee Iyer. She tells him to leave off flattering and go away. He claims he would never prove false. "O had I the wealth of the Orient ... I would robe you in splendour"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: courting rejection money
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 117, "Sheila Nee Iyer" (1 text, 1 tune)
Roud #3108
CROSS_REFERENCES:
cf. "Eileen McMahon" (aisling format)
cf. "Granuaile" (aisling format) and references there
ALTERNATE_TITLES:
Sheela na Guira
Sile Ni Ghadhra
NOTES: As in "Lough Erne Shore" and "The Colleen Rue," there is no resolution for the Tunney-StoneFiddle version.
"Sheila Nee Iyer, is surely a brilliant parody of the hedge schoolmaster aisling." (source: _For Want of Education:The origins of the Hedge Schoolmaster songs_ by Julie Henigan - 19.8.99 originally published in Ulster Folklife No 40 (1994): pp 27-38, reproduced at the Musical Traditions site).
Tunney-StoneFiddle, in a chapter titled "Gael meets Greek," writes "In the whole corpus of traditional song couched in the borrowed Bearla [English], there are none to compare with the high-minded effusions of our hedge-school-master poets. These songs are readily recognisable by the plenitude of classical allusions they contain and by the adaptation of the Gaelic assonantal rhyme, used extensively by the Gaelic Aisling poets of the eighteenth century." The songs in that chapter, illustrating his point, are "Lough Erne Shore," "Sheila Nee Iyer," "Colleen Rue" and "The Flower of Gortade"; the most extreme example among those is "Sheila Nee Iyer." - BS
For discussion of aislings, see the notes to "Eileen McMahon" and "Granuaile." For a list of songs in the Index meeting the definition of the Aisling, see "Granuaile."
File: TSF117
===
NAME: Shells of the Ocean: see I Never Will Marry [Laws K17] (File: LK17)
===
NAME: Shenandoah
DESCRIPTION: Usually has chorus "Away, you rolling river... Away, we're bound away, across the wide Missouri (world of Misery, etc.)" The basic text seems to have told of the white man who "loved the Indian maiden" but came from a different world and now is returning
AUTHOR: unknown
EARLIEST_DATE: c. 1903 (recording, Minster Singers)
KEYWORDS: shanty courting separation Indians(Am.)
FOUND_IN: US(MA,NE) Canada(Mar)
REFERENCES: (22 citations)
Doerflinger, p. 77, "Shenandoah" (1 text, 1 tune)
Bone, pp. 104-105, "Shenandoah" (1 text, 1 tune)
Colcord, p. 83, "Shenandoah" (1 text, 1 tune)
Harlow, pp. 112-114, "Shenandoah" (1 text, 1 tune)
Hugill, pp. 173-178, "Shenandoah" (4 texts, 1 tune) [AbEd, pp. 140-143]
Sharp-EFC, XI, p. 13, "Shanadar (First version)" (1 text, 1 tune)
Linscott, pp. 148-149, "Shenandoah or The Wide Missouri" (1 short text, 1 tune)
Shay-SeaSongs, pp. 66-67, "Shenandoah" (1 text, 1 tune)
Smith/Hatt, p. 24, "Shanadore" (1 text)
Mackenzie 105, "Rolling River" (1 text, 1 tune)
Sandburg, p. 408, "The Wide Mizzoura" (1 text, 1 tune)
Lomax-FSUSA 41, "Shenandoah" (1 text, 1 tune)
Lomax-FSNA 25, "Shenandoah" (1 text, 1 tune)
Lomax-ABFS, pp. 543-546, "The Wild Miz-zou-rye" (1 text, 1 tune); p. 546, "Shenandoah" (1 text)
Fife-Cowboy/West 1, "Shenandoah" (1 text, 1 tune)
Darling-NAS, pp. 314-315, "Shenandoah" (1 text)
Arnett, p. 44, "Shenandoah" (1 text, 1 tune)
PSeeger-AFB, p. 17, "Shenandoah" (1 text, 1 tune)
Silber-FSWB, p. 85, "Shenandoah" (1 text)
DT, SHENDOAH*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Shenandoah!" is in Part 2, 7/21/1917.
Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 48, "Shanadar" (1 text, 1 tune, from Sharp; I suspect it may be composite; see the notes to "Shanadar (I)")
ST Doe077 (Full)
Roud #324
RECORDINGS:
[Al] Campbell & [Henry] Burr, "Shenandoah" (Columbia A-2300, 1917) (Victor 18327, 1917)
Minster Singers, "Shenandoah" (Victor 61147, n.d., prob. c. 1903)
Paul Robeson, "Shenandoah" (Victor 27430, 1941)
Pete Seeger, "Shenandoah" (on PeteSeeger18)
CROSS_REFERENCES:
cf. "Shanadar" (lyrics)
ALTERNATE_TITLES:
World of Misery
Across the Wide Missouri
The Rolling River
NOTES: Bone reports, "I have never heard this song sung at other duty than weighing anchor.... The very beauty of the air has even curbed the license of wild singers in the text. No bawdy lines, no plaint of mistreatment, no blasphemous exhortations were ranted in the singing of it." - RBW
File: Doe077
===
NAME: Shenandoah (II)
DESCRIPTION: Capstan shanty. "Oh, Shenandoh, my bully boy, I long to hear you holler, Way-ay, ay ay ay, Shenandoh. I lub ter bring er tot er tum en see ye make a swoller, Way-ay..."
AUTHOR: unknown
EARLIEST_DATE: 1914 (F.T. Bullen &  W.F. Arnold, _Songs of Sea Labor_)
KEYWORDS: shanty worksong
FOUND_IN: South America
REFERENCES: (1 citation)
Hugill, p. 177, "Shenandoah" (1 text, 1 tune-quoted from Bullen) [AbEd, p. 144]
Roud #324
NOTES: According to Hugill, this was a Negro shanty, but not used so much as sea as when heaving at the winches when working cargo. Bullen collected it in Georgetown, Demerara, South Africa. - SL
File: Hugi177
===
NAME: Shenandoah, The: see The Gals O' Dublin Town (File: Hugi140)
===
NAME: Shepherd Boy, The (David and Goliath)
DESCRIPTION: The singer dreams and sees a shepherd boy. The boy, David, is leaving his flock to go to the camp of Israel as they fight the Philistines. David kills Goliath with his sling. The singer drinks the health of the shepherd boy
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: Bible fight soldier
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H803, p. 79, "The Shepherd Boy" (1 text, 1 tune)
Graham, p. 6, "The Shepherd's Boy" (1 text, 1 tune)
Roud #5667
NOTES: The story of David and Goliath (actually *two* stories, carefully blended together, in one of which David is Saul's aide/court musician and in another he is a shepherd visiting the battle) is found in 1 Samuel 17.
This is reported to have originated as a Masonic song, but Moulden reports it is now sung by Orangemen, doubtless because of its theme of the small holding off the big and powerful. - RBW
File: HHH803
===
NAME: Shepherd Lad o' Rhynie, The
DESCRIPTION: "Come ye, oh come, my bonnie lass, We'll both join hands and marry." The girl wishes she could, but her father "keeps me under guard." Unable to win the girl, he jumps off a cliff in Rhynie. She dies for love
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting suicide death father
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 466-467, "The Shepherd Lad o' Rhynie" (1 text)
Roud #5152
File: Ord466
===
NAME: Shepherd Laddie, The: see The Crook and Plaid (File: HHH617)
===
NAME: Shepherd on the Hill, The
DESCRIPTION: "Whaur Gairn's bonnie mountain strea Fa's into winding Dee, Aft 'mang the shady birks we've met, My shepherd lad and me." He sets out to meet her on a cold winter's night, but never appears. At last his frozen body is found.
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love courting death
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 293-294, "The Shepherd on the Hill" (1 text)
Roud #5646
CROSS_REFERENCES:
cf. "Young Charlotte (Fair Charlotte)" [Laws G17] (theme)
File: FVS293
===
NAME: Shepherd, O Shepherd: see O Shepherd, O Shepherd (File: VWL074)
===
NAME: Shepherd, The: see The Young Shepherd (I) (File: CrMa108)
===
NAME: Shepherd's Boy, The: see The Shepherd Boy (David and Goliath) (File: HHH803)
===
NAME: Shepherd's Daughter and the King: see The Knight and the Shepherd's Daughter [Child 110] (File: C110)
===
NAME: Shepherd's Daughter, The: see The Knight and Shepherd's Daughter [Child 112] (File: C110)
===
NAME: Shepherd's Lament, The
DESCRIPTION: A (shepherd) and a young girl meet on a May morning. He wishes to marry, but she is too young and wishes to work as a servant. After she has left to go into the lady's service, he writes to ask her intent. She says that she never intended to marry him
AUTHOR: unknown
EARLIEST_DATE: 1767 (Journal from the Vaughn)
KEYWORDS: love courting separation apprentice servant youth floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 227-228, "The Shepherd's Lament" (1 text)
CROSS_REFERENCES:
cf. "The Green Bushes [Laws P2]" (theme, floating lyrics)
NOTES: This song consists almost entirely of floating material, with "The Green Bushes" being perhaps the largest single source (they also have some thematic similarities). But the result, in Huntington's opinion and my own, is a distinct song.
I don't know of any other pure versions, but it has so many traditional elements that I decided to include it in the Index. - RBW
File: SWMS227
===
NAME: Shepherd's Song, The
DESCRIPTION: "I'm a shepherd and I rise ere the sun is in the skies." The singer describes the hard work caring for, feeding, and selling sheep. If his girl will name the day they'll marry. He warns other shepherds against "fiery liquor" at show or fair.
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Willie Scott); c.1906 (according to Yates)
KEYWORDS: commerce work drink nonballad sheep shepherd
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (0 citations)
Roud #5124
RECORDINGS:
Willie Scott, "The Shepherd's Song" (on Voice20)
NOTES: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 20" - 15.1.04: "Willie (born 1897) learnt this sometime around 1906 from his brother Tom...." - BS
File: RcTSheSo
===
NAME: Shepherd's Virtuous Daughter, The
DESCRIPTION:  The singer, fishing, is so taken by a girl he sees that he loses his line and hook in the brook. She is a shepherd's daughter come to bathe in the Boyne. He proposes. She suggest he have his parents find a more suitable bride.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: courting rejection fishing
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 20, "The Shepherd's Virtuous Daughter" (1 text, 1 tune)
Roud #2879
File: MorU020
===
NAME: Shepherd's Wife, The: see O Shepherd, O Shepherd (File: VWL074)
===
NAME: Sherfield Apprentice, The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Sheriff's Sale, The
DESCRIPTION: "'Tis misfortune o'ertook us, and a tale soon did tell; The Sheriff came in our old home for to sell." Mother and sister "prepare to depart from their old cottage door" but are spared: the purchaser of the auctioned home turns out to be a family member.
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ives-DullCare)
KEYWORDS: poverty hardtimes help family home police
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 138-140, 255, "The Sheriff's Sale" (1 text, 1 tune)
Roud #4983
File: IvDC038
===
NAME: Sherman Cyclone, The [Laws G31]
DESCRIPTION: A great storm sweeps unexpectedly through Sherman, causing extensive damage and some loss of life
AUTHOR: Mattie Carter East
EARLIEST_DATE: 
KEYWORDS: storm disaster death
HISTORICAL_REFERENCES: May 15, 1896 - The Sherman tornado
FOUND_IN: US(So,SW)
REFERENCES: (2 citations)
Laws G31, "The Sherman Cyclone"
DT 795, SHERCYCL*
Roud #3260
NOTES: 1896 was apparently a bad year for tornadoes; on May 27 of that year a storm hit Saint Louis, killing 400 and leaving 5000 homeless. - RBW
File: LG31
===
NAME: Sherman's March to the Sea
DESCRIPTION: "Our campfires shone bright on those mountains That frowned on the river below... When a rider came out of the darkness... And shouted... 'Sherman will march to the sea.'" The Atlanta campaign and the March to the Sea are briefly retold
AUTHOR: Words: Lt. Samuel Hawkins Marshall Byers
EARLIEST_DATE: 
KEYWORDS: Civilwar patriotic derivative
HISTORICAL_REFERENCES: May 13-16, 1864 - William T. Sherman attacks J. E. Johnston's army at Resaca on the way from Tennessee to Atlanta. Sherman failed to move Johnston's army, but forced the Confederates to fall back by threatening their supply line
June 27, 1864 - Battle of Kenesaw Mountain. For the first (and only) time in the Atlanta campaign, Sherman tried a direct assault on Johnston's lines. It failed bloodily. Sherman then once again levered Johnston out of his lines by maneuver
(July 17, 1864 - Jefferson Davis relieves Johnston and replaces him with the more aggressive but less competent John Bell Hood. Hood's attacking strategy cost his army severely and by July 25 left him besieged in Atlanta)
Sept 1, 1864 - Hood evacuates Atlanta
Nov 15, 1864 - Sherman splits his army into two parts. One, under Thomas, was to defend Atlanta, while Sherman took nearly 60,000 men on the "March to the Sea"
Dec 10, 1864 - Sherman's forces reach Savannah
Dec 21, 1864 - Sherman captures Savannah
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Scott-BoA, pp. 248-250, "Sherman's March to the Sea" (1 text, 1 tune)
Hill-CivWar, pp. 206-207, "Sherman's March to the Sea" (1 text)
DT, SHERMSEA*
Roud #17738
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
ALTERNATE_TITLES:
When Sherman Marched Down to the Sea
File: SBoA248
===
NAME: Shew Me the Way to Wallington: see The Way to Wallington (File: StoR148)
===
NAME: Shew! Fly, Don't Bother Me: see Shoo Fly (File: R273)
===
NAME: Shickered As He Could Be: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Shilling or Twa (I), A
DESCRIPTION: Describing the blessings of having "a shilling or twa" in the pocket. One can settle troubles, avoid bankruptcy, fool creditors, and also stay happy: "Oh! what a grand thing is a shilling or twa... It's a round ready passport, a shilling or twa."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: money commerce nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 388-389, "A Shilling or Twa" (1 text)
Roud #2177
CROSS_REFERENCES:
cf. "A Shilling or Twa (II)"
File: Ord388
===
NAME: Shilling or Twa (II), A
DESCRIPTION: Probably derived from "A Shilling or Twa (I)." The singer declares "Awa' wi' your dearies and juice o' the vine... gie me the glint o' a shillin' or twa." He rejects honor and fame; all he wants is "A bonnie, bright siller white shillin' or twa."
AUTHOR: Words: William Fleming
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: money commerce nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 389-390, "A Shilling or Twa" (1 text)
Roud #2178
CROSS_REFERENCES:
cf. "A Shilling or Twa (I)"
File: Ord389
===
NAME: Shiloh: see Limber Jim (File: BMRF593B)
===
NAME: Shiloh Brown (I): see Shallo Brown (Shallow Brown) (File: Doe044)
===
NAME: Shiloh Brown (II): see Tommy's Gone to Hilo (File: Doe030)
===
NAME: Shinbone Alley (Stay a Little Longer, Long Time Ago)
DESCRIPTION: "You ought to see my blue-eyed Sally, She lives way down in shinbone alley, No number on the gate, no number on the door, Folks around here are gettin' mighty poor."  Unrelated verses about southern life, disasters, prison, rising creeks, etc.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: home hardtimes poverty prison flood
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 422, "Shinbone Alley" (1 fragment)
Roud #11769
RECORDINGS:
cf. Bob Wills & his Texas Playboys, "Stay a Little Longer" (Columbia 37097, 1946)
NOTES: The notes in Brown describe this as common, but cite only one possibly-traditional version (in Odum and Johnson).
The problem in fact is very complex: What is the relationship of this traditional song to Bob Wills's "Stay a Little Longer"? The one verifiable traditional collection is Brown's, which came a few years after the Wills recording, but is significantly different -- some lyrics Wills didn't use, added chorus, etc.
Paul Stamler thinks they're the same. I waver, since there are are few printed fragments which seem to predate Wills by many decades. For the moment, I'm still listing this under Brown's title, but listing the Wills version as a likely by-blow or perhaps even a source. - RBW
File: Br3422
===
NAME: Shine and the Titanic (Titanic #14)
DESCRIPTION: Recitation. Shine is aboard the Titanic when the ship hits an iceberg. The captain's daughter asks Shine's help; he says, "Pussy's good... but this is one time I'm gonna save Shine's ass." The captain receives the same reply. Shine survives the wreck
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording by anonymous artist)
LONG_DESCRIPTION: Recitation. Shine, a black man, is in the hold of the Titanic stacking sacks when the ship hits an iceberg. The captain's daughter asks Shine to save her; he says, "Pussy's good, while it lasts, but this is one time I'm gonna save Shine's ass." The captain offers him money; he gives the same reply. "The last time I seen Shine, he was dead drunk upon a airline"
KEYWORDS: sex request rejection help rescue ship drink disaster wreck recitation worker Black(s)
HISTORICAL_REFERENCES: April 14/15, 1912 - Shortly before midnight, ship's time, the Titanic strikes an iceberg and begins to sink. Only 711 survivors are found of 2224 people believed to have been aboard.
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 213-214, "Shine Reel" (1 fragment, 1 tune, mentioning being "Alabama Bound" but also mentioning some being on a boat that sank, so it might be part of this. Shine -- a name Scarborough connects with [shoe]shine -- is not mentioned by name)
RECORDINGS:
Unidentified reciter, "Shine and the Titanic" (on Unexp1)
ALTERNATE_TITLES:
The Titanic Toast
NOTES: Paul Stamler suggests that the Shine of this song is the same as that of "Po' Shine," "Ain't No More Cane on this Brazos," and "Travelin' Man." If so, he had more lives than a cat.
For the record, while Captain Smith of the _Titanic_ did have a daughter, she was born in 1902 (see  Stephanie Barczewski, _Titanic: A Night Remembered_ (Hambledon Continuum, 2004, p. 163), so Shine would have had a significant problem had he touched her. But she wasn't aboard the _Titanic__ anyway. 
Nor could Shine have survived the wreck by swimming, as is found in some versions; the water at the time the ship sank was at a temperature of 28 degrees Farenheit, and exposure to it was fatal within minutes.
In any case, although historians have tried hard to find a Black aboard the _Titanic_, it appears that there were *none* on the ship. Zero. Quite certainly no American Blacks. (See, e.g., Steven Biel, _Down with the Old Canoe: A Cultural History of the Titanic Disaster_, Norton, 1997, p. 112).
According to Wyn Craig Wade, _The Titanic: End of a Dream_ (revised edition, Penguin, 1986), pp. 318-319, this recitation was collected at least 15 times; he cites Sandburg to the effect that Black soldiers knew and recited it in World War I.
For an extensive history of the _Titanic_, with detailed examination of the truth (or lack thereof) of quotes in the _Titanic_ songs, see the notes to "The Titanic (XV)" ("On the tenth day of April 1912") (Titanic #15) - RBW
File: RcShinTi
===
NAME: Shine Like a Star in the Morning
DESCRIPTION: John hears a voice, "I am Alpha Omega, the first and last/To conquer death in Hell did cast." Terrified, he sees Jesus crucified, falling into Hell, rising again. Chorus: "Shine, shine, shine like a star in the morning... All around the throne of God"
AUTHOR: unknown
EARLIEST_DATE: 1936 (recording, Joe Lee)
LONG_DESCRIPTION: John is standing alone when a voice tells him, "I am Alpha Omega, the first and last/To conquer death in Hell did cast." Terrified, he has a vision of Jesus crucified, falling into Hell, then rising up again; he says, "God gonna take me from that earthly 'bode." Chorus: "Shine, shine, shine like a star in the morning...All around the throne of God"
KEYWORDS: resurrection death Hell Bible religious Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Joe Lee, "Shine Like a Star in the Morning" (AFS 745 B4, 1936; on LC10)
NOTES: Most of this is, of course, taken from the Revelation to John (e.g. the reference to the Alpha and Omega, the first and last letters of the Greek alphabet, occurs several times in that book, starting with 1:8).
An exception is the concept of the descent into Hell. Though firmly rooted in Catholic tradition, and mentioned in the traditional form of the Apostles' Creed (which is not Apostolic), there is no scriptural reference to such an event (unless you count Ephesians 4:9-11, which I would regard as a reference to the Incarnation, or other passages such as 1 Pet. 3:19, which may refer to proclamations of salvation to the damned). - RBW
File: RcSLaSiM
===
NAME: Shine on Me
DESCRIPTION: "Shine on me, oh shine on me/Let the light from the lighthouse shine on me"
AUTHOR: unknown
EARLIEST_DATE: 1921 ("Songs and Spirituals", Chicago, Overton-Hygienic Co.)
KEYWORDS: nonballad religious
FOUND_IN: US(Ap,SE,So)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 76 "Shine On Me" (1 text, 1 tune)
Roud #10622
RECORDINGS:
Rev. Johnnie Blakey, "Let the Light Shine on Me" (OKeh 8758, 1930; rec. 1928)
Famous Garland Jubilee Singers, "Shine on Me" (Romeo 5135, 1932)
Blind Willie Johnson, "Let Your Light Shine on Me" (Columbia 14490-D, 1930; rec. 1929; on BWJ01, BWJ03)
Ernest Phipps & his Holiness Singers, "Shine on Me" (Bluebird 5540A, 1928; on AAFM2)
ALTERNATE_TITLES:
Let It Shine On Me
Let the Light From Your Lighthouse Shine On Me
NOTES: Found in both Anglo- and Afro-American tradition. - PJS
File: ADR76
===
NAME: Shining Dagger, The: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Ship A-Sailing, A
DESCRIPTION: "I saw a ship a-sailing, A-sailing on the sea, And it was deeply laden with pretty things for me. There were comfits in the cabin and almonds in the hold." The sails are satin; the mast, gold; the sailors, white mice; the captain, a duck.
AUTHOR: unknown
EARLIEST_DATE: 1815 (Family album, according to Opie-Oxford2)
KEYWORDS: talltale playparty nonballad ship animal
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Linscott, pp. 284-285, "A Ship A-Sailing" (1 text, 1 tune)
Opie-Oxford2 470, "I saw a ship a-sailing" (1 text)
Baring-Gould-MotherGoose #271, p. 163, "(I saw a ship a-sailing)"
ST Lins284 (Partial)
Roud #3742
NOTES: This seems to go back to Halliwell (1852), though Linscott connects it with a game called the "Duck Dance."
Katherine Elwes Thomas evolved the theory that the duck-Captain was Sir Francis Drake, while the "four-and-twenty white mice with chains about their necks" were slaves. I'd be more inclined to believe it if Thomas could bridge the more than two century gap between the actual song and the events it allegedly describes. - RBW
File: Lins284
===
NAME: Ship Came Sailing, A: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Ship Carpenter, The: see The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B] (File: LP36)
===
NAME: Ship Carpenter's Wife, The: see Sale of a Wife (File: HHH226)
===
NAME: Ship Euphrasia, The
DESCRIPTION: "Come all Christian people who do intend To know God's laws and his rights defend...." The singer tells of setting sail on a whaler, describes the horrid, rotten food, and complains of the isolation of the captain
AUTHOR: unknown
EARLIEST_DATE: 1849 (Journal from the Euphrasia)
KEYWORDS: whaler ship food hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 47-49, "The Ship Euphrasia" ( text)
Roud #2013
File: SWMS047
===
NAME: Ship in Distress, The
DESCRIPTION: Sailors on a becalmed ship suffer starvation. They cast lots to determine which of them shall die to feed the rest. The one who is chosen asks that a sentry climb the topmast to search for aid while he prays. A ship is sighted and they are rescued. 
AUTHOR: unknown
EARLIEST_DATE: 1907 (and 19th century broadsheets)
KEYWORDS: ship disaster cannibalism reprieve rescue starvation sailor
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Sharp-100E 90, "The Ship in Distress" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 96, "The Ship in Distress" (1 text, 1 tune)
DT, SHPDSTRS*
Roud #807
CROSS_REFERENCES:
cf. "A Nau Catarineta" (Portuguese)
cf. "La Courte Paille" (French) (plot)
cf. "Little Boy Billee (Le Petite Navire, The Little Corvette)" (plot)
cf. "The Silk Merchant's Daughter (I)" [Laws N10] (plot)
cf. "The Banks of Newfoundland (II)" (plot)
cf. "The American Aginora" (plot)
File: ShH90
===
NAME: Ship Lady Sherbroke, The: see The Wreck of the Lady Shearbrooke (File: HHH570)
===
NAME: Ship Lord Wolseley, The
DESCRIPTION: The ship leaves Belfast for Philadelphia on the 18th of January under Cap'n James Dunn. Song describes several ports and storms and constantly makes references to the bravery and steadfastness of the crew and officers.
AUTHOR: Wm. R.B. Dawson
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: ship foc's'le sailor
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 181-183, "The Ship Lord Wolseley" (1 text, sung to "Yankee Man-of-War")
Roud #9149
CROSS_REFERENCES:
cf. "Yankee Man-of-War" [probably the song indexed as "The British Man-of-War"] (tune)
NOTES: Harlow says that the author Dawson was bo'sun on the _Lord Wolseley_ when he wrote this.
_Lord Wolseley_ was a four masted ship built in 1883 by Harland & Wolff, Belfast. She was sold and renamed several times, as _Columbia_, _Everett G. Griggs_, _Wolseley_ (again) before being broken up and used for parts in 1928. - SL
I have to admit I find the name of the ship pretty ironic. Garnet Wolseley (1833-1913) was not a navy man but a soldier all his life, fighting in the Crimean War and thirty years of colonial wars before becoming army Commander in Chief in 1895. He was made a viscount in 1883 after winning the battle of Tel-el-Kebir in Egypt (1882). His most famous moment, perhaps, came two years later, when he tried and failed to rescue Gordon from Khartoum -- a rescue that might have succeeded had he understood river transport better. - RBW
File: Harl181
===
NAME: Ship of Zion (I), The
DESCRIPTION: "What is this ship you're going on board, oh, glory hallelujah (x2)? 'Tis the Old Ship Zion, hallelujah (x4) What colors does she hoist in time of war? oh, glory hallelujah (x2)? 'Tis the bloody robe of Jesus, hallelujah (x4)"
AUTHOR: unknown
EARLIEST_DATE: before 1868
KEYWORDS: religious nonballad
FOUND_IN: US(MA,SE)
REFERENCES: (3 citations)
BrownIII 623, "The Old Ship of Zion" (3 texts, of which "A" is clearly "The Old Ship of Zion (I)" but B is an unidentifiable fragment; C, with references to India and the Ganges, may be a separate piece)
FSCatskills 83, "The Ship of Zion" (1 text, 1 tune)
Silber-FSWB, p. 366, "Old Ship of Zion" (1 text)
ST FSC083 (Partial)
Roud #4204
RECORDINGS:
McFadden Gospel Singers, "Old Ship of Zion" (Coleman 5976, n.d.)
NOTES: In the Sacred Harp, the tune to this is said tentatively to be by Thomas W. Carter.
White reports a whole class of "Ship of Zion" songs, not all of which can easily be distinguished. I've split off some with clear personalities, but some just have to be lumped here. - RBW
File: FSC083
===
NAME: Ship Rambolee, The: see The Loss of the Ramillies [Laws K1]
 (File: LK01)
===
NAME: Ship That Is Passing By, The
DESCRIPTION: "I once had a father but now I have none, He's gone to that beautiful home. O Lord, let me sail on that beautiful ship, The ship that is passing by. The days seem so sad and the night seems so long And I am so lonely here." Similarly mother, brother, etc.
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: religious nonballad family
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 316, p. 191, "The Ship That Is Passing By" (1 text)
Roud #4303
File: CW191
===
NAME: Ship That Never Came, The: see The Gentle Boy (Why Don't Father's Ship Come In) (File: GrMa113)
===
NAME: Ship That Never Returned, The [Laws D27]
DESCRIPTION: A ship is preparing to sail. The lives of several of the passengers, their reasons for leaving, and their farewells to family and/or sweethearts are briefly described. But the ship disappears at sea, apparently with all hands
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1865 (sheet music)
KEYWORDS: sea farewell wreck disaster
FOUND_IN: US(Ap,MW,NE,SE,So)
REFERENCES: (12 citations)
Laws D27,"The Ship that Never Returned"
Randolph 690, "The Ship that Never Returned" (2 texts)
BrownII 25, "The Ship That Never Returned" (1 text plus mention of 10 more as well as a pair of offshoots)
Sandburg, pp. 146-147, "The Ship That Never Returned" (1 text, 1 tune)
Arnett, pp. 92-93, "The Ship That Never Returned" (1 text, 1 tune)
Spaeth-WeepMore, p. 138, "The Ship that Never Returned" (1 text, 1 tune)
Gilbert, pp. 142-143, "The Ship That Never Returned" (1 text)
Darling-NAS, pp. 186-187, "The Ship That Never Returned" (1 text)
Silber-FSWB, p. 268, "The Ship That Never Returned" (1 text)
Cohen-LSRail, pp. 197-226, "The Wreck of the Old 97" (6 texts plus excerpts, 1 tune, plus a sheet music cover and sundry excerpts from related songs including a text of "The Ship That Never Returned)
cf. Gardner/Chickering, p. 482, "The Ship That Never Returned" (source notes only)
DT 618, NVRETURN* NVRETUR2*
Roud #775
RECORDINGS:
Omar Blondahl, "The Ship That Never Returned" (on NFOBlondahl03)
Vernon Dalhart, "The Ship That Never Returned" (Gennett 3311, 1926)
Bradley Kincaid, "The Ship That Never Returned" (Bluebird 5569, 1934)
Asa Martin, "The Ship That Never Returned" (Oriole 8163/Conqueror 8068 [as Martin & Roberts], 1932)
Roe Bros. & Morrell, "The Ship That Never Returned" (Columbia 15156-D, 1927)
Charles Lewis Stine, "The Ship That Never Returned" (Columbia 15027-D, 1925)
BROADSIDES:
Bodleian, Johnson Ballads 1518, "The Ship That Never Returned," T. Brooks (Bristol), n.d.
LOCSheet, sm1885 21919, "The Ship That Never Returned," S. Brainard's. Sons (Cleveland), 1885 (tune)
CROSS_REFERENCES:
cf. "The Train that Never Returned" (tune & meter)
cf. "The Wreck of Old 97" (tune & meter)
cf. "The Rarden Wreck of 1893" (tune & metre)
cf. "The Flying Colonel" (tune)
cf. "M.T.A." (tune)
cf. "Lovers Parted" (tune, lyrics)
SAME_TUNE:
The Train That Never Returned (File: R694)
The Wreck of Old 97 [Laws G2] (File: LG02)
The Rarden Wreck of 1893 (File: DarNS215)
The Flying Colonel (File: EM404)
Lovers Parted (File: BrII215A)
Vernon Dalhart, "The Airship That Never Returned" (Columbia 15162-D, 1927)
Ernest Stoneman, "The Face That Never Returned" (OKeh, unissued, 1924) (OKeh 40288, 1925) [probably this tune, though we haven't been able to check]
NOTES: This may be the best-selling tune of all time in terms of fraction of the population which experienced it; "The Ship that Never Returned" was a hit in sheet music, and "The Wreck of Old 97" and "M.T.A." (which also uses the tune) were hits on record. Sadly, Work made only a little money off the piece. - RBW
Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "The Ship That Never Returned" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: LD27
===
NAME: Ship to Old England Came, A
DESCRIPTION: With 50 guns and 500 men an English warship meets five French men-of-war. Aloft, the cabin boy sees three English ships -- Oak, Sloe, and Unity -- that join the battle and "quickly made those French dogs flee"
AUTHOR: unknown
EARLIEST_DATE: 1974 (recording, Walter Pardon)
KEYWORDS: battle navy England France
FOUND_IN: Britain(England(Lond))
REFERENCES: (0 citations)
Roud #1424
RECORDINGS:
Walter Pardon, "A Ship to Old England Came" (on Voice02)
File: RcasTOEC
===
NAME: Ship's Carpenter, The: see The Daemon Lover (The House Carpenter) [Child 243] (File: C243)
===
NAME: Ship's in the Harbor, The: see Teasing Songs (File: EM256)
===
NAME: Shipwreck on the Lagan Canal, The
DESCRIPTION: Captain McFall's ship sails "up the Lagan Canal," "bound for foreign countries," "with a cargo of Indian meal." In "a dreadful gale" they strike "a coral reef" and sink "to the shin." A coastguard rescues the crew "as none of us could swim"
AUTHOR: unknown
EARLIEST_DATE: c.1890-1918 (J Nicholson ballad sheet, according to Leyden)
KEYWORDS: canal humorous storm wreck
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 38, "The Shipwreck on the Lagan Canal" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
File: Leyd038
===
NAME: Shipwreck, The: see The Streams of Lovely Nancy (File: VWL098)
===
NAME: Shirt and the Apron, The [Laws K42]
DESCRIPTION: The sailor comes to shore and meets a girl who takes him to a dance, then to supper, then to bed. He awakens in the morning to find both his money and his clothes gone. He is forced to return to his ship in women's clothing -- to the amusement of the crew
AUTHOR: unknown
EARLIEST_DATE: c.1890-1918 (J Nicholson ballad sheet, according to Leyden); 1929 (Greenleaf/Mansfield)
KEYWORDS: sex robbery dancing clothes whore
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (7 citations)
Laws K42, "The Shirt and the Apron"
Leyden 31, "The Sailor's Hornpipe in Caxon Street" (1 text, 1 tune)
Greenleaf/Mansfield 112, "The Shirt and the Apron" (1 text)
Creighton-NovaScotia 105, "Barrack Street" (1 text, 1 tune)
Hugill, pp. 376-377, "Jack-All-Alone" (1 text) [AbEd, pp. 283-285 as "The New York Gals"]
JHJohnson, pp. 70-71, "The Shirt and the Apron" (1 text)
DT 418, PETERST
Roud #1902
CROSS_REFERENCES:
cf. "Gold Watch" [Laws K41] (plot) and references there
cf. "The Beggar Wench"
ALTERNATE_TITLES:
Jack-All-Alone
Peter Street
The Shift and the Apron
Patrick Street
File: LK42
===
NAME: Shirt I Left Behind, The
DESCRIPTION: The singer quits Dan McCann's lodgings but leaves his shirt. McCann's daughter tells him to retrieve it. That night, drunk, he sees the shirt coming down the street, hit it with a brick, and kills McCann's daughter who was in it. He is fined ten quid.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: homicide clothes drink humorous derivative
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 64, "The Shirt I Left Behind" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me (II - lyric)" (tune) and references there
NOTES: Maybe it needs to be sung to be "humorous." [Alternately, maybe one needed to know McCann and/or his daughter? Perhaps there is a reason the song is not widely known.... - RBW] The parody is only in the tune and "the shirt I left behind me" end of each verse. - BS
File: McB1064
===
NAME: Shirt of Lace, The: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Shivering in the Cold
DESCRIPTION: The singer recalls his parents, his wife, his children, his money -- all lost because of drink. He yearns to be free of his burden. Chorus: "Yes alone, all alone, And I feel I'm growing old, Yet I wander, oh how lonely, And I'm shivering in the cold."
AUTHOR: Mrs. Knowles Shaw
EARLIEST_DATE: 1887 (Harvest Bells Songbook)
KEYWORDS: drink poverty captivity
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 327, "Shivering in the Cold" (2 texts)
BrownIII 31, "I'm Alone, All Alone" (1 text plus 1 excerpt and mention of 1 more)
Roud #7801
CROSS_REFERENCES:
cf. "I'm Alone, All Alone (I)" (theme)
File: R327
===
NAME: Shock Along, John
DESCRIPTION: Described as "A corn-song, of which only the burden is remembered": "Shock along, John, shock along; Shock along, John, shock along."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison, "Slave Songs of the United States")
KEYWORDS: work
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-AmFolklr, p. 906, "Shock Along, John" (1 text, 1 tune)
Roud #12024
File: BAF906
===
NAME: Shoemaker (I), The
DESCRIPTION: "Make my Kate a pair of shoes, Make 'em out of the best of leather, I'll peg 'em well and stitch 'em tight (or: "Draw 'em around the firey side") And then they'll last forever." The singer seeks, by the making of shoes, to bind Kate to him (?)
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: work courting clothes
FOUND_IN: US(Ap,SE,So) Ireland
REFERENCES: (5 citations)
Randolph 566, "The Shoemaker" (1 text plus a fragment, 1 tune)
JHCox 171, "The Cobbler's Boy" (1 text)
SHenry H551, p. 40, "The Cobbler" (1 text, 1 tune)
SharpAp 100, "The Shoemaker" (1 fragment, 1 tune)
DT, COBBLR*
Roud #837
CROSS_REFERENCES:
cf. "The Shoemaker's Kiss"
NOTES: This may be a byblow of "The Shoemaker's Kiss"; there are common elements. But if so, the degree of sanitizing is so extreme that they can be counted as separate songs. - RBW
The entry in SharpAp is fragmentary and almost devoid of plot, but it mentions Kate, so I put it here. - PJS
File: R566
===
NAME: Shoemaker (II) The: see The Shoemaker's Kiss (File: KinBB15)
===
NAME: Shoemaker (III), The
DESCRIPTION: "My mother sent me to the school To learn to be a stocking-knitter, But I went wrang and played the fool And married with a shoemaker."  She complains of his looks, his tools, his stink, and the miserable life she leads: "Who would have a shoemaker?"
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: work marriage warning
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 114-115, "The Shoemakker" (1 text, 1 tune)
ST StoR114 (Partial)
Roud #3152
NOTES: In a number of versions of this song, including Stokoe's, the man's occupation is "shoemakker" (double k). This appears to be an attempt to show that the "a" is pronounced short -- he "maks" shoes, rather than "makes" them. - RBW
File: StoR114
===
NAME: Shoemaker's Kiss, The
DESCRIPTION: The girl comes to the shoemaker and requests a pair of shoes. He thereupon "fits" the girl. (Forty) weeks later she brings forth a son. When mother asks where the boy came from, she says "the shoemaker's kiss."
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: sex clothes pregnancy childbirth children
FOUND_IN: Britain(Scotland,England(South))
REFERENCES: (2 citations)
Kinloch-BBook XV, pp. 55-57, "The Shoemaker" (1 text)
DT, SHOEKISS*
Roud #3807
CROSS_REFERENCES:
cf. "The Trooper Watering His Nag" (chorus lyrics)
cf. "The Shoemaker (I)"
NOTES: The "other" shoemaker song ("The Shoemaker (I)") has some elements in common with this song, and may be distantly related. But if so, there has been an extreme degree of sanitation in between.
Roud lumps this with "A Kiss in the Morning Early," which is also about relations between a girl and a shoemaker -- but the latter does not involve pregnancy. - RBW
File: KinBB15
===
NAME: Shoemaker's Son, The
DESCRIPTION: "Young Jimmy was a shoemaker's son, And through this country his bread he won. Her father was of high degree, He was captain over some ships on the sea."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: love courting father
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 193, "The Shoemaker's Son" (1 text, 1 tune)
NOTES: This is clearly a fragment of a longer ballad (probably telling of the father's opposition to the young people's marriage), but without a longer version, we can't tell much about it. - RBW
File: MA193
===
NAME: Shoo Fly
DESCRIPTION:  "I think I hear the angels sing (x3), The angels now are on the wing. I feel, I feel, I feel like a morning star (x2)." "Shoo fly, don't bother me (x3), For I just been on a merry spree." (or "belong to Company G," or the like).
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: nonballad nonsense playparty religious
FOUND_IN: US(So)
REFERENCES: (5 citations)
Randolph 273, "Shoo Fly" (1 fragment, 1 tune)
RJackson-19CPop, pp. 190-193, "Shew! Fly, Don't Bother Me" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 55-56, "Shoo, Fly, Don't Bother Me" (1 fragmentary text, 1 tune)
Scarborough-NegroFS, p. 200, (no title) (1 fragment, the "Company G" version)
Silber-FSWB, p. 388, "Shoo Fly, Don't Bother Me" (1 text)
ST R273 (Full)
Roud #3433
RECORDINGS:
Uncle Dave Macon, "Sho' Fly Don't Bother Me" (Vocalion 5010, 1926)
Pete Seeger, "Shoo Fly" (on PeteSeeger33, PeteSeegerCD03)
Jimmy Yates' Boll Weevils, "Shoo Fly!" (Victor 21753, 1928)
CROSS_REFERENCES:
cf. "The Blue-Tail Fly" [Laws I19] (chorus lyrics)
NOTES: Variously attributed. The 1869 sheet credits the words to  Billy Reeves and the music to Frank Campbell. Another 1869 publication gives the author as Thomas Brigham Bishop. The latter, published by Bishop himself, claims that the piece comes from "the negro farce the 'Cook.'" The corroborative evidence for the claims is thin. - RBW
File: R273
===
NAME: Shoo, Fly, Don't Bother Me: see Shoo Fly (File: R273)
===
NAME: Shoo, Shoo, Shoo-lye: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Shoofly, The
DESCRIPTION: The singer sees an old woman lamenting, "Ochone! sure I'm nearly distracted! For it's down by the Shoofly they cut a bad vein...." With all the local mines closed, she and her family are in debt and out of work. She can only hope conditions improve
AUTHOR: Felix O'Hare
EARLIEST_DATE: 1949
KEYWORDS: hardtimes mining
HISTORICAL_REFERENCES: 1871 - Closing of the mine at Valley Furnace (in the Schuylkill Valley). The Shoofly colliery closed at about the same time.
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Scott-BoA, pp. 276-278, "The Shoofly" (1 text, 1 tune)
Roud #7720
File: SBoA276
===
NAME: Shoot the Buffalo
DESCRIPTION: Playparty/dance tune: "And it's ladies to the center and it's gents around the row, And we'll rally round the canebrake and shoot the buffalo." Tales of courting and spitting tobacco
AUTHOR: unknown
EARLIEST_DATE: 1911 (JAFL 24)
KEYWORDS: playparty dancing animal nonballad
FOUND_IN: US(Ap,MW,So)
REFERENCES: (10 citations)
Randolph 523, "Shoot the Buffalo" (2 texts plus 4 excerpts, 1 tune)
Hudson 149, pp. 297-298, "Shoot the Buffalo" (1 text)
Fuson, p. 165, "Chase the Buffalo" (1 text)
Cambiaire, p. 143, "Hunting Ballad (We'll Shoot the Buffalo)" (1 text)
SharpAp 262, "Chase the Buffalo" (1 text, 1 tune)
Lomax-FSUSA 32, "Shoot the Buffalo" (1 text, 1 tune)
Lomax-ABFS, pp. 296-297, "Shoot the Buffalo" (1 text, 1 tune)
Fife-Cowboy/West 98, "Shoot the Buffalo" (3 texts, 1 tune)
Arnett, p. 96, "Shoot the Buffalo" (1 text, 1 tune)
Botkin-MRFolklr, p. 563, "We'll Hunt the Buffalo!" (1 text, 1 tune, with the chorus of "Shoot the Buffalo" and lyrics from "The Lovely Ohio")
Roud #3644
ALTERNATE_TITLES:
Hunt the Buffalo
File: R523
===
NAME: Shoot the Buffalo (II), The: see Lovely Ohio, The (File: LoF039)
===
NAME: Shoot Your Dice and Have Your Fun
DESCRIPTION: "Shoot your dice and have your fun, I'll have mine when the police come. Police come, I didn't want to go; I knocked him in the head wid a forty-fo'."
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: gambling police
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 51, "Shoot Your Dice and Have Your Fun" (1 short text)
Roud #7853
File: Br3051
===
NAME: Shootin' Creek: see Cripple Creek (I) (File: San320)
===
NAME: Shooting Goschen's Cocks Up: see Row-Dow-Dow (File: K354)
===
NAME: Shooting of Bailey the Alleged Informer, The
DESCRIPTION: Bailey informs in December about concealed arms. Those he informed on are now in jail. "On Saturday night he met his fate All by a pistol volley, By some one unknown, who did him hate, Down in Skipper's Alley." "Mind what you say." Don't be an informer.
AUTHOR: unknown
EARLIEST_DATE: 1882 (Zimmermann)
KEYWORDS: warning betrayal homicide prison revenge
HISTORICAL_REFERENCES: Feb 25, 1882 - Bernard Bailey shot dead in Dublin (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 82, "A New Song on the Shooting of Bailey the Alleged Informer" (1 text)
BROADSIDES:
Bodleian, Harding B 19(148), "A New Song on the Shooting of Bailey the 'Alleged informer'," unknown, n.d.
NOTES: Zimmermann: No arrest was made. The Irish Republican Brotherhood is assumed behind the killing. - BS
One of the reasons for British success in Ireland was that the Irish never had any weapons. In the 1798, the British often found one or two pieces of artillery sufficient to disperse a force of rebels, who would have only a few muskets and little ammunition for what they had. As late as 1916 and the Casemate Affair, Irish nationalists were still trying to smuggle in guns. Naturally they were not too happy with people who cost them any part of their small collections. - RBW
File: Zimm082
===
NAME: Shooting of His Dear: see Molly Bawn (Shooting of His Dear) [Laws O36] (File: LO36)
===
NAME: Shooting of the Bawks, The
DESCRIPTION: The narrator protests a law against killing bawks during the summer when they are most plentiful. He wonders how he is going to feed his family and sarcastically conjectures that the authorities will now provide the people with meat.
AUTHOR: A.R. Scammell
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: recitation law bird hunting
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Doyle2, p. 79, "The Shooting of the Bawks" (1 text)
Roud #7309
NOTES: The author, Arthur Reginald Scammell, has written many poems, songs and even stories with Newfoundland themes. One of his more famous songs is "The Squid-Jiggin' Ground." Some collections of his works include: _My Newfoundland: Stories, Poems, Songs_ (St. John's: Harry Cuff Publications, 1988) and _Newfoundland Echoes_ (St. John's: Harry Cuff Publications, 1988). _Collected Works of A. R. Scammell_ was also published by Harry Cuff in 1990.
Although I haven't been able to find the exact equivalent for the "bawk" it can be gathered from the song that it is a seabird present only in summer. Other birds mentioned are the "tur" which is related to the auk, "noddy" which is a kind of tern or small gull and tickleace which is another kind of gull. The poem gives instructions to sing it to the tune of "The Wearin' o' the Green." - SH
The Canadian Oxford Dictionary lists "bawk" as a Newfoundlander term, of unknown origin, for the Greater Shearwater. The Greater Shearwater is a fairly large bird which often occurs in flocks and frequently follows ships; they are therefore tempting targets. They breed in November-January in the Tristan da Cunha islands (far down in the south Atlantic, at about the latitude of Buenos Aires but roughly half way between Africa and South America), then spend the North American summer months off the American east coast. - PJS, RBW
I do not know the reason for the Canadian ban on shooting bawks, but as their breeding grounds are small and under threat by man, and their summer feeding grounds are being heavily fished, I suspect it is to protect the species. - RBW
File: Doy079
===
NAME: Shooting Star, The
DESCRIPTION: A Halifax policeman is murdered on board of the Shooting Star. He has a summons for the captain but sailor Burdell stabs him. The captain and ship get away but "they caught Burdel at Boston and gave him fourteen years"
AUTHOR: unknown
EARLIEST_DATE: 1883 (Smith/Hatt)
KEYWORDS: homicide prison ship police sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Smith/Hatt, pp. 74-75, "The Shooting Star" (1 text)
Roud #1973
NOTES: "The affair of the 'Shooting Star' took place in Halifax, November 1861. Policeman's name was Gardner ... stabbed by Edgar Burdell.... vessel ... ran ashore below George's Island & Burdell was arrested." (Source: Smith/Hatt) - BS
File: SmHa074
===
NAME: Shore Around the Grog: see Shove Around the Grog (File: FSC175)
===
NAME: Shores of Botany Bay, The
DESCRIPTION: "Oh, I'm on my way down to the quay, Where a big ship now does lay...." When the singer's boss tells him he will have to work harder to keep his job, Pat gives it up and heads for Australia. He rejoices to get away from brickwork. 
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work Australia emigration
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 271-272, "The Shores of Botany Bay" (1 text, 1 tune)
File: MA271
===
NAME: Shores of Coolough Bay, The
DESCRIPTION: The singer "was one of the Urhan football team." "Now we are scattered far and wide from the shores of Coolough Bay". He has worked at many jobs in Ireland, Canada and, now, in the US. Best of all is the Shores of Coolough Bay. He is saving to return.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: home return travel sports America Canada Ireland emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 100-101, "The Shores of Coolough Bay" (1 text, 1 tune)
ST OCan100 (Partial)
NOTES: OCanainn: "This is a song about the Urban football teams of 1927, 28 and 29, who won the Cork County Intermediate Championships. Joe Murphy sang the song and thought it had been composed in New York by Maurice Power. Coolough Bay is an inlet off Kenmare Bay."
The singer lists some of his many activities since ending his football days: fishing with a seine-boat crew and enjoying dances at Coolough Bay; then mining, cowboying and working in a lumber shop. - BS
File: OCan100
===
NAME: Shores of Sweet Kenbane, The
DESCRIPTION: The singer rambles out and sits down to look at Kenbane. He will set his slight skills to the task of praising it. He describes the birds, fish, shores, castle, etc. In one cottage dwells a beautiful girl; he blesses the day he found her and Kenbane
AUTHOR: Dan White?
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: love home rambling
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H648, p. 167, "The Shores of Sweet Kenbane" (1 text, 1 tune)
Roud #13479
File: HHH648
===
NAME: Short Jacket: see The Maid in Sorrow (Short Jacket) [Laws N12] (File: LN12)
===
NAME: Short Jacket and White Trousers: see The Maid in Sorrow (Short Jacket) [Laws N12] (File: LN12)
===
NAME: Short Life of Trouble
DESCRIPTION: "Short life of trouble, A few more words apart, A short life of trouble, dear girl, For a boy with a broken heart." The singer reminds the girl that she promised to marry him. He takes the train out of town and/or hopes the grave will be his home
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Burnett & Rutherford)
KEYWORDS: love betrayal death
FOUND_IN: US
REFERENCES: (1 citation)
Fuson, p. 127, "Pass the Drunkard By" (1 text, with a first verse in which the girl describes Mama's advice against drunkards but otherwise like the usual versions)
ST RcSLOT (Full)
Roud #3418
RECORDINGS:
Emry Arthur, "Short Life of Trouble" (Paramount 3290, 1931)
[Clarence] Ashley & [Gwen] Foster, "Short Life of Trouble" (Perfect 12800/Conqueror 8149, 1932)
Blue Sky Boys, "Short Life of Trouble" (Bluebird B-8829, 1941)
Burnett & Rutherford, "A Short Life of Trouble" (Columbia 15133-D, 1927; rec. 1926; on BurnRuth01)
[G. B.] Grayson & [Henry] Whitter, "Short Life of Trouble" (Victor V-40105, 1928; on GraysonWhitter01, LostProv1)
Buell Kazee, "Short Life of Trouble" (Brunswick 214, 1928; on KMM)
J. E. Mainer's Mountaineers (or Wade Mainer), "Short Life and It's Trouble" (Bluebird B-6936, 1937)
Riley Puckett, "Short Life of Trouble" (Decca 5442, 1937)
Doc Watson & Arnold Watson, "A Short Life of Trouble" (on WatsonAshley01)
File: RcSLOT
===
NAME: Short'nin' Bread: see Shortenin' Bread (File: R255)
===
NAME: Shortenin' Bread
DESCRIPTION: The mother will make shortening bread. Its benefits, and the extent to which children like it, may be described. (The singer steals the skillet and the bread, and winds up in jail and faced with a fine.) Often in dialect, with assorted floating verses
AUTHOR: unknown
EARLIEST_DATE: 1915 (JAFL 28)
KEYWORDS: food prison robbery
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
Randolph 255, "Shortenin' Bread" (2 texts, 1 tune)
BrownIII 461, "Short'nin' Bread" (2 texts plus 7 fragments and 1 excerpt; some of the fragments, especially "I," may be associated with some other song)
Scarborough-NegroFS, pp. 149-153, "Short'nin Bread," "Short'nin' Bread," (no title), "Put on the Skillet" (4 texts plus some odds and ends, 3 tunes; it's possible that some of the fragments are something else)
Lomax-FSNA 267, "Shortenin' Bread" (1 text, 1 tune)
Lomax-ABFS, pp. 234-236, "Shortenin' Bread" (1 text, 1 tune)
Courlander-NFM, p. 160, "(Shortnin' Bread)" (1 text)
Fuld-WFM, pp. 497-498+, "Short'nin' Bread"
Roud #4209
RECORDINGS:
Cherokee Ramblers, "Shortenin' Bread" (Decca 5162, 1935)
Emma Jane Davis, "Shortenin' Bread" (AFS 6644 A1, 1942)
Dykes Magic City Trio, "Shortening Bread" (Brunswick 125, 1927)
Ora Dell Graham, "Shortenin' Bread" (AFS, 1940; on LCTreas)
Earl Johnson & his Dixie Entertainers, "Shortenin' Bread" (OKeh 45112, 1927)
Bobby Leecan's Need-More Band, "Shortnin' Bread" (Victor 20853, 1927)
Reaves White County Ramblers, "Shortening Bread" (Vocalion 5218, 1928; on TimesAint05)
Gid Tanner & His Skillet Lickers, "Shortening Bread" (Columbia 15123-D, 1927; rec. 1926)
Conrad Thibaud, "Shortnin' Bread" (Victor 24404, 1933)
Sonny Terry [pseud., Saunders Terrell], "Shortnin' Bread" (on Terry 01)
Tweedy Brothers, "Shortenin' Bread" (Supertone 9174, 1928)
Henry Whitter, "Hop Light Ladies and Shortenin' Bread" (OKeh 40064, 1924)
CROSS_REFERENCES:
cf. "Run, Nigger, Run" (tune)
NOTES: Fuld reports that this tune appeared in 1915 (E. C. Perrow in the April-June 1915 JAF) under the title "Shortened Bread." Words and music first appear together in Scarborough, 1925, but are probably older. - RBW
File: R255
===
NAME: Shorty George
DESCRIPTION: "Shorty George, he ain't no friend of mine... Taken all de women an' leave de men behind." (The singer goes bad as an orphan child. He finds a girl, but they go separate ways.) He learns his girl/mother is sick and arrives for her sad funeral
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, James "Iron Head" Baker)
KEYWORDS: orphan love death burial mother prison prisoner train
FOUND_IN: US(So)
REFERENCES: (4 citations)
Lomax-FSUSA 23, "Shorty George" (1 text, 1 tune)
Lomax-ABFS, pp. 199-201, "Shorty George" (1 text, 1 tune)
Silber-FSWB, p. 79, "Shorty George" (1 text)
DT, SHORTGEO SHORTGE2*
Roud #10055
RECORDINGS:
James "Iron Head" Baker, "Shorty George" (AFS 210B, 1933) (AFS 202 A2, 1934; on LC53)
CROSS_REFERENCES:
cf. "He Was a Friend of Mine"
NOTES: "Shorty George" is reported to be the name of the train that carried convicts' wives and sweethearts to and from the penitentiary for conjugal visits. - PJS, RBW
File: LxU023
===
NAME: Shot My Pistol in de Heart of Town
DESCRIPTION: "Oh, Lawd, Shot my pistol In de heart of town. Lawd, de big chief hollered, 'Doncha blow me down.'" The singer (?) looks for his girls who "lef' here runnin'." He describes his love of cards. The story is not coherent
AUTHOR: unknown
EARLIEST_DATE: 1926 (Odum & Johnson)
KEYWORDS: cards separation
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 52-53, "Shot My Pistol in de Heart of Town" (1 text, 1 tune)
Roud #15570
File: LxA052
===
NAME: Shout Along and Pray Along
DESCRIPTION: "Shout along and pray along, ye Heaven-bound soldiers! Shout along and pray along, I'm on my way! Pray on, (sisters/fathers/mothers/children", and don't get weary; Never get tired of serving the Lord. Shout along and pray along...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 633, "Shout Along and Pray Along" (1 text)
Roud #11932
File: Br3633
===
NAME: Shout Lula
DESCRIPTION: Dance tune "Shout Lulu, shout shout/What in the world you shoutin' about?" "How many nickels does it take/To see little Lulu's body shake?/It takes a nickel and it takes a dime/To see little Lulu cut her shine"
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Samantha Bumgarner & Eva Davis)
KEYWORDS: sex money dancing bawdy dancetune nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
SharpAp 201, "Lulie" (1 fragment, 1 tune)
Roud #4202
RECORDINGS:
Clarence Ashley & Tex Isley, "Shout Little Lulu" (on Ashley01)
Clarence Ashley & Jack Burchett, "Shout Lulu" (on WatsonAshley01)
Homer Brierhopper, "Little Lulie" (Decca 5615, c. 1938)
W. Guy Bruce, "Shout Lulu" (on FolkVisions1)
Samantha Bumgarner & Eva Davis, "Shout Lou" (Columbia 146-D, 1924)
Elizabeth Cotten, "Oh Miss Lulie Gal" (on Cotten02)
Rufus Crisp, "Shout, Little Lulie" (on Crisp01)
Carver Boys, "Sleeping Lula" (Paramount 3199, 1930)
[G. B.] Grayson & [Henry] Whitter, "Shout Lula" (Gennett 6373/Champion 15501 [as by Norman Gayle], 1928)
Dick Justice, "Little Lulie" (Brunswick 336, 1929)
File: RcShLulu
===
NAME: Shout, Shout, We're Gaining Ground
DESCRIPTION: "Shout, shout, we're gaining ground, Oh glory hallelujah, For the gospel ship is sailing by, Oh glory hallelujah!" "Shout, shout... For the grace of God is coming down" "It has come down and it will come down" "The Devil's mad and I am glad"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 633, "Shout, Shout, We're Gaining Ground" (2 texts, 1 tune)
Roud #7561
CROSS_REFERENCES:
cf. "The Gospel Ship (I)" (lyics)
File: R633
===
NAME: Shove Around the Grog
DESCRIPTION: Brief stories of bringing lumber downriver. Chorus: "Shove [or "Shore"] around the grog, boys, Chorus around the room; We are the boys that fear no noise, Although we're far from home."
AUTHOR: Boney Quillan ?
EARLIEST_DATE: 1934
KEYWORDS: logger river
FOUND_IN: US(MA,NE)
REFERENCES: (1 citation)
FSCatskills 175, "Shore Around the Grog" (1 text, 1 tune)
ST FSC175 (Partial)
File: FSC175
===
NAME: Shovellin' Iron Ore: see The Great American Bum (Three Jolly Bums) (File: FaE192)
===
NAME: Shoving Corduroy
DESCRIPTION: The singer, a "swamper," is building corduroy roads. He describes his work, the pay, and an incident where a workmate falls into a boghole. Finally, he expresses a desire for a pretty woman, and says he'll do anything to please her -- even shove corduroy.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work courting
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 25, "Shoving Corduroy" (1 text)
Roud #8859
NOTES: A corduroy road was built by laying logs parallel to one another to make a roadway across a swamp. [There is some dispute about whether the roads or the fabric were named first, although the fabric is more likely. - RBW]
According to Beck, the swamper usually "cleared the underbrush and other obstructions for the teamster, or so that logs could be skidded to their destination." - PJS
File: Be025
===
NAME: Show Me the Man Who Never Done Wrong: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Show Me the Way to Go Home, Babe
DESCRIPTION: A lament on the effects of drinking and or rambling, perhaps with a request for forgiveness and/or floating blues lyrics. The whole is held together (if it is) by the chorus "Show me way to go home." The singer may have been drunk for many months
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: drink home floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 37, "Show Me the Way to Go Home, Babe" (7 short texts plus a single line fragment)
Roud #7859
RECORDINGS:
Gid Tanner & his Skillet Lickers, "Show Me the Way to Go Home" (Columbia 15404-D, 1929)
Henry Whitter & Fiddler Joe [Samuels], "Show Me the Way to Go Home" (OKeh 45061, 1926)
File: Br3037
===
NAME: Show Pity, Lord (Supplication)
DESCRIPTION: "Show pity, Lord! Oh Lord, forgive! Let a repentant sinner live!" The singer abjectly confesses fault: "My crimes are great but can't surpass The power and glory of thy grace." The singer confidently expects salvation
AUTHOR: Words: Watts ? (to the tune "Windham?")
EARLIEST_DATE: 1860 (Harmona Sacra)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 631, "Show Pity, Lord" (1 short text plus an excerpt, 1 tune)
Roud #7559
SAME_TUNE:
Broad is the Road That Leads to Death (Windham) (Darling-NAS, p. 263)
File: R631
===
NAME: Shrew Wife, The: see What Do You Think of My Darling? (File: Dib102)
===
NAME: Shu Lady
DESCRIPTION: Incoherent account, with many floating insertions, of an attack on Chandler's fish-dyke. The people who did the damage are brought to trial and forced to sell their cows to pay the fines. The song objects to the Freemason jury
AUTHOR: Ms. (?) Lawless?
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: fishing trial punishment
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 311, "Shu Lady" (1 text)
Roud #6646
File: BrII311
===
NAME: Shuck Corn, Shell Corn
DESCRIPTION: "Shuck corn, shell corn, Carry corn to mill. Grind de meal, gimme de husk, (Bake/break) de bread, gimme de crust, Fry de meat, gimme de skin -- And dat's de way to bring 'em in. Won't you git up, old horse, I'm on de road to Brighton."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: work food nonballad horse
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 200, "Shuck Corn, Shell Corn" (1 text plus mention of 1 more)
File: Br3200
===
NAME: Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier)
DESCRIPTION: The girl laments for her love, sent (to France) as a soldier. She says she will cry till "every tear would turn a mill." She will sell her spinning wheel to arm him. She will dye her clothes red and "round the world... beg for bread" till he returns
AUTHOR: unknown
EARLIEST_DATE: 1892
KEYWORDS: loneliness separation foreignlanguage
FOUND_IN: US(Ap,MA,MW,SE,So) Britain(England,Scotland) Ireland Canada(Mar,Newf)
REFERENCES: (17 citations)
Belden, pp. 281-282, "Shule Aroon" (1 text)
Randolph 107, "Shule, Shule" (3 texts, 1 tune, though "A" is mixed with "Ease that Trouble in the Mind" or "The Swapping Boy" or some such, "B" is a nonsense fragment, and "C" is largely floating material); also probably the "A" fragment of 455, "When I Get on Yonder Hill" (2 texts)
Eddy 40, "Putnam's Hill" (3 texts plus a fragment, 2 tunes)
BrownII 127, "Shule Aroon" (1 fragment, so short that it might just be nonsense though it is probably this song)
Hudson 130, pp. 275-276, "Shule Aron" (1 text, short and even more damaged than usual, to which is prefixed the rhyme "Snail, snail, come out of your hole, Or else I'll beat you as black as a coal.")
SharpAp 93, "Putman's Hill" (1 fragment, 1 tune)
O'Conor, p. 110, "Shule Aroon" (1 text)
Lehr/Best 96, "Siul a Ghra" (1 text, 1 tune)
Hugill, p. 347, "Shule Agra" (1 text, 1 tune)
Creighton-Maritime, p. 131, "I Dyed My Petticoat Red" (1 text, 1 tune)
Scott-BoA, pp. 32-35, "Siubhal a Gradh (Come, My Love, Johnny Has Gone for a Soldier" (2 texts, 2 tunes)
Lomax-FSUSA 35, "Johnny Has Gone far a Soldier" (1 text, 1 tune)
Lomax-FSNA 20, "Johnny Has Gone for a Soldier" (1 text, 1 tune)
Lomax-ABFS, pp. 298-299, "Shoo, Shoo, Shoo-lye"  (1 text, 1 tune)
BBI, ZN199 "As from Newcastle I did pass" (listed as "Traditional? Ancestor of Scots 'Dicky Macphalion' and Irish 'Shule Aroon'")
Silber-FSWB, p. 280, "Buttermilk Hill" (1 text)
DT, SHULARN1* (SHULARN2*) SHULARN3 SHULARN4
Roud #911
RECORDINGS:
Anita Best and Pamela Morgan, "Suil a Gra" (on NFABestPMorgan01)
Pearl Jacobs Borusky, "I'll Sell My Hat, I'll Sell My Coat" (AFS, 1940; on LC55)
Porter Brigley, "I Died My Petticoat Red" (on MRHCreighton)
Robert Cinnamond, "Shule Agra" (on IRRCinnamond03)
Elizabeth Cronin, "Shule Aroon" (on FSB1)
Chubby Parker, "Bib-A-Lollie-Boo" (Gennett 6077/Silvertone 5012, 1927; Supertone 9188, 1928) (Conqueror 7891, 1931)
Pete Seeger, "Johnny Has Gone for a Soldier" (on PeteSeeger31)
Art Thieme, "Bibble-a-la-doo" (on Thieme04)
CROSS_REFERENCES:
cf. "Song of the Pinewoods" (floating lyrics)
NOTES: In its earliest forms this song seems to have been simply a girl's lament for her departed lover. In many American versions (Randolph's 107 A and C, Eddy's D) we find unrelated stanzas about the girl's "very cross" father.
Scott (following Joyce) theorizes that the song arises out of the Glorious Revolution of 1688. The Irish supported James II, and were defeated at the Boyne. William III, who defeated James, offered forgiveness to the rebels who would swear loyalty to him, but many preferred exile. The only evidence for this theory, at least in English versions, seems to be the lines "But now my love has gone to France, To try his fortune to advance...."
It's hard to tell how much of this song was originally Gaelic. Although there are Gaelic choruses (e.g. from Barry, in JAFL XXII 15; Connie Dover's modern recording is as close to this as makes no difference), I've never heard a truly traditional Gaelic verse, and even the chorus is usually only a mangled imitation of Gaelic. (Of course, it doesn't help that Gaelic spelling is far from standardized.) - RBW
The Thieme recording retains only the tune, chorus and two verses of "Shule Agra"; otherwise, it's humorous floaters. - PJS
For Hudson 130 the inserted rhyme is the first verse of Opie-Oxford2 482, "Snail, snail" (earliest date in Opie-Oxford2 is c.1744). [The stanza is also found in Baring-Gould-MotherGoose #471, p. 210). - RBW]
One of two broadsides for this ballad as "Shule Agra"/"Johnny Is Gone for a Soldier" at Bodleian Library site Ballads Catalogue is printed in New York c.1860, shelfmark Harding B.18(326).
See three "Shule Agra"/"Johnny Is Gone for a Soldier" broadsides [America Singing: digital id sb40500a/as201910/cw103140] at the Library of Congress American Memory site. - BS
File: R107
===
NAME: Shule Aron: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Shule Aroon: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Shulls Mills
DESCRIPTION: The singer prepares to return to Shulls Mills. He talks of his relations with the girls, carried out largely on the basis of cash up front, because "the girls... think I'm purty damn mean." He concludes, "When I gets my pay, Hain't gonna work a-tall."
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: logger whore
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 134, "Shulls Mills" (1 text, 1 tune; the text is composite though all verses come from Frank Proffitt)
ST Wa134 (Partial)
Roud #5735
File: Wa134
===
NAME: Shut Up in the Mines of Coal Creek
DESCRIPTION: (Eleven) miners, trapped in the mines of Coal Creek, resign themselves to death but place their trust in Jesus. Their lamps are flickering, their food is almost gone; they say farewell to their wives and children, saying they will meet them in heaven
AUTHOR: Probably Green Bailey, though Darling lists it as by Norman Gilford
EARLIEST_DATE: 1928 (recording, Green Bailey under the pseudonym Dick Bell)
KEYWORDS: mining death farewell
HISTORICAL_REFERENCES: Dec 9, 1911 - The Coal Creek explosion
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Darling-NAS, pp. 367-368, "Shut Up in the Mines of Coal Creek" (1 text)
Roud #844
RECORDINGS:
Dick Bell [pseud. for Green Bailey], "Shut Up in the Mines of Coal Creek" (Challenge 425, 1928; on KMM)
New Lost City Ramblers, "Shut Up in the Mines of Coal Creek" (on NLCR15, NLCRCD2)
CROSS_REFERENCES:
cf. "The Cross Mountain Explosion (Coal Creek Disaster)" [Laws G9] (subject)
NOTES: The Coal Creek explosion of 1911 actually involved more than 100 miners; I am not entirely certain that it is the event described here (there was another disaster in 1902). But, of course, this song could be about certain of the trapped miners rather than the whole gang.
Roud seemingly lumps this with Laws G9, but it is patently a different song. - RBW
File: RcSUIMCC
===
NAME: Shutting of the Gates of Derry by the Apprentice Boys of Derry: see Derry Walls Away (File: OrLa006)
===
NAME: Shutting of the Gates of Derry, The
DESCRIPTION: The singer recalls "how, in olden time, ... a band of boys closed the gates and "Antrim's 'Red-shank'd' crew retreats." In beseiged Derry "pestillence held awful sway - Gaunt famine reigned... till brave Downing" saved the city.
AUTHOR: unknown
EARLIEST_DATE: before 1869 (broadside, Bodleian Harding B 26(603))
LONG_DESCRIPTION: The singer recalls "how, in olden time, Boys gave fame to Derry" "This famed date in Fifty-eight, Foemen crossed the Ferry, O! And with yells of fiendish hate, Sought to enter Derry, O!" But a band of boys closed the gates and "Antrim's 'Red-shank'd' crew retreats." "James, their craven king" sent instructions to "his Popish Parliament" in Dublin to "raze the walls of Derry" In Derry "pestillence held awful sway - Gaunt famine reigned ... till brave Downing" saved the city. "Brave Thirteen, who closed the Gate In December hoary, O. In the Keep of Eighty-Eight Hallowed with your glory O"
KEYWORDS: battle rescue death starvation Ireland patriotic youth
HISTORICAL_REFERENCES: Dec 7, 1688 - The "Apprentice Boys" close the Londonderry gates against Lord Antrim's "Redshanks"
Jul 28, 1689 - Browning's ships break the 105 day siege of Derry (source: Cecil Kilpatrick, "The Siege of Derry: A City of Refuge" at the Canada-Ulster Heritage site)
FOUND_IN: 
REFERENCES: (0 citations)
BROADSIDES:
Bodleian, Harding B 26(603), "The Shutting of the Gates of Derry" ("Brothers, up! the pealing chime"), J. Moore (Belfast), 1852-1868
CROSS_REFERENCES:
cf. "No Surrender (I)" (subject: The Siege of Derry)
cf. "No Surrender (II)" (subject: The Siege of Derry)
cf. "Derry Walls Away" (subject: The Siege of Derry)
cf. "Anniversary of the Shutting of the Gates of Derry" (subject: The Siege of Derry)
cf. "The Relief of Derry" (subject: The Siege of Derry)
cf. "The Maiden City" (subject: The Siege of Derry)
cf. "Derry's Walls" (subject: The Siege of Derry)
cf. "The Gates of Londonderry" (subject; The Siege of Derry)
NOTES: Broadside Bodleian Harding B 26(603) is the basis for the description. The erroneous reference to [16]58 in the second verse is corrected to [16]88 in the last. - BS
The Siege of Londonderry was one of those defining moments in Irish history, though it didn't seem like a particularly big deal at the time. It was defining for the way it was remembered.
The context is the Glorious Revolution of 1688 (for which see, e.g., "What's the Rhyme to Porringer?" and "The Vicar of Bray"). The Catholic James II had been driven off the English throne, replaced by his Protestant daughter Mary and her Protestant husband (and first cousin) William III of Orange. But this was just a small part of the war between France and most of the rest of Europe; the French were supporting James.
And James decided to take advantage of his support in Ireland, still mostly Catholic. He would not himself arrive until March 1689, but his followers were active. According to Peter and Fiona Somerset Fry, _A History of Ireland_ (Barnes & Nble, 1988, 1993), pp. 159-160, "Londonderry had shown its Protestant colours as early as September 1688, when the apprentices, the working lads of the city, had closed the gates against the Catholic earl of Antrim and his men; later, when Tyrconnell [James's Lord Deputy of Ireland, for whom see "Lilliburlero"] had most unwisely withdrawn whole regiments from the north, the Protestant gentry ha raised levies in support of William. Tyrconnell had defeated them in a confused engagement known as the 'break of Dromore,' whereupon those who could not get sea passage away from the country had crowded as refugees into the garrison town of Enniskillen, in Fermanagh, and into Londonderry. James, beneath tje city walls, called repeatedly upon the citizens to surrender, promising them a free pardon for their rebellion.
Terry Golway, _For the Cause of Liberty_, (Simon & Schuster, 2000), pp. 30-31: "The city's thirty thouand civiliians were reduced to eating rats, but when the city's commander, Robert Lundy, seemed ready to surrender, the populace turned on him. The cry of the besieged city was 'No Surrender!' It would become a Protestant motto."
Fry/Fry, p. 160: "The besiegers had no chance of taking the city by assault. James'[s] troops were untried and ill-equipped; they had no spades and shovels for mining the city walls, and no guns heavy enough to breach them. They could only wait until the defenders were starved into submission. Refugees had swelled the population to 30,000 and food supplies soon began to run out; people were dying of starvation and the garrison was too weak to fight.... Then, in the middle of June, six weeks after the siege had begun, an English fleet arrived in Lough Foyle to relieve the city."
The lough, however, had been blocked by James's troops, so it was six weeks before the ships were able to reach the city. Once they did, though, that was the end of the fifteen-week siege (see Martin Wallace, _A Short History of Ireland_, Barnes & Noble, 1973, 1986, p. 56); with food now available, the Catholic army saw no point in continuing the siege. While this was going on, the rest of Ireland started to split into Catholic and Protestant segments, and finally William III showed up, and both sides headed for the Boyne, the subject of so many Irish songs.
According to Jonathan Bardon, _A History of Ulster_, Blackstaff Press, 1992, pp. 157-158, "Derry was the last walled city to be built in western europe. The siege of 105 days was the last great siege in British history, and the most renowned. 'Oh! to her the loud acclamations o the garrison soldiers round the Walls when the ships came to the Quay,' Ash wrote in his diary.'...The Lord, who has preserved this city from the Enemy, I hope will always keep it to the Protestants.' For the Protestants of Ulster this epic defence gave inspiration for more than three centuries to come."
You can generally tell the perspective of a commentator by whether he refers to the city as Derry (the Catholic title) or Londonderry (Protestant). I've called it Londonderry because, at this particular time, the Protestants were defending it. Though the area is in fact mostly Catholic.
For more background on the siege, see "Derry Walls Away." - RBW
File: BrdSGD
===
NAME: Si Hubbard (Hey Rube)
DESCRIPTION: Two farm boys decide to visit the circus. They raise the money and go in to see the sights. After volunteering to take part in various escapades, they end up being carried off by a balloon. When at last they land, they wind up in jail
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: humorous farming technology prison
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 350-352, "Si Hubbard" (1 text, 1 tune)
ST San350 (Full)
NOTES: Another piece which may owe more to Sandburg's imagination than to tradition. Even Sandburg says that it came, indirectly, from a carnival barker. - RBW
File: San350
===
NAME: Si j'avais le Bateau (If I had the Boat)
DESCRIPTION: French. If I had the boat which my father had given me I could cross the water and the sea without boat. If I had children who would not call me mom I would often ask God that they would die suddenly. To the proprietor's honor, let's pop the cork.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Peacock)
KEYWORDS: foreignlanguage drink humorous nonballad nonsense
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 96-97, "Si J'Avais le Bateau" (1 text, 1 tune)
File: Pea096
===
NAME: Si J'Etais Petite Alouette Grise (If I Were Small Gray Lark)
DESCRIPTION: French. A young drummer/sailor returns from war. He asks a king's daughter to be his girl. She says he must convince the king he is very rich, which he does. The king agrees. The drummer/sailor thanks the king but leaves: he has prettier girls at home.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage greed courting rejection gold father sailor royalty
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 889, "Si J'Etais Petite Alouette Grise" (1 text, 1 tune)
ALTERNATE_TITLES:
Trois Jeunes Tambours (Three Young Drummers)
Une Jeune Tambour (A Young Drummer)
Belle Alouette Grise (Beautiful Grey Lark)
NOTES: This ballad is common on the internet as "Trois Jeunes Tambours" -- for example at the site of "La Caverne de Cat."
The discussion of wealth is about three ships owned by the drummer/sailor:I have three ships on the sea: one has a cargo of gold, one has a cargo of pearls [or jewels], and the third is for my girl friend. The conversation about the ships may be between the drummer/sailor and the king's daughter.
The endings spoken to the king by the protagonist vary between: (1) Your daughter is something special (2) In my country there are prettier girls. - BS
File: Pea889
===
NAME: Sic a Wife as Willie Had (Willie Wastle)
DESCRIPTION: "Willie Wastle dwalt on Tweed." I "wadna gie a button" for his wife. "Tinker Maggie was her mither." One eye, few teeth, limping leg, hump on back and breast. Her actions are as crude as her looks. "Sic a wife as Willie had."
AUTHOR: Robert Burns
EARLIEST_DATE: 1792 (Scots Musical Museum)
KEYWORDS: humorous nonballad wife
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Creighton-Maritime, p. 132, "Sic a Wife As Willie Had" (1 text, 1 tune)
DT, WASTLE
Roud #2702
BROADSIDES:
Bodleian, Harding B 11(4242), "Willie Wastle," W. Dixon (Workington), n.d.
NOTES: Somewhere in the depths of my memory, there is a vague memory of a children's rhyme about Wullie Wastle, King of the Castle. Whether there is a relationship between that and this I do not know. - RBW
File: CrMa132
===
NAME: Sick, Sick: see Captain Car, or, Edom o Gordon [Child 178] (File: C178)
===
NAME: Sidewalks of New York
DESCRIPTION: Known by its chorus: "East side, west side, all around the town, The tots sang Ring-a-Rosie, London Bridge is falling down...." The verses describe courting in New York, and wax nostalgic for the days when the singer was one of those doing the courting
AUTHOR: Words: James W. Blake / Music: Charles B. Lawlor
EARLIEST_DATE: 1894 (copyright)
KEYWORDS: courting game children
FOUND_IN: US
REFERENCES: (4 citations)
Silber-FSWB, p. 48, "Sidewalks of New York" (1 text)
Gilbert, p. 257, "The Sidewalks of New York" (1 text)
Fuld, pp. 499-500, "The Sidewalks of New York"
DT, SIDWLKNY
RECORDINGS:
Abner Burkhardt, "The Sidewalks of New York" (Champion 15279, 1927)
Vernon Dalhart, "The Sidewalks of New York" (Columbia 437-D, 1925; Columbia 15256-D, 1928 [as Al Craver])
George Gaskin, "Sidewalks of New York" (Berliner 0959, 1895)
Andrew Jenkins & Carson Robison, "Sidewalks of New York" (OKeh 45232, 1928)
Billy Jones, "The Sidewalks of New York" (Edison 51340, 1924)
SAME_TUNE:
East Side, West Side (Harvesting Song) (Pankake-PHCFSB, p. 105)
ALTERNATE_TITLES:
East Side, West Side
NOTES: For some inexplicable reason, this was Al Smith's 1928 presidential campaign song. - RBW
Well, Smith *was* the governor of New York. Of course, rubbing that in didn't endear him to the rest of the country, and anti-Catholic bigotry helped do him in. - PJS
Incidentally, the flip side of the Dalhart recording was "Al Smith for President." I don't know whether that's cause or effect. It's interesting to note that Herbert Hoover doesn't seem to have made any influence on oral tradition, but in addition to the Dalhart recording, Dave Macon sang an Al Smith song. - RBW
File: Gil257
===
NAME: Sidney Allen [Laws E5]
DESCRIPTION: The Allen Family is in court; Sidney and the others break out by shooting the judge and starting a gunfight in the court. Recaptured and brought home, he is sentenced to a long prison term instead of being executed
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: prison fight trial feud
HISTORICAL_REFERENCES: 1912 - Trial of the Allen family
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (8 citations)
Laws E5, "Sidney Allen"
Hudson 104, pp. 242-243, "Sidney Allen" (1 text)
Gardner/Chickering 140, "Sidney Allen" (1 text)
Thomas-Makin', p. 155, (no title) (1 text, 1 tune)
Warner 113, "Hillsville, Virginia" (1 text, 1 tune)
Burt, pp. 254-255, "Sidney Allen" (1 text)
Darling-NAS, pp. 191-192, "Sidney Allen" (1 text)
DT 777, SIDALLEN
Roud #612
RECORDINGS:
Vernon Dalhart, "Sydney Allen" (Columbia 15042-D, 1925) (Domino 3642, 1925; Banner 1672, 1926)
Henry Whitter, "Sydney Allen" (OKeh 40109, 1924)
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1] (meter)
cf. "Claude Allen" [Laws E6] (subject)
NOTES: The members of the Allen family seem to have been the backest of backwoodsmen. Floyd Allen was sentenced to a year in prison by Judge Thornton L. Massie, whereupon the whole family started shooting and made their escape. Later captured, Claud (no e, according to contemporary sources) and Floyd were eventually executed; Sidney ("Sidna") was sentenced to prison. - RBW
File: LE05
===
NAME: Siege of Plattsburg, The
DESCRIPTION: "Back side of Albany stands Lake Champlain." "On Lake Champlain Uncle Sam set his boats, And Captain McDonough to sail 'em." The British come to attack Plattsburg, but scare off the British governor
AUTHOR: unknown
EARLIEST_DATE: 1845 (Newspaper, "Brother Johnathan")
KEYWORDS: war battle
HISTORICAL_REFERENCES: Aug/Sept 1814 - Plattsburg campaign.  As part of a three-pronged attack strategy (the other prongs being at Chesapeake Bay and the lower Mississippi), a British army of 11,000 regulars led by General Sir George Prevost and a naval force under Captain George Downie attack Lake Champlain.
Sept 6, 1814 - The British army reaches Plattsburg and awaits the navy
Sept 11, 1814 - Battle of Plattsburg. An American naval squadron under Captain Thomas Macdonough (1783-1825) defeats the British force in a fierce contest with very high casualties, compelling the British fleet to retreat in disorder. The British army, though under no military compulsion, retreats as well.
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 510-512, "Siege of Plattsburg" (1 text, 1 tune)
Roud #15541
CROSS_REFERENCES:
cf. "The Banks of Champlain" (subject)
NOTES: In 1814, with Napoleon temporarily under control after the Battle of Leipzig and, later, his abdication, the British decided to finally finish off the War of 1812. They decided on a three-pronged attack -- the northern force starting from the Great Lakes, the center heading for Washington D.C., and the southern attack being made on New Orleans.
Considering that the British would have more force available than every before, and that they had generally had the best of it to that time even with their minimal forces -- pushing back every American attack on Canada and eventually driving most of the small American fleet off the seas -- the results were disastrously bad.
Only the middle assault had any success, when Robert Ross's men burned many of the government buildings in Washington. Their move toward Baltimore, however, was stopped at the siege of Fort McHenry, commemorated in "The Star Spangled Banner."
The Battle of New Orleans (for which see, e.g., "The Hunters of Kentucky" and "The Battle of New Orleans" [Laws A7]) resulted in the death of the slow-moving British commander Pakenham and the defeat of his force. To be sure, that assault followed the attack on Baltimore -- and the peace treaty.
Plattsburg, though, was the real disaster, because the British had every advantage and manged to lose anyway.
General Sir George Prevost, the British commander-in-chief in Canada, had done a good job to this point, but he had never actually commanded in the field; Isaac Brock had won the great victories of 1812 (see ÒThe Battle of Queenston Heights" and "Brave General Brock" [Laws A22]), and Gordon Drummond had been field commander at Lundy's Lane in 1814 (see ÒThe Battle of BridgewaterÓ). With the British finally going on the offensive now that extra troops were available, Prevost himself took charge.
Orders from London told him to advance toward Lake Champlain, which would among other things split Federalist New England (which had opposed the war and was still trying to trade with the British) from the more pro-war West and South (see Walter R. Borneman, _1812: The War that Forged a Nation_, pp. 199-200). He had every advantage, too: The Americans, expecting more action on the Niagara front, had sent roughly half of the forces they had had in the Champlain area to the Niagara (see Donald R. Hickey, _The War of 1812_, p. 190).
Prevost was hardly enthusiastic. Even though he had some 10,000 troops at his disposal, all regulars, meaning that he could sweep aside any force the Americans could put up, he wanted his ships to control the rivers. As a result, he dawdled (Borneman, p. 201). This even though the Americans had sent most of their available forces to Sackets Harbor to defend against a British thrust that never materialize. All the Americans had left in the Champlain region was a few thousand soldiers under Brigadier General Alexander Macomb (whose wife would eventually be credited with writing another song about this battle, ÒThe Banks of ChamplainÓ), plus the naval forces that 31-year-old Master Commander Thomas Macdonough could scrape up. These were inferior to the British forces (the British had captured two of the stronger American ships in 1813, giving them naval superiority; Hickey, p. 190), but Macdonough was to handle them brilliantly, and Prevost would do the rest.
Each fleet had one big vessel at Lake Champlain: The Americans had a 700-tonner named _Saratoga_,, with 26 guns; the British had the strongest ship on the lake in the 1200-ton, 37-gun _Confiance_ -- which was, however, so new that workmen were still aboard her as she headed up Lake Champlain! (Hickey, p. 190). _Confiance_ was supported by the 16-gun _Linnet_ and the 11-gun sloops _Chub_ and _Finch_ (the ships taken from the Americans the year before). _Saratoga's_ consorts were the 20-gun _Eagle_, the 17-gun _Ticonderoga_, the 7-gun _Preble_, and a bunch of one-gun and two-gun small fry (the British had some of those, too; see Borneman, pp. 205-206). The weight of broadide was about even, but the British ships, with more long guns, were much better for an action on open water.
An action on open water was just what they didn't get. When it came time to attack the American position at Plattsburg, Prevost wanted his navy to go first, even though the man who had built the British fleet and who knew the local waters, Lieutenant Daniel Pring, had been replaced at the last minute by Captain George Downie (Borneman, pp. 204-205). Downie would play right into Macdonough's hands.
The American general Macomb had set up his lines on the edge of Plattsburg Bay. This let Macdonough put his forces at the head of the bay, making it difficult for the British to attack at long range; they almost had to turn into the bay, exposed to Macdonough's broadsides -- and, because they had to turn, they would lose most of their wind. Plus MacDonough had a trick: He had _Saratoga_ tied to a series of winches so he could turn her around in place should her starboard side (facing the battle) be too damaged (Borneman, pp. 208-211).
The two lead ships, _Saratoga_ and _Confiance_, were soon locked in battle. _Saratoga_ probably took more damage (the British were firing heated cannonballs, which twice set her afire; Hickey, p. 191), but one of her shots killed Downie, and at the key moment Macdonough spun his ship around. _Confiance_ tried the same trick, couldn't manage it -- and took so much damage in the process that she had to strike her colors. _Saratoga_ was too damaged to fight an open-water action -- the two sides had roughly equal casualties -- but she had won. And, without _Confiance_, the rest of the British fleet was doomed. _Linnet_ struck her colors about fifteen minutes later, and the battle was over (Borneman, p. 212).
Prevost still had at least a two to one edge on land, and it was probably closer to three to one -- but he proceeded to retreat anyway, without even seriously engaging Macomb (Borneman, pp. 213-214; Hickey, p. 193). The British thrust in the North -- the potential war-winner -- was at an end. Indeed, as it turned out, that was the effective end of the war on the Canadian frontier.
The American victories at Plattsburg and Baltimore, especially the former, were largely responsible for the end of the war; the Duke of Wellington told the British government that they needed naval superiority on the Great Lakes, and Plattsburg proved once and for all that they didn't have it. The Americans and British had been negotiating, but the two defeats caused the British to back off their harsher demands.
Ironically, the final Treaty of Ghent didn't even address the issues over which Madison had gone to war (impressment, etc.), though it did eventually result in some boundary clarifications.
Incidently, Paul Stamler tells me that they now spell the name of the town "Plattsburgh." - RBW
File: LxA510
===
NAME: Sierry Petes, The: see Tying a Knot in the Devil's Tail [Laws B17] (File: LB17)
===
NAME: Sig-i-nal Hill: see Back Bay Hill (File: FJ165)
===
NAME: Sights and Scenes of Belfast, The
DESCRIPTION: The singer claims to be "a country clown" looking for work. He finds muddy streets, "scavengers" on strike, strange fashions -- "the Grecian Bend" -- hawkers that will "tear you limb from limb," drunkards and shirkers and artful dodgers.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: commerce humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 8, "The Sights and Scenes of Belfast" (1 text, 1 tune)
NOTES: Leyden says that this is a "song that takes us on a tour of the city in the 1870s." - BS
File: Leyd008
===
NAME: Sign of the Blue Bell, The: see Next Monday Morning (File: ShH38)
===
NAME: Sign of the Bonnie Blue Bell, The: see Next Monday Morning (File: ShH38)
===
NAME: Sign On Day
DESCRIPTION: "It's sign-on day at the Dance Palais And we're down to a quid or two...." The singer describes the hard work of (sugar) cane cutting. "Our hands are raw, but two bob more Will make them seem like new. If we get enough pay we'll cut all day...."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: work Australia harvest
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 198-199, "Sign On Day" (1 text, 1 tune)
NOTES: Cane-cutting was seasonal work, so cutters and farmers gathered for a "sign on day" at some local venue (such as the "Dance Palais" mentioned here). Cane-cutters were paid by how much they cut, so they would often work exhaustingly long hours, then crash once the season was done. - RBW
File: FaE198
===
NAME: Signing the Pledge
DESCRIPTION: "The old folks would be happy If they knew I'd signed the pledge, For my feet have long been straying On the brink of ruin's edge." He hopes, "God helping me," to stay free of drink, to help his parents as they grow old
AUTHOR: unknown
EARLIEST_DATE: 1920 (Randolph)
KEYWORDS: drink family
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 328, "Signing the Pledge" (1 text)
Roud #7802
File: R328
===
NAME: Silent Night (Still the Night, Stille Nacht)
DESCRIPTION: German christmas song with multiple English translations, the most famous beginning "Silent night, holy night, All is calm, all is bright." The night of Jesus's birth is praised
AUTHOR: Music: Franz Gruber (1787-1863) / German Words: Joseph Mohr (1792-1848)
EARLIEST_DATE: 1832 (sheet music)
KEYWORDS: Christmas religious Jesus nonballad foreignlanguage
FOUND_IN: Germany Britain US
REFERENCES: (5 citations)
Silber-FSWB, p. 384, "Silent Night" (1 text)
Fuld-WFM, pp. 500-501, "Silent Night"
DT, SLNTNITE*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 64-65, "Silent Night" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #299, "Stille Nacht" (1 text)
RECORDINGS:
Soul Stirrers, "Silent Night" (Aladdin 2028, n.d. but post-WWII)
NOTES: Mohr reportedly wrote these words in 1818. The tale of Gruber's music is the stuff of folklore: His church's organ was broken, and could not be repaired until after Christmas. Therefore Gruber needed music for guitar and voice -- the only things he had available. On December 24, he wrote this music for Mohr's words.
It is said that the music was given to the world by the organ repairman, though this may be one cute story too many, as the song was not published until 1832. The truth, according to Johnson, is simply that the song was circulated privately for some years, until someone named Friese heard it, took it down, and had it published. It apparently took some time for Gruber and Mohr to get credit. It is interesting to note that Mohr wrote six verses (which, incidentally, never mention Mary!), but three of these have been completely ignored by later singers.
There are at least three English translations of these words. The first, "Stilly night, holy night," by Emily Elliot, is forgotten. In the U.S., the form "Silent Night, Holy Night" is usual; it is often listed as anonymous though it's sometimes credited to John Freeman Young.
In Britain, we often meet the version "Still the night." This too is often listed as anonymous, though Stopford A. Brooks is said to have published it in 1881.
Neither "translation" actually represents the German words very well.
Spaeth reports that the song was popularized in the United States by the Reiner (Rainer) family, starting around 1841. Ian Bradley's _Penguin Book of Carols_ also attributes its popularity to this group -- but in Austria. - RBW
File: FSWB384B
===
NAME: Silk Merchant's Daughter (I), The [Laws N10]
DESCRIPTION: A girl's parents send her lover away. She dresses in men's clothes and follows him. Their ship sinks. In a lifeboat, she is chosen by lot to be killed for food; he is to kill her. (She reveals herself); they spot (land or a ship) and all are saved
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: love exile cross-dressing ship wreck disaster cannibalism reprieve rescue sailor
FOUND_IN: US(Ap,MW,SE,So) Canada(Newf,Ont) Britain(Scotland,England) Ireland
REFERENCES: (13 citations)
Laws N10, "The Silk Merchant's Daughter"
Doerflinger, pp. 296-298, "The Silk Merchant's Daughter" (2 texts, 1 tune)
Greenleaf/Mansfield 25, "The Castaways" (1 text, 1 tune)
Ord, pp. 63-64, "The Merchant's Daughter Turned Sailor" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 1, "To Fair London Town" (1 text, 1 tune)
Randolph 43, "The Silk Merchant's Daughter" (1 text, 1 tune)
JHCox 99, "The Silk Merchant's Daughter" (fragments of a text with narration of the plot as recalled by the informant)
BrownII 107, "The Silk-Merchant's Daughter" (2 texts)
Hudson 35, pp. 148-149, "The Silk-Merchant's Daughter" (1 text)
Brewster 43, "The Silk-Merchant's Daughter" (1 text, which Laws describes as "almost completely rewritten"; the boy goes to sea to avoid the girl)
SharpAp 64, "The Silk Merchant's Daughter" (4 texts, 4 tunes)
Gardner/Chickering 64, "The Silk Merchant's Daughter" (1 text)
DT 441, SLKMRCHT
Roud #552
RECORDINGS:
Tom Lenihan, "To Fair London Town" (on IRTLenihan01)
BROADSIDES:
Bodleian, Harding B 11(3744), "The Silk Merchant's Daughter" ("As I was a-walking up New London street", unknown, n.d.; also Harding B 25(1778), "The Silk Merchant's Daughter"
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
cf. "MacDonald's Return to Glencoe (The Pride of Glencoe) [Laws N39]" (tune)
SAME_TUNE:
MacDonald's Return to Glencoe (The Pride of Glencoe) [Laws N39] (File: LN39)
File: LN10
===
NAME: Silk Merchant's Daughter (II), The: see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Silly Bill: see Common Bill (File: R119)
===
NAME: Silly Old Miser, The: see Darby O'Leary (File: CrSNB110)
===
NAME: Silly Sunday School, The: see Walkin' in the Parlor (File: Wa177)
===
NAME: Silver Dagger (I), The [Laws G21]
DESCRIPTION: Two young people wish to marry; the boy's parents are against it because the girl is poor. The heartbroken girl stabs herself to death. The boy, finding her dying, takes the dagger and stabs himself as well
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: love poverty suicide family
FOUND_IN: US(Ap,MW,Ro,SE,So) Canada(Mar)
REFERENCES: (20 citations)
Laws G21, "The Silver Dagger"
Creighton-SNewBrunswick 57, "Come All Good People" (1 text, 1 tune)
Belden, pp. 123-126, "The Silver Dagger" (2 texts plus 1 excerpt and references to 5 more, 1 tune)
Randolph 139, "The Silver Dagger" (6 texts, 2 tunes)
Randolph/Cohen, pp. 161-163, "The Silver Dagger" (1 text, 1 tune -- Randolph's 139A)
Eddy 102, "The Green Fields and Meadows" (2 texts, 2 tunes)
Gardner/Chickering 23, "The Silver Dagger" (1 text)
BrownII 72, "The Silver Dagger" (1 text plus mention of 2 more)
Hudson 64, pp. 188-189, "The Silver Dagger" (1 text)
Shellans, pp. 34-35, "Parents, Warning" (1 text, 1 tune)
Brewster 38, "The Silver Dagger" (2 texts plus mention of 2 more, 1 tune)
Leach, pp. 730-731, "The Silver Dagger" (1 text)
LPound-ABS, 52, pp. 121-122, "Silver Dagger"; pp. 123-124, "Silver Dagger" (2 texts)
JHCox 109, "The Silver Dagger" (2 texts plus mention of 1 more)
Fuson, pp. 71-72, "Come All Ye Fair and Tender Ladies" (1 text, with the "Fair and Tender Ladies" first line but otherwise clearly this song)
SharpAp 165, "The Silver Dagger" (1 text plus a fragment, 2 tunes, but the "B" fragment is probably "Charming Beauty Bright" [Laws M3])
Scarborough-SongCatcher, p. 42, "(The Bloody Dagger)" (1 short text, omitting the suicides)
Darling-NAS, pp. 221-222, "Young Men and Maids" (1 text)
DT 639, SILVDAG2*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 202-203, "(The Young Lovers)" (1 text)
Roud #711
RECORDINGS:
Blue Sky Boys, "Katie Dear" (Bluebird B-7661, 1938)
Homer and Walter Callahan, "Katie Dear (Silver Dagger)" (Banner 33103/Melotone M-13071/Oriole 8353/Perfect 13017/Romeo 5353, c. 1934; Conqueror 9145, 1938; on GoingDown)
Sheila Clark, "Silver Dagger" (on LegendTomDula)
Betty Garland, "Never Make True Lovers Part" (on BGarland01)
Paul Joines, "Young Men and Maids" (on Persis1)
Tommy Moore, Clint Howard et al, "True Lovers" (on Ashley02)
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4]
cf. "Greenback Dollar" (plot)
ALTERNATE_TITLES:
An Awful Warning
O Parents, Parents, All Take Warning
NOTES: For the relationship between this and "The Drowsy Sleeper," see the notes on that song. Several songs are filed there which contain nearly as much material from that song as from this. - RBW
File: LG21
===
NAME: Silver Dagger (II), The: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Silver Flagon, The
DESCRIPTION: "'Lift high,' shouts Clarke, 'the Silver Flagon...The gift of good John Jacob Astor... I drink  the curse of hated savage."" When the flagon is found missing, Clarke hangs an Indian, despite a lack of evidence
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt); supposedly written 1914
KEYWORDS: theft punishment execution Indians(Am.) discrimination
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 133-134, "(The Silver Flagon)" (1 text)
NOTES: The John Jacob Astor of this song is of course not the man who went down with the _Titanic_, but his great-grandfather of the same name (1763-1848), who came to the United States in 1784 and founded the family fortune in the fur trade. As the song says, he founded the city of Astoria in 1811.
According to Burt, this piece arises out of an incident in one of Astor's fur expeditions. John Clarke, one member of the company, was responsible for transporting the flagon. On May 30, 1813, due largely to his own carelessness, it was stolen. Clarke saw an Indian sneaking about, and even though the unfortunate man did not have the flagon or any of the other items missing, Clarke hanged him. - RBW
File: Burt133
===
NAME: Silver Herring, The (Caller Herring)
DESCRIPTION: Peddler's song/street cry: "Who'll buy my silver herrings?/I cry from door to door". Verses tell different ways prepare herring, plus different names. Many enjoy eating herring; more weep for the fishermen who are lost catching them
AUTHOR: Carolina Oliphaunt, Lady Nairne ?
EARLIEST_DATE: before 1800 (Nairne's publication), with the tune older; O. J. Abbott learned the traditional version c. 1890
LONG_DESCRIPTION: Peddler's song/street cry: "Who'll buy my silver herrings?/I cry from door to door". Verses tell different ways to cook and eat herring, plus different names - Yarmouth bloaters or Digby kipper red. Many enjoy eating herring; many more weep for the fishermen who are lost catching them or fear for their loved ones' safety
KEYWORDS: grief death fishing work food nonballad animal sailor worker family
FOUND_IN: Britain(England) Canada(Ont)
REFERENCES: (1 citation)
DT, CALLHERR
Roud #3824
RECORDINGS:
O. J. Abbott, "The Silver Herring" (on Abbott1)
NOTES: If, as I believe, O. J. Abbott's "The Silver Herrings" is a traditional version of Lady Nairne's "Caller Herring," it has a complicated pedigree. Lady Nairne wrote "Caller Herrin'" "toward the end of the 18th century" to help Nathaniel Gow (son of Neil Gow). Nairne set it to a harpsichord piece by the elder Gow, which itself was based on a fish-seller's call.
To make life even more complicated, Jonathan Swift (1667-1745) had his own herring cry ("Herrings"; see Kathleen Hoagland, editor, _One Thousand Years of Irish Poetry_ (New York, 1947), p. 324). This has lines such as, "Be not sparing. Leave off swearing. Buy my herring Fresh from Malahide, Better never was tried.... Come, sixpence a dozen, to get me some bread, Or, like my own herrings, I soon shall be dead." Possibly independent, but who knows.... - RBW
File: RcSilHer
===
NAME: Silver Jack [Laws C24]
DESCRIPTION: Robert Waite condemns the Bible as fictitious and Jesus as "just a common man." Silver Jack proceeds to beat the "infidel" until he admits the error of his ways.
AUTHOR: unknown
EARLIEST_DATE: 1915 (article, John A. Lomax)
KEYWORDS: Bible fight
FOUND_IN: US(MW,NW,Ro,SE,So)
REFERENCES: (7 citations)
Laws C24, "Silver Jack"
Rickaby 32, "Silver Jack" (1 text)
Hudson 78, pp. 206-207, "Silver Jack" (1 text)
Lomax-FSNA 60, "Silver Jack" (1 text, 1 tune)
Beck 38, "Lumberjack's Revival" (1 text)
DT 606, SILVRJAK(*)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 21-23, "Silver Jack" (1 text)
Roud #705
CROSS_REFERENCES:
cf. "Clementine" (tune)
cf. "Bung Yer Eye" (character)
cf. "The Protestant Maid" (subject: religious conversion) and references there
ALTERNATE_TITLES:
Religion in Camp
Silver Jack the Evangelist
NOTES: John "Silver Jack" Driscoll seems to have been the subject of this ballad; a quarrelsome, fighting man from the Saginaw valley of Michigan, he apparently fought too hard one time, and was sent to prison. To quote T. G. Belanger: "He died with his boots off, in the Ottawa Hotel, in L'Anse, Michigan, April 1, 1895. Beside him ...were found the following: a bottle of cough medicine, $85.00 in bills, and a note: 'This will be enough to bury me.'" - PJS
This particular example of Christian charity and peacefulness is suspected by both Hudson and Lomax (without supporting evidence) of having been originally published in a newspaper. Given its anti-intellectual tone (stanza 1 describes Waite as "Kind of cute and smart and tonguey; Guess he was a graduate"), I am inclined to doubt this. - RBW
I'm not; newspapers could be rabidly anti-intellectual. Read the _Chicago Tribune_ during the McCormick era, or the early Hearst press. - PJS
But would any newspaperman claim that "the spread of infidelity Was checked in camp that day"? - RBW
File: LC24
===
NAME: Silver Pin, The: see The Keys of Canterbury (File: R354)
===
NAME: Silver Threads: see I Know a Boarding-House (File: R479)
===
NAME: Silver Threads among the Gold
DESCRIPTION: "Darling, I am growing old, Silver threads among the gold Shine upon my brow today; Life is fading fast away; But, my darling, you will be... Always young and fair to me." The singer describes how (his) belove will grow old, but he will love her anyway
AUTHOR: Words: Eben Eugene Rexford / Music: Hart Pease Danks
EARLIEST_DATE: 1873
KEYWORDS: love age nonballad
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 194-197, "Silver Threads Among the Gold" (1 text, 1 tune)
Geller-Famous, pp. 1-4, "Silver Threads Among the Gold" (1 text, 1 tune)
Silber-FSWB, p. 259, "Silver Threads Among The Gold" (1 text)
Fuld-WFM, p. 501, "Silver Threads Among the Gold"
DT, SILVTHRD*
ST RJ19194 (Full)
Roud #6403
RECORDINGS:
Henry Burr, "Silver Threads Among the Gold" (Victor 19131, 1923)
Fiddlin' John Carson, "Silver Threads Among the Gold" (OKeh 45488, 1930)
Andrew Jenkins & Carson Robison, "Silver Threads Among the Gold" (OKeh 45246, 1928)
Frank & James McCravy, "Silver Threads Among the Gold" (Brunswick 197, 1928; rec. 1927)
McMichen's Melody Men, "Silver Threads Among the Gold" (Columbia 15247-D, 1928; rec. 1927)
Marie Narelle, "Silver Threads Among the Gold" (CYL: Edison 9162, 1905)
Riley Puckett, "Silver Threads Among the Gold" (Columbia 405-D, 1925)
Royal Hawaiians, "Silver Threads Among the Gold" (Broadway 8100, c. 1930)
Will Oakland, "Silver Threads Among the Gold" (CYL: Edison [BA] 1547, n.d.)
CROSS_REFERENCES:
cf. "Sweet Genevieve" (theme)
cf. "When You and I Were Young, Maggie" (theme)
SAME_TUNE:
At the Boarding House (Silver Threads; While the Organ Pealed Potatoes) (File: DTbordho)
NOTES: Jackson notes, "The fashionable message of the song -- that romantic love remains always young even though bodies wrinkle and age -- was apparently lost on Danks's wife; she left the forty-year-old composer the year after 'Silver Threads' appeared."
This was the only song by Rexford (1848-1916) that amounted to anything, but it by itself was enough to cause monuments to be erected to him in both his birthplace in New York and his primary place of residence in Wisconsin.
Danks (1834-1903) spent much of his life trying to make a career of music; he composed several other melodies and several stage pieces -- but, again, none of them amounted to anything.
According to James J. Geller's _Famous Songs and their Stories_, this collaboration came about in a curious way: Rexford was editing a Wisconsin farm magazine and, needing a space filler, threw in one of his poems. Danks saw it, thought it worth setting to music, and sent Rexford a small sum to purchase the rights. That song went nowhere -- but Rexford responded by sending Danks much of his other works. Among those songs was "Silver Threads." Danks supplied music, and the two had the only hit they would ever produce- RBW
File: RJ19194
===
NAME: Silver Tide, The: see The Silvery Tide [Laws O37] (File: LO37)
===
NAME: Silver Whistle, The
DESCRIPTION: Scots Gaelic, welcoming Bonnie Prince Charlie to Scotland: "Oh who will play the silver whistle? ... (when my) king's son to sea is going?" The singer describes those who will welcome Charlie, as well as the handsome prince himself
AUTHOR: unknown
EARLIEST_DATE: 1909 (Kennedy-Fraser)
KEYWORDS: Jacobites ship return travel
HISTORICAL_REFERENCES: 1720-1788 - Life of Charles Edward Stuart, "Bonnie Prince Charlie"
1745 - The (last) Jacobite Rebellion
1746 - Prince Charlie's rebellion crushed at Culloden.
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (3 citations)
Kennedy 9, "Co Sheinneas an Fhideag Airgid? (O Who Will Play the Silver Whistle)" (1 text+ English translation, 1 tune)
Kennedy-Fraser I, pp. 134-135, "An Island Jacobite Song/The Silver Whistle (An Fhideag Airgid)"  (1 text+ English translation, 1 tune)
DT, SILVWHIS
File: K009
===
NAME: Silvery Lee, The
DESCRIPTION: The singer says "never river saw I any Half so fair or dear to me As my own, the silvery Lee" He prefers it to the Rhine (and whisky to wine), the Tagus, Tiber, Danube, Seine and Elbe. But he is influenced by "her voice" who also favors the Lee. 
AUTHOR: unknown
EARLIEST_DATE: 1818 (Cork broadside, according to Croker-PopularSongs)
KEYWORDS: river drink wine nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 226-227, "The Silvery Lee" (1 text)
File: CrPS226
===
NAME: Silvery Moon, The
DESCRIPTION: The singer sees a girl lamenting in the moonlight. Her lover was true and brave, "but now he is dead, the youth once so gay... And he silently sleeps while I'm left here to weep By the sweet silver light of the moon."
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: love death separation
FOUND_IN: US(MW,So)
REFERENCES: (3 citations)
Randolph 800, "The Silvery Moon" (2 texts, 1 tune)
Huntington-Whalemen, pp. 233-234, "Silvery Moon" (1 text, 1 tune)
Dean, p. 94, "Sweet Silver Light of the Moon" (1 text)
Roud #906
ALTERNATE_TITLES:
Roll On, Silver Moon
File: R800
===
NAME: Silvery Tide, The [Laws O37]
DESCRIPTION: A nobleman courts Molly while Henry is away. The noble threatens to drown Molly if she will not marry him. She refuses. He strangles her and throws her in the sea. Henry finds her body and the noble's handkerchief. The nobleman is hanged, and Henry mourns
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Firth c.13(172))
KEYWORDS: homicide love revenge execution
FOUND_IN: US(MW,So) Canada(Mar) Britain(Scotland,England(South)) Ireland
REFERENCES: (14 citations)
Laws O37, "The Silvery Tide"
Belden, pp. 126-127, "Mary in the Silvery Tide" (1 text)
Randolph 93, "The Silvery Tide" (1 text, 1 tune)
Eddy 60, "Out on the Silvery Tide" (1 text, 1 tune)
Gardner/Chickering 17, "The Silver Tide" (1 text)
Doerflinger, pp. 282-283, "Mary on the Silvery Tide" (1 text)
SHenry H77, pp. 418-419, "The Silver[y] Tide" (1 text, 1 tune)
Ord, pp. 472-473, "The Silvery Tide" (1 text)
Huntington-Whalemen, pp. 125-127, "The Silvery Tide" ( text)
Creighton/Senior, pp. 206-209, "The Silvery Tide" (2 texts, 2 tunes)
Mackenzie 52, "Mary on the Silvery Tide" (1 text)
Ives-DullCare, pp. 107-109,255, "The Silvery Tide" (1 text, 1 tune)
Manny/Wilson 93, "The Silvery Tide" (1 text, 1 tune)
DT 336, SILVTIDE*
Roud #561
RECORDINGS:
Paddy Breen, "On the Banks of the Silvery Tide" (on Voice10)
Sam Jagoe, "The Silvery Tide" (on Miramichi1)
BROADSIDES:
Bodleian, Firth c.13(172), "Poor Mary in the Silvery Tide," J. Catnach (London), 1813-1838; also Firth b.28(25a) View 2 of 2[partly illegible], Firth c.13(171), Harding B 11(3093), Harding B 11(3094), Harding B 11(3095), Harding B 11(3096), Harding B 11(3097), Harding B 20(276), "Poor Mary in the Silvery Tide"; 2806 c.16(275), "Poor Mary in the Silvery Tide!"; Firth b.27(202), "Poor Mary of the Silvery Tide"; Harding B 11(66), "Mary of the Silvery Tide"
File: LO37
===
NAME: Silvy: see The Female Highwayman [Laws N21] (File: LN21)
===
NAME: Sim and the Widow: see Sim Courted the Widow (File: R371)
===
NAME: Sim Courted the Widow
DESCRIPTION: "Seven long years did Sim court the widder... Seven long years, and Sim didn't git her." Sim went home grieving -- but not before stealing a curry-comb. Forced to return it by "my son John," the rest of the song relates Sim's disjointed further adventures
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: courting rejection theft humorous
FOUND_IN: US(So)
REFERENCES: (3 citations)
Belden, pp. 436-437, "Sim and the Widow" (2 texts)
Randolph 371, "Sim Courted the Widow" (1 text, 1 tune)
Randolph/Cohen, pp. 301-302, "Sim Courted the Widow" (1 text, 1 tune -- Randolph's 371)
Roud #7621
File: R371
===
NAME: Simon Slick: see Whoa Mule (The Kickin' Mule) (File: LoF231)
===
NAME: Simple Gifts
DESCRIPTION: "'Tis the gift to be simple, 'Tis the gift to be free, 'Tis the gift to come down Where we ought to be...." In praise of "simplicity" and love, which bring the hope of heaven
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Darling-NAS, pp. 258-259, "Simple Gifts" (1 text)
DT, SIMPLEGF*
CROSS_REFERENCES:
cf. "I Will Bow And Be Simple" (theme)
SAME_TUNE:
The Lord of the Dance (by Sydney Carter; DT LORDANCE)
NOTES: This song has become one of the most popular in the Folk Revival. The idea of a simple life seems very refreshing in today's overcomplicated age. But I wonder how many of the people who have sung the song realize that "simplicity" means, among other things, abstinence from sex? - RBW
File: DarN259A
===
NAME: Simple Little Nancy Brown
DESCRIPTION: Various girls go out, get in trouble, and find unexpected solutions. Example: "They went walking by the beach, Went in swimming, got out of reach; She lost her socks and evr'thing, So what d'ye suppose she came home in... She came home in the twilight."
AUTHOR: unknown
EARLIEST_DATE: 1905
KEYWORDS: humorous nonsense wordplay
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 149, "Simple Little Nancy Brown" (1 text plus assorted excerpts, 1 tune)
ST FSC149 (Partial)
Roud #4613
NOTES: According to Cazden et al, this is an updated version, with new tune, chorus, and plot twists, of a piece published in 1905 as "Fol de Rol Dol." - RBW
File: FSC149
===
NAME: Simple Plowboy, The: see The Jolly Plowboy (Little Plowing Boy; The Simple Plowboy) [Laws M24] (File: LM24)
===
NAME: Simpson Bush
DESCRIPTION: "Attention give while I relate Though horrible is the shame, I'll tell you of a doomed man, Bush they call his name." He is sentenced to die "for the murder of his own dear wife." The singer describes the methods of the murder, then moralizes
AUTHOR: James W. Day (Jilson Setters)
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: homicide husband wife children
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 129-130, (no title) (1 text)
NOTES: Definitely not one of Setters's better songs. - RBW
File: ThBa129
===
NAME: Sin's Reward: see The Fair Flower of Northumberland [Child 9] (File: C009)
===
NAME: Since I Laid My Burden Down
DESCRIPTION: Gospel song, describing singer's plans to meet with his mother and with Jesus, shake hands with angels, walk and talk in glory "since I laid my burden down."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Elders McIntorsh & Edwards' Sanctified Singers)
KEYWORDS: death nonballad religious Jesus
FOUND_IN: US(SE,So,MW)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 70, "Since I Laid My Burden Down" (1 text, 1 tune)
RECORDINGS:
Roy Acuff & his Smoky Mountain Boys, "When I Lay My Burden Down" (OKeh 05587/Conqueror 9433, 1940; Conqueror 9667, 1941)
Bessemer Sunset Four, "When I Lay My Burden Down" (Vocalion 1488, 1930)
Rev. Clayborn, "When I Lay My Burden Down" (Vocalion 1458, 1930; rec. 1929)
Roosevelt Graves, "When I Lay My Burden Down" (Paramount 12974, 1930; rec. 1929)
Elders McIntorsh & Edwards' Sanctified Singers, "Since I Laid My Burden Down" (OKeh 8698, 1929; rec. 1928; on AAFM2, Babylon)
Turner Junior Johnson, "When I Lay My Burden Down" (AFS 6608 B3, 1942; on LC10, LCTreas)
CROSS_REFERENCES:
cf. "Will the Circle Be Unbroken" (tune)
ALTERNATE_TITLES:
Glory, Glory Halleluiah
Since I Laid My Burthen Down
File: ADR70
===
NAME: Since I Left Arkansas: see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: Since James Went on the Stage
DESCRIPTION: "My name is Patrick Hogan, in this city I reside, I raised a son to manhood and he was my joy and pride," but now "me carpet is tore and me house is in a roar Since James went on the stage." The singer tells of the troubles caused by his son's acting
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: father children humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 62, "Since James Went on the Stage" (1 text)
Roud #5499
NOTES: This looks like a stage song, but I have been unable to locate the original. - RBW
File: Dean062B
===
NAME: Since Love Can Enter an Iron Door: see The Iron Door [Laws M15] (File: LM15)
===
NAME: Since Terrence Joined the Gang
DESCRIPTION: "My name is Michael Slattery, and from Ireland I came." He has a son Terrence, who has "joined the gang" and now wears a "big watch and chain," talks back to his parents, steals, and has been convicted of theft
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: father children robbery prison
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 113-114, "Since Terrence Joined the Gang"
Roud #9580
File: Dean113B
===
NAME: Sindbad
DESCRIPTION: "Oh, it's Sindbad [sic] the sailor and Robinson Crusoe, I left my native counterie a roaming for to go. I went to be a sailor returned just as you see, a mixture of an Indian, a Turk, and a Japanee. Oh, jeffer see my jibber ahoy...."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: sailor shanty rambling
FOUND_IN: US
REFERENCES: (1 citation)
Colcord, p. 184, "Sindbad" (1 text, 1 tune)
Roud #4712
ALTERNATE_TITLES:
Sinbad
NOTES: Colcord included this as an example of Negro songs, but even she was doubtful of that origin. She says that it was sung by a Frenchman to Capt. Edward H. Cole, who then sang it to her. - SL
File: Colc184
===
NAME: Sinful Army
DESCRIPTION: "O fathers, ain't you glad you left that sinful army? (x2), The sea gave way -- Oh, mothers, ain't you glad the sea gave way? Oh, Moses smote the water And the children all passed over... And the sea gave way." "oh, brothers, ain't you glad...."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Henry, from "a group of Negroes at Montreat, North Carolina")
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 199, "Pharaoh's Army" (1 text)
CROSS_REFERENCES:
cf. "Old Moses Smote the Waters" (lyrics)
File: MHAp199
===
NAME: Sinful Maiden, The: see The Fair Flower of Northumberland [Child 9] (File: C009)
===
NAME: Sinful to Flirt: see Willie Down by the Pond (Sinful to Flirt) [Laws G19] (File: LG19)
===
NAME: Sing a Song of Sixpence
DESCRIPTION: "Sing a song of sixpence A pocket full of rye; Four and twenty blackbirds, baked in a pie." The pie is opened and the birds sing. The king is in the counting house, the queen in the parlour, the maid in the garden and a blackbird "snapped off her nose"
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: food nonballad bird royalty
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Opie-Oxford2 486, "Sing a song of sixpence" (1 text)
Baring-Gould-MotherGoose #3, p. 26, "(Sing a song of sixpence)"
MHenry-Appalachians, p. 229, "Sixpence" (1 text, with a different ending: No King in the counting-house, and the singer is "Sitting on a stool... a-singing for a fool")
Roud #13191
SAME_TUNE:
Three Brave Blacksmiths (File: OLcM071)
Sing a Song of Charleston (Vera Brodsky Lawrence, _Music for Patriots, Politicians, and Presidents_, p. 342)
NOTES: Opie-Oxford2: "It is well known that in the sixteenth century surprising things were inserted in pies.... The mention of a 'counting-house' ... also helps to indicate that the rhyme may be traced to the sixteenth century.... Kidson says that the air to which the words are generally sung is the old Scottish dance tune 'Calder Fair.'" - BS
The "surprising things" in the pie often were intended as a entertainment or reward (a theme which more recently inspired J. R. R. Tolkien's "Smith of Wootton Major," his last fantasy work).
The notes in the _Annotated Mother Goose_ mention a connection with Henry VIII, Katherine of Aragon, and Anne Boleyn. But Henry VIII was the sort of monarch you wouldn't be likely to find in a counting house. If there were an English king involved, especially in the sixteenth century, it would doubtless be Henry VII, who was such a money-grubber that he would without doubt have had intimate relations with his cash had he figured out a way to do it. - RBW
File: GGGSiSo6
===
NAME: Sing a Song, Blow-Along O!
DESCRIPTION: Shanty. "Way down in Dixie! Way down in Dixie, oh I had a gal. Ch: Sing a song, blow-along O!" Verses continue describing the aforementioned gal, the singer, and what they did (or would do) to each other.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p.417, "Sing a Song, Blow-Along O!" ( 1 text, 1 tune) [AbEd, p. 318]
CROSS_REFERENCES:
cf. "Miss Lucy Loo" (chorus lyrics)
ALTERNATE_TITLES:
Dixie Land
NOTES: According to Hugill, this along with most West Indies shanties, was probably used as a cotton loading song before it went to sea. - SL
File: Hugi417
===
NAME: Sing Ivy: see My Father Had an Acre of Land (File: K300)
===
NAME: Sing One for Me
DESCRIPTION: "Down in the lonesome pine woods, This song is sung with glee. Now I have sung a song for you And you may sing one for me."
AUTHOR: unknown
EARLIEST_DATE: 1957 (Ives-NewBrunswick)
KEYWORDS: music nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, p. 34, "Sing One for Me" (1 text, 1 tune)
NOTES: Ives-NewBrunswick quotes the singer: "Here's a verse that used to be sung sometimes after a song." - BS
File: IvNB034
===
NAME: Sing Out (I), A: see O Mary, Come Down! (File: Hugi368)
===
NAME: Sing Outs
DESCRIPTION: Likely the predecessor to the full shanty (which has discernable words and a division of solo & chorus parts). These are short phrases or vocalizations, often made up of nonsense syllables, and used for hauling.
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: shanty work nonballad nonsense
FOUND_IN: Britain US Canada
REFERENCES: (3 citations)
Harlow pp. 8-9, 20-21, 24, 29, "Handsome Charlie's Sing Out," "Hauling in the Slack of the Foresheet," "A Sing Out" (3 texts, 3 tunes & several fragments)
Hugill pp. 573-579, "Sing-outs for Rope, Capstan, and Halyard Winch" (several fragments) [AbEd, pp. 398-401]
Doerflinger pp. 91-92, (no title, quoted from Capt. James P. Barker)
ALTERNATE_TITLES:
Haul Out
Sweat-in' Up Chants
Short Cries
Royal Artillery Man
St. Helena Soldier
Hauley, Hauley-Ho!
Holystoning
NOTES: Several of the examples listed by Hugill had titles, though the title and what there was of the text were generally the same. Many were quoted from other sources, and I've listed them in the alternate titles field. - SL
File: Hugi573
===
NAME: Sing Sally Oh: see Sing, Sally O! (File: Hugi288)
===
NAME: Sing Song Kitty: see Kemo Kimo (File: R282)
===
NAME: Sing-Sing
DESCRIPTION: The singer and Johnny King are imprisoned in Sing-Sing. They make an attempt to break out, but they cannot create a large enough opening and are trapped. King is shot. Soon after, the singer is pardoned and gratefully bids farewell to prison
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: prison pardon
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 167, "Sing-Sing" (1 text, 1 tune)
ST FSC167 (Partial)
NOTES: Charles Hinkley, who gave the song to Cazden et al, claimed he was one of the two composers. The collectors admit the possibility, but only that. 
This song is item dE52 in Laws's Appendix II. - RBW
File: FSC167
===
NAME: Sing, Sally O!
DESCRIPTION: There are two versions, one a halyard and the other a capstan shanty. Characteristic refrain is "Sing Sally O, an' a fol-lol-de-day." The verses of the capstan version have a general whoring theme and are speaking to a "Mudder or Mammy Dinah."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty worksong whore sailor
FOUND_IN: West Indies Britain
REFERENCES: (5 citations)
Colcord, p. 60, "Sing Sally O!" (1 text, 1 tune - 1 verse only, no choruses)
Hugill, pp. 388-389, "Sing, Sally O!" (2 texts, 2 tunes) [AbEd, pp. 296-297]
Sharp-EFC, XXXI, p. 36, "Sing, Sally O" (1 text, 1 tune)
MHenry-Appalachians, p. 233, (second of four "Fragments from Maryland") (1 fragment, which I link to this on the basis of the mention of Mammy Dinah, though it might be anything)
DT, SNGSALLY*
Roud #4699
CROSS_REFERENCES:
cf. "Hawl Away, Joe" (tune)
cf. "Sally Brown" (some verses)
ALTERNATE_TITLES:
Mudder Dinah
File: Hugi288
===
NAME: Singapor-Sang (Singapore Song)
DESCRIPTION: erman shanty. Tired of tough meat, the steward of a ship buys a bull in Singapore. They manage to hoist it onto the ship but have considerable trouble killing it and the bull causes much damage before it expires. Last phrase of verses repeat as chorus.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty animal humorous food death
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 566-568, "Singapor-Sang" (2 texts-German & English, 1 tune)
NOTES: Hugill said this was based on an actual incident that took place on board a ship called _Arkona._ - SL
File: Hugi566
===
NAME: Singin' Gatherin', The
DESCRIPTION: "Far back in the dusty hollow Where the trees grow straight and tall, Sits the Traipsin' Woman Cabin... Where in the June-time of the year Is held the folk-lore festival." The singer describes the event and the people who attend and praises the organizer
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: music nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 260-261, (no title) (1 text)
NOTES: There are many pieces in Thomas that I don't really trust -- but there is none I more suspect of being Thomas's own work than this (and "Wee House in the Wood," which bears the same traits). It's anonymous, it's about Thomas's own Festival, and it rather sounds like her style. - RBW
File: ThBa260
===
NAME: Singin' Hinnie, The
DESCRIPTION: "Sit doon, noo, man alive! Te tell ye aa'll contrive O' the finest thing the worl' hes ivver gin ye, O. It's not fine claes nor drink, Now owt 'at ye can think Can had a cannle up ti singin'-hinney, O." The song tells how the singin' hinnie shapes lives
AUTHOR: "Harry Haldane"
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: technology
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 172-173, "The Singin' Hinnie" (1 text, 1 tune)
Roud #2618
NOTES: The title of this song is given as "The Singin' Hinnie," but references in the text call it a "Singin' Hinney."
I will admit that I'm truly not sure what this is about. Normally, a "singing hinnie (honey)" would be a musical loved one, but I have this funny feeling it refers to a piece of machinery -- probably a steam-powered pump or elevator.
Fortunately, we don't really have to figure it out; it appears this song has never been found in oral tradition. - RBW
File: StoR172
===
NAME: Singing of the Travels, The: see The  Husbandman and the Servingman (File: K226)
===
NAME: Singing the Travels: see The  Husbandman and the Servingman (File: K226)
===
NAME: Single Days of Old, The
DESCRIPTION: The singer recalls "The merry days -- the days of old" when her husband loved her. With time, he grows more aloof and distant. Eventually "my health gave way, my spirits fled, They told him I would die." The husband again pays attention, and she survives
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: husband wife disease
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H659, p. 504, "Singles Days of Old" (1 text, 1 tune)
Roud #2679
File: H659
===
NAME: Single Girl: see I Wish I Were a Single Girl Again (File: Wa126)
===
NAME: Single Girl, Married Girl
DESCRIPTION: "Single girl, single girl, go and dress so fine... Married girl, married girl goes ragged all the time...." The lives of single and married women compared: The single girl can go out (and perhaps even spend); the married girl must care for the baby; etc.
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Carter Family)
KEYWORDS: marriage wife
FOUND_IN: US(SE)
REFERENCES: (5 citations)
Warner 128, "Single Girl, Married Girl" (1 text, 1 tune)
Asch/Dunson/Raim, p. 87 "Single Girl, Married Girl" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 84, "Single Girl, Married Girl" (1 text, 1 tune)
Silber-FSWB, p. 185, "Single Girl" (1 text)
DT, SINGLGRL
Roud #436
RECORDINGS:
Carter Family, "Single Girl, Married Girl" (Victor 20937A, 1927; on AAFM3) (Conqueror 8733, 1936; Melotone 7-04-53, 1937)
Frank Profitt, "Single Girl" [excerpt] (on USWarnerColl01)
Ruby Vass, "Single Girl" (on LomaxCD1702)
CROSS_REFERENCES:
cf. "I Wish I Were a Single Girl Again"
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: Wa128
===
NAME: Single Life, A (Single Is My Glory)
DESCRIPTION: "Some do say there are good girls, Oh, where shall we find them? Some do say there are good boys, But never do you mind them."  The singer warns of deceivers, concluding, "A single life I am to live, Oh, single is my glory... Then who will control me?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Roba Stanley)
KEYWORDS: nonballad warning courting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 18, "A Single Life" (1 text)
Roud #4963
RECORDINGS:
Roba Stanley, "Single Life" (OKeh 40436, 1925)
CROSS_REFERENCES:
cf. "Married and Single Life" (subject)
File: Br3018
===
NAME: Single Sailor (I), The: see Willie and Mary (Mary and Willie; Little Mary; The Sailor's Bride) [Laws N28] (File: LN28)
===
NAME: Single Sailor (II), The: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Sinking of the Graf Spee, The
DESCRIPTION: The Admiral Graf Spee, "built in Nazi Germany ... looted merchant men of every nationality." It lost a battle with three British "little cruisers" and "went to cover." The pocket battleship was scuttled "in Davy Jones's pocket"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: battle navy sea ship England Germany humorous
HISTORICAL_REFERENCES: December 13, 1939 - Three British cruisers battle the German pocket battleship Admiral Graf Spee in the Battle of the River Platte.
December 17, 1939 - The Admiral Graf Spee is scuttled outside Montevideo harbor to avoid another battle (source: "German pocket battleship Admiral Graf Spee" from Wikipedia).
FOUND_IN: Ireland
REFERENCES: (2 citations)
Morton-Ulster 31, "The Sinking of the Graf Spee" (1 text, 1 tune)
DT, GRAFSPEE*
Roud #2909
CROSS_REFERENCES:
cf. "The Golden Vanity" (tune)
NOTES: One of the many, many causes of World War I was the mighty expansion of the German navy during World War I, the result of the peculiar desires of Wilhelm II. Imperial Germany didn't need a big navy, but even Wilhelm's mother admitted "Wilhelm's one idea is to have a Navy which shall be larger and stronger than the Royal Navy" (Keegan-Admiralty, pp. 112-113. For references cited in this entry, see the bibliography at the end of this note).
The Germans never quite managed to build a fleet to match the Royal Navy, but they came close enough to scare the British badly, and to win a tactical victory (though a complete strategic defeat) at the Battle of Jutland in 1916.
After the war, the British determined there would be no more of that. One of the conditions of the Armistice was that the major units of the German fleet (which, by then was mutinous and hardly capable of fighting) be placed under guard in Britain. Half a year later, knowing that the ships would be surrendered, the German crews scuttled the entire fleet at Scapa Flow (Keegan-First, p. 420). And the German fleet from then on was to be restricted to a small, lightly-armed force, with no ability to fight the British.
The Germans, in the years after the Great War, did their best to figure out ways around the restrictions. The time eventually came when they started laying down new ships, and after a few small craft, they came out with the concept of the _panzerschiff,_ known in Britain as the "pocket battleship." The first ship of this type, the _Deutschland_ (later renamed _Lutzow_) caused "a sensation... for she was an expression of Germany's will to outflank the conditions of Versailles" (Preston, p. 133). Two more ships of the class, the _Admiral Graf Spee_ (named after an admiral who had died in World War I) and the _Admiral Scheer,_ followed.
The pocket battleships didn't really deserve either the name or the hype. They had six 11" guns (the bare minimum size to be considered a battleship, though a real battleship would have had at least eight of them), but her armor did not exceed three and a half inches (a battleship should have had at least three times that), and her top speed was 26 knots (Paine, p. 3). And although they were theoretically 10,000 ton ships (the treaty limit for cruisers at the time), the three ships were certainly much heavier (Bruce/Cogar, p. 2, estimates roughly 12,000 tons; Paine comes up with over 15,000 -- the latter making her nearly as heavy as the first modern battleship, _Dreadnought,_ which was less than 18,000 tons)
Even so, the "pocket battleship" design was basically an overgunned heavy cruiser. Theoretically, she could "outrun what she could not outgun" -- overwhelming cruisers with her heavy guns and using her speed to get away from battleships. But the British had three battle cruisers (_Hood_, _Repulse_, and _Renown_) which could outrun *and* outgun the pocket battleships, and the battleships of the _Queen Elizabeth_ class were only a couple of knots slower than the pocket battleships. And the battleships of the _King George V_ class, which started to come off the stocks at the beginning of World War II, were also faster than the pocket battleships. Had the _panzerschiff_ existed in World War I, they would have been revolutionary. In World War II, they were pests, but hardly technological miracles.
(This was a constant problem for the German navy: they thought too much in World War I terms. Their alleged super-battleships, _Bismarck_ and _Tirpitz_, were slightly improved versions of the World War I _Baden_ class, relatively under-armed and with inefficient machinery that took too much space and weight for the power they produced. It has been claimed that the _Bismarck_ was the strongest battleship in the world at the time of her maiden voyage. But vessels of the American _North Carolina_ and _South Dakota_ classes, and the Japanese _Yamato_, were all stronger, and all were in service by the end of 1942.)
Still, even a cruiser could do major damage if it came across unprotected merchant ships (the _Admiral Scheer_ once single-handedly knocked off six ships from an Atlantic convoy; Paine, pp. 4, 273-274), and the Germans meant to use every vessel they could lay their hands on to attack British commerce (Humble, p. 140). When World War II began, the Germans sent out the pocket battleships to see what they could find.
In one of history's little ironies, the _Graf Spee_ headed for South America (Becker, p. 37), where the fleet of her namesake, Graf von Spee, had died when his small fleet of cruisers was destroyed at the Battle of the Falklands in 1914.
At first, it seemed the Germans had found the Happy Hunting Grounds; _Graf Spee_ took nine prizes (Paine, p. 4) totalling about 50,000 tons, for the most part stopping them, sending off the crews, and then sinking them; indeed, many of the British sailors were put on the supply ship _Altmark_, from which the British eventually rescued them (Keegan-Second, p. 50).
 But the British, just as they had in 1914, threw a huge force against the tiny surface raider. A total of twenty ships (a few of them French) were formed into eight task groups to hunt the lone German ship (Humble, p. 140).
In the end, it was one of the weaker task forces that found her: The heavy cruiser _Exeter_ and light cruisers _Ajax_ and _Achilles_, commanded by Commodore Harry Harwood, caught up with the German on December 13, 1939. _Graf Spee_ had a big edge in weight of shell and range of guns; _Exeter_ had a mere six 8" guns (Paine, p. 178), and the other two nothing heavier than 6". But they came at _Graf Spee_ from two different directions, and the German ship had only two turrets. _Graf Spee_ managed to silence _Exeter's_ guns, and _Ajax_ also sustained damage in the battle from straddles (Paine, p. 10) -- but _Graf Spee's_ armor was so thin that even the light cruisers could hurt her, and she was almost out of ammunition. She fled to Montevideo harbor (Becker, p. 104).
No one knew it, but the Battle of the River Plate was over. Uruguay was a neutral nation, so _Graf Spee_ had to either repair her damage quickly and get out, or she had to accept internment. And British intelligence tricked Captain Langsdorff into believing that they had overwhelming forces heading for him (Humble, p. 141). Langsdorf took the _Graf Spee_ out into the estuary and scuttled her on December 17. Later, he committed suicide (Bruce/Cogar, p. 3. He was probably smart, given the reception he would have faced had he returned to Germany).
In terms of tonnage sunk, the _Graf Spee_ had "paid for herself." But the British had had the last laugh, so they treated it as a moral victory, and the Germans as a defeat.
Delgado, p. 159, notes that the location of the wreck is known, and that a survey in 1997 found that much of the ship had vanished in ways that did not suggest battle damage. It has been suggested that the British did some clandestine dives to recover such things as the ship's radar. If so, the British search has never been documented. - RBW
>>BIBLIOGRAPHY<<
Becker: Cajus Becker, _Hitler's Naval War_, (German edition 1971; English edition 1974 from Macdonald and Jane's; I used the undated Kensington paperback edition)
Bruce/Cogar: Anthony Bruce and William Cogar, _An Encyclopedia of Naval History_, 1998 (I use the 1999 Checkmark edition)
Delgado: James P. Delgado, _Lost Waships: An Archaeological Tour of War at Sea_, Checkmark, 2001. Interestingly, the book quotes a snatch of this song on p. ix.
Humble: Richard Humble, _Battleships and Battlecruisers_, Chartwell, 1983
Keegan-Admiralty: John Keegan, _The Price of Admiralty: The Evolution of Naval Warfare_, Penguin, 1988
Keegan-First: John Keegan, _The First World War_, Knopf, 1999
Keegan-Second: John Keegan, _The Second World War_, Viking, 1989
Paine: Lincoln P. Paine, _Ships of the World_, Houghton Mifflin, 1997
Preston: Antony Preston, _Battleships_, Gallery, 1981 - RBW
File: MorU031
===
NAME: Sinking of the Newfoundland, The
DESCRIPTION: "We have bred many sailors bold, Brave captains by the score, And ranking with the best of them Is Captain John Blackmore." After a long career of sailing and shipbuilding, he retires, can't stand it, builds the Newfoundland -- and sails her into a wreck
AUTHOR: Solomon Samson?
EARLIEST_DATE: 1963 (A Glimpse of Newfoundland in Poetry and Pictures)
KEYWORDS: age ship wreck rescue
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 130-131, "The Sinking of the 'Newfoundland'" (1 text, 1 tune)
NOTES: Despite both being about the wreck of a ship named _Newfoundland_, this has nothing to do with the various songs about the "Newfoundland Disaster"; that _Newfoundland_ was commanded by Captain Kean. - RBW
File: RySm130
===
NAME: Sinking of the Reuben James, The: see Reuben James (File: PSAFB084)
===
NAME: Sinking of the Titanic (Titanic #9)
DESCRIPTION: The Titanic leaves Southampton. After the ship strikes an iceberg, her officers call upon the Carpathia for help. The passengers and crew place women and children in the lifeboats, leaving the men to go down with the ship.
AUTHOR: Probably Richard Brown
EARLIEST_DATE: 1927 (recording, Richard "Rabbit" Brown)
LONG_DESCRIPTION: The Titanic leaves Southampton, bound for America with happy passengers and crew. After the ship strikes an iceberg, her officers call upon the Carpathia for help, but she is far away. The passengers and crew, realizing the ship is sinking, place women and children in the lifeboats, leaving the men to go down with the ship. The band plays "Nearer My God to Thee" as the ship sinks (Singer sings the hymn)
KEYWORDS: ship wreck disaster death drowning religious
HISTORICAL_REFERENCES: April 14/15, 1912 - Shortly before midnight, ship's time, the Titanic strikes an iceberg and begins to sink. Only 711 survivors are found of 2224 people believed to have been aboard.
FOUND_IN: US(So)
REFERENCES: (0 citations)
ST RcTitaIX (Partial)
RECORDINGS:
Richard "Rabbit" Brown, "Sinking of the Titanic" (Victor 35840, 1927; on TimesAint01)
NOTES: This song can be distinguished from the other Titanic songs primarily by its lack of a chorus, by its description of the SOS call to the Carpathia, and by the singing of "Nearer My God to Thee" at the end. - PJS
Richard Brown in fact not only sang "Nearer..." but did it in a sort of distorted voice, like music heard through water. A cute trick. Although the song was not recorded until 1927, Lyle Lofgren thinks it was written soon after the tragedy, because of the details it has, most of which (except for the playing of "Nearer...") are accurate. Despite this song (and other folklore), the band on the _Titanic_ did *not* play "Nearer My God to Thee" as the ship sank. Instead, they played light music to prevent panic.
For an extensive history of the _Titanic_, with detailed examination of the truth (or lack thereof) of quotes in the _Titanic_ songs, see the notes to "The Titanic (XV)" ("On the tenth day of April 1912") (Titanic #15) - RBW
File: RcTitaIX
===
NAME: Sinner Man
DESCRIPTION: "Oh, sinner man, where you gonna run to? (x3) All on that day." The remainder of the song is variations on the theme, "Run to the (rock), Rock won't you hide me? (x3)... (rock) will be (a-melting)"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: religious punishment nonballad sin
FOUND_IN: US(Ap,SE)
REFERENCES: (5 citations)
BrownIII 616, "No Hidin'-Place" (2 texts, with the "A" text being "No Hiding Place" but the "B" text, which is damaged, probably belonging here)
SharpAp 208, "Sinner Man" (2 texts, 2 tunes)
Sharp/Karpeles-80E 61, "Sinner Man" (1 text, 1 tune)
Silber-FSWB, p. 366, "Sinner Man" (1 text)
DT, SINERMAN SINERMN2*
Roud #3408
CROSS_REFERENCES:
cf. "Heaven Bell a-Ring" (lyrics)
File: SKE61
===
NAME: Sinner's Redemption, The: see All You That Are Unto Mirth Inclined (The Sinner's Redemption) (File: OBC051)
===
NAME: Sinners Will Call for the Rocks and the Mountains
DESCRIPTION: "Sinners will call for the rocks and the mountains (x3) When the last trump shall sound." "Jesus will bear the Christians higher (x3) When the last trump shall sound." "Brothers, won't you go to glory with me (x2) When the last trump shall sound."
AUTHOR: unknown
EARLIEST_DATE: 1932 (Randolph)
KEYWORDS: religious Jesus
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 651, "Sinners Will Call for the Rocks and the Mountains"
Roud #7572
CROSS_REFERENCES:
cf. "When the Stars Begin to Fall" (words)
File: R651
===
NAME: Sioux Indians, The [Laws B11]
DESCRIPTION: A train of white settlers is bound for Oregon. While on their way they are attacked by a band of Sioux. Outnumbered, the whites are nonetheless victorious and finish their journey
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: Indians(Am.) battle settler
FOUND_IN: US(Ap,Ro,So) Canada(Newf)
REFERENCES: (8 citations)
Laws B11, "The Sioux Indians"
Randolph 195, The Indian Fighters" (1 text, 1 tune)
McNeil-SFB1, pp. 148-149, "The Indian Song" (1 text, 1 tune)
Burt, pp. 142-143, "(The Sioux Indians)" (1 text, 1 tune)
Scott-BoA, pp. 179-181, "Sioux Indians" (1 text, 1 tune)
Fife-Cowboy/West 43, "Sioux Indians" (2 texts, 1 tune)
Peacock, pp. 155-156, "The Indian Lament" (1 text, 1 tune)
DT 379, SIOUXIND*
Roud #3235
RECORDINGS:
Alex Moore, "The Sioux Indians" (LC -------, 1940)
Eugene Jemison, "Crossing the Plains" (on Jem01)
New Lost City Ramblers, "The Sioux Indians" (on NLCR14)
Pete Seeger, "Sioux Indians" (on PeteSeeger07, PeteSeeger07a, AmHist1)
Marc Williams, "Sioux Indians" (Brunswick 240, 1928) (Decca 5011, 1934; on BackSaddle)
NOTES: Despite the title, the Jemison recording is not the same as the song we've called "Crossing the Plains," but is a version of "Sioux Indians," with the Kaw being substituted for the Sioux. - PJS
File: LB11
===
NAME: Sir Aldingar [Child 59]
DESCRIPTION: Aldingar, spurned by the Queen, puts a (blind/drunk) leper in her bed and shows the king. She will be burned and the leper hanged. She finds a (child) champion who defeats Aldingar. He confesses. (The leper is made whole, becomes steward.)
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: royalty knight adultery trick disease reprieve
FOUND_IN: 
REFERENCES: (5 citations)
Child 59, "Sir Aldingar" (3 texts)
Percy/Wheatley II, pp. 54-67, "Sir Aldingar" (2 texts, one the original from the Percy folio and the other the retouched version in the _Reliques_)
Leach, pp. 185-196, "Sir Aldingar" (2 texts)
OBB 4, "Sir Aldingar" (1 text)
DT 59, SIRALDGR
Roud #3969
ALTERNATE_TITLES:
Sir Hugh le Blond
NOTES: Child connects this ballad with the story of Gunhild, wife of the Holy Roman Emperor Henry III (reigned 1039-1056); Entwhistle even rings in a statement by William of Malmsbury that a poem about this event circulated in England in his time (twelfth century).
The number of Scandinavian analogs cited by Child, however, shows that there is no necessary dependence. If there is a connection, it has been distorted, because the king and queen are Henry and Eleanor (either Henry II or England and Eleanor of Acquitaine, or Henry III and Eleanor of Provence). - RBW
File: C059
===
NAME: Sir Andrew Barton [Child 167]
DESCRIPTION: Merchants complain to the King that their trade is being disrupted. The King sends a crew to deal with Barton, the pirate. After a difficult battle marked by great courage and skill on both sides, Barton is defeated and killed
AUTHOR: unknown
EARLIEST_DATE: 1723
KEYWORDS: sailor sea battle nobility pirate
HISTORICAL_REFERENCES: 1509-1547 - Reign of Henry VII (mentioned as king in some texts of the ballad)
FOUND_IN: US(MA,NE,NW,SE)
REFERENCES: (12 citations)
Child 167, "Sir Andrew Barton" (2 texts)
Bronson 167, "Sir Andrew Barton" (10 versions)
Percy/Wheatley II, pp. 188-207, "Sir Andrew Barton" (3 texts, one from the folio manuscript and the other the completely rewritten version in the _Reliques_)
BarryEckstormSmyth pp. 248-258, "Andrew Barton" (3 texts); p. 483 (1 tune) {Bronson's #9}
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}
Leach, pp. 467-475, "Sir Andrew Barton" (1 text)
Friedman, p. 348, "Sir Andrew Barton" (1 text)
OBB 130, "Sir Andrew Barton" (1 text)
Gummere, pp. 130-141+329-331, "Sir Andrew Barton" (1 text)
BBI, ZN2850, "When Flora with her fragrant flowere"
DT 167, ANDBART* HENRMRT4*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; notes to #418, ("But when hee saw his sisters sonne slaine") (1 long but incomplete text)
Roud #192
CROSS_REFERENCES:
cf. "Henry Martyn" [Child 250] (plot, lyrics)
cf. "Captain Ward and the Rainbow" [Child 287] (theme)
SAME_TUNE:
My bleeding heart, with grief and care/A Warning to all Lewd Livers (BBI ZN1789)
As I lay musing all alone, Great store of things I thought upon/[Title trimmed. A comparison made upon the Life of Man? Stat. Register, July 16, 1634] (BBI ZN229)
NOTES: In the present state of our knowledge, it is almost impossible to distinguish "Sir Andrew Barton" from "Henry Martyn"; the pirates' names exchange freely, and the basic plot is similar. What is more, the ballads have clearly exchanged elements, especially in America, where mixed versions are the rule. Child did not have to contend with this.
In Child, the basic distinction might almost appear to be length; the versions of "Andrew Barton" are 82 and 64 stanzas, while the texts of "Henry Martyn" do not exceed 13 stanzas. Thus the former looks more literary and the latter more popular. In addition, there are hints of historical background, though much distorted (see the notes in Child; a Scottish pirate named Andrew Barton is said to have been killed by the English Lord Admiral Edward Howard in 1511). Still, it is best to check both ballads for a particular version.
See the notes to "Henry Martin" for a summary of opinions on the issue.
Many American texts refer to Barton fighing a Captain Charles Stuart (replacing the Lord Howard of earlier versions -- a reasonable name, even apart from the Barton battle cited above, since Earl Howard of Norfolk was Admiral of England at the time of the battle with the Armada). Gordon thinks this was Bonnie Prince Charlie, but Barry et al point to the American Charles Stewart (1778-1869) who commanded the U. S. S. _Constitution_ at the end of the War of 1812. - RBW
File: C167
===
NAME: Sir Arthur and Charming Mollee: see Pretty Polly (I) (Moll Boy's Courtship) [Laws O14] (File: LO14)
===
NAME: Sir Cauline: see Sir Cawline [Child 61] (File: C061)
===
NAME: Sir Cawline [Child 61]
DESCRIPTION: Sir Cawline falls ill for love of the king's daughter; she attends him. He desires to prove himself worthy of her; she sends him to vanquish the elvish king. He then defeats a giant threatening to wed her, and survives a lion attack before marrying her.
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: courting disease royalty knight battle marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (5 citations)
Child 61, "Sir Cawline" (3 texts, 1 tune) {Bronson's #1}
Bronson 61, "Sir Cawline" (2 versions)
Percy/Wheatley I, pp. 61-81, "Sir Cauline" (1 text)
OBB 3, "Sir Cawline" (1 text)
DT 61, SIRCAWL*
Roud #479
NOTES: The only copy of this that Child accepted as real is that in the Percy manuscript (which Percy thoroughly corrupted), though Child prints two texts ("Sir Colin" and "King Malcolm and Sir Colvin," from the Harris ms. and Buchan respectively) in an appendix.
Percy's modifications to the text are so thorough that the 210 lines of the Percy manuscript are made into 392 lines in his text.
Based on Child's notes, it would seem that this song was never traditional as we would define the term; all the later versions were derived from the literary text as reworked by Percy. Bronson, however, pointed out that the Harris version *was* found in tradition, even if the text was influenced by Percy (Bronson adds that the result is in many ways simpler and superior to the Percy text; it also has a different ending). It seems that there were folk revivals before The Folk Revival. - RBW
File: C061
===
NAME: Sir Edward Noel's Delight: see references under The British Grenadiers (File: Log109)
===
NAME: Sir Gaunie and the Witch: see The Marriage of Sir Gawain [Child 31] (File: C031)
===
NAME: Sir Hugh le Blond: see Sir Aldingar [Child 59] (File: C059)
===
NAME: Sir Hugh, or, The Jew's Daughter [Child 155]
DESCRIPTION: A child tosses the ball into a Jew's/Gypsy's garden. The Jew's daughter/wife lures him into the house, where she murders him, (for ritual purposes?). Dying, he gives instructions for his burial (with a prayer book at his head and a grammar at his feet). 
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: homicide death ritual Gypsy Jew lastwill burial
FOUND_IN: Britain(Scotland(Aber),England(All)) Ireland US(Ap,MA,MW,NE,Ro,SE,So) Canada(Mar) Bahamas
REFERENCES: (36 citations)
Child 155, "Sir Hugh, or, The Jew's Daughter" (21 texts)
Bronson 155, "Sir Hugh, or, The Jew's Daughter" (66 versions)
Percy/Wheatley I, pp. 54-60, "The Jew's Daughter" (1 text)
BarryEckstormSmyth pp. 461-462, "Sir Hugh, or The Jew's Daughter" (notes plus an excerpt from Child A)
Belden, pp. 69-73, "Sir Hugh, or, The Jew's Daughter" (2 texts plus a fragment)
Randolph 25, "The Jew's Garden" (3 texts plus a fragment, 1 tune) {Bronson's #38}
Randolph/Cohen, pp. 47-49, "The Jew's Garden" (1 text, 1 tune -- Randolph's 25A) {Bronson's #38}
Eddy 20, "Sir Hugh, or, The Jew's Daughter" (1 text, 1 tune) {Bronson's #48}
Flanders/Olney, pp. 30-32, "Little Harry Huston" (1 text, 1 tune) {Bronson's #66}
Flanders-Ancient3, pp. 119-126, "Sir Hugh, or The Jew's Daughter" (2 texts, 2 tunes) {A=Bronson's #66; B=#65 with verbal variants}
Davis-Ballads 33, "Sir Hugh, or The Jew's Daughter" (13 texts, 7 tunes entitled "The Jew's Daughter," "It Rained a Mist," "A Little Boy Threw His Ball So High," "Sir Hugh, or Little Harry Hughes," Sir Hugh"; 3 more versions mentioned in Appendix A) {Bronson's #39, #54, #3, #34, #6, #47, #53}
Davis-More 30, pp. 229-238, "Sir Hugh, or The Jew's Daughter" (4 texts, 4 tunes)
BrownII 34, "Sir Hugh; or, The Jew's Daughter" (4 texts)
Hudson 19, pp. 116-117, "Sir Hugh, or, The Jew's Daughter" (1 short text, lacking the actual murder)
Scarborough-SongCatcher, pp. 171-175, "Sir Hugh, or The Jew's Daughter" (3 texts, the first also in Davis, with local titles "A Little Boy Threw His Ball So High," "Little Sir Hugh," "Hugh of Lincoln"; 1 tune on p. 403) {Bronson's #3}
Scarborough-NegroFS, pp. 53-55, "A Little Boy Threw His Ball" (2 texts, 1 tune) {Bronson's #3}
Brewster 18, "Sir Hugh" (3 texts, 1 tune) {Bronson's #44}
Leach, pp. 425-431, "Sir Hugh, or, The Jew's Daughter" (4 texts)
Creighton-NovaScotia 8, "Sir Hugh; or The Jew's Daughter" (1 text, 1 tune) {Bronson's #2}
McNeil-SFB2, pp. 147-149, "Sonny Hugh" (1 text, 1 tune)
Friedman, p. 62, "Sir Hugh (The Jew's Daughter)" (3 texts)
OBB 79, "Hugh of Lincoln and The Jew's Daughter" (1 text)
SharpAp 31, "Sir Hugh" (7 texts plus 3 fragments, of which "I" in particular might be something else, 10 tunes){Bronson's #22, #20, #21, #23, #15, #10a, #16, #14, #8, #17}
Sharp-100E 8, "Little Sir Hugh" (1 text, 1 tune)
Lomax-FSNA 273, "The Queen's Garden" (1 text, 1 tune)
Gummere, pp. 164-166+336, "Sir Hugh" (1 text)
Sharp/Karpeles-80E 20, "Little Son Hugh (Sir Hugh)" (1 slightly edited text, 1 tune) {Bronson's #10}
Hodgart, p. 70, "Sir Hugh (The Jew's Daughter)" (1 text)
DBuchan 22, "Sir Hugh" (1 text)
JHCox 19, "Sir Hugh, or, The Jew's Daughter" (6 texts plus mentions of 8 more)
MacSeegTrav 14, "Sir Hugh" (2 texts, 2 tunes)
HarvClass-EP1, pp. 81-83, "Hugh of Lincoln" (1 text)
LPound-ABS, 5, pp. 13-14, "The Jewish Lady"; p. 15, "The Jew Lady" (2 texts)
Darling-NAS, pp. 36-40, "Sir Hugh, or the Jew's Daughter"; "The Fatal Flower Garden"; "It Rained a Mist" (3 texts)
DT 155, SIRHUGH* SIRHUGH1* SIRHUGH2* SIRHUGH3
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #420, "Sir Hugh, or The Jew's Daughter" (1 text)
ST C155 (Full)
Roud #73
RECORDINGS:
Cecilia Costello, "The Jew's Daughter (Sir Hugh)" (on FSB5 [as "The Jew's Garden"], FSBBAL2) {Bronson's #55}
[Mrs.?] Ollie Gilbert, "It Rained a Mist" (on LomaxCD1707) {Bronson's #35}
Nelstone's Hawaiians, "Fatal Flower Garden" (Victor 40193, 1929; on AAFM1) {Bronson's #12}
CROSS_REFERENCES:
cf. "The Twa Brothers" [Child 49] (lyrics)
NOTES: A.L. Lloyd reports, "In 1225 [others say 1255 -- which tells you something about how much of a historical basis all this has - RBW], in Lincoln, England, a boy named Hugh was supposed to have been tortured and murdered by Jews. A pogrom ensued." - PJS
The legend of Hugh of Lincoln became popular in many forms of literature; Benet's _Reader's Encyclopedia_ (which uses the 1255 date) lists Chaucer's "Prioress's Tale," Marlowe's _The Jew of Malta_, and a 1459 piece called _Alphonsus of Lincoln_, which I have not seen.
The link to "The Prioress's Tale" is undeniable, since lines 684-686 (Riverside edition) explicitly compares the tale to that of "yonge Hugh of Lyncoln, slayn also With cursed Jewes, as it is notable, For it is but a litel while ago." I personally don't see much connection, except thematic, to _The Jew of Malta_. - RBW
File: C155
===
NAME: Sir Hugh, the Graeme: see Hughie Grame [Child 191] (File: C191)
===
NAME: Sir James the Rose [Child 213]
DESCRIPTION: James the Rose (has killed a squire, and) is forced to flee. He asks his leman's help. She, under pressure, tells his pursuers of his hiding place. James is taken and killed. His leman regrets her actions
AUTHOR: unknown
EARLIEST_DATE: 1781 (Pinkerton)
LONG_DESCRIPTION: "O heard ye of Sir James the Rose ... he has killed a gallant squire An's friends are out to take him." He visits his lover, the nurse at the House of Marr. He tells her he is looking for a place to hide. Her pursuers ask if she has seen him. As they are about to leave she tells them where he is hiding. He tries to buy them off but they kill him and give his heart to his lover. In despair she drops from sight. "A traitor's end, you may depend, Can be expect'd no better."
KEYWORDS: love death betrayal revenge hiding
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Child 213, "Sir James the Rose" (1 text)
Bronson 213, "Sir James the Rose" (27 versions+1 in addenda, but a large fraction of these are "Sir James the Ross")
DT 213, ]JAMEROS2
Roud #2274
BROADSIDES:
NLScotland, L.C.Fol.70(50), "Tragedy of Sir James the Rose," Poet's Box (Glasgow), 1869; also RB.m.143(157), "Sir James the Ross"
CROSS_REFERENCES:
cf. "Sir James the Ross" (general plot) and references there
NOTES: Child has only one version of 213 ("O heard ye of Sir James the Rose") but acknowledges a different ballad: "'Sir James the Ross, A Historical Ballad' (sometimes called 'The Buchanshire Tragedy'), was composed by the youthful Michael Bruce (1767) upon the story of the popular ballad, and has perhaps enjoyed more favor with 'the general' than the original." - BS 
File: C213
===
NAME: Sir James the Ross
DESCRIPTION: Matilda's father wants her to marry John Graham rather than James Ross. James kills John's brother and hides with Matilda while she sends her page to raise John's men. The page betrays James to John Graham. James is killed and Matilda commits suicide.
AUTHOR: Michael Bruce?
EARLIEST_DATE: 1869 (broadside, NLScotland L.C.Fol.70(50))
LONG_DESCRIPTION: "Of all the Scottish northern chiefs... The bravest was Sir James the Rose." He leads 500 warriors. He loves Matilda, daughter of "Buchan's cruel lord," who prefers that she wed Sir John the Graham. John's brother Donald spies on James and Matilda and hears her say "the grave shall be my bridal bed If Graham my husband be." Donald confronts James and is killed. He tells Matilda he has killed Donald and must hide because his own men are "far far distant." He plans to go to raise his men but she convinces him to hide and send a page to raise his men. The page meets Graham and twenty of his men and tells where James is hiding. James fights bravely. Matilda pleas for his life but he is mortally wounded. She kills herself on James's sword. With his dying effort James kills Graham. 
KEYWORDS: love death suicide betrayal revenge hiding brother father
FOUND_IN: Canada(Mar,Newf) US(NE)
REFERENCES: (10 citations)
BarryEckstormSmyth pp. 284-291, "Sir James the Ross" (1 text from manuscript)
Flanders/Olney, pp. 147-154, "Sir James, the Rose" (1 text, 1 tune) {Bronson's #25}
Flanders-Ancient3, pp. 239-254, "Sir James the Ross" (3 texts, 1 tune; of the three texts, "C" is short, while "A" is based on penciled changed George Edwards wrote in the margin of BarryEckstormSmyth) {Bronson's #25}
Creighton/Senior, pp. 75-79, "Sir James the Ross" (1 text plus 2 fragments, 2 tunes) {Bronson's #27, 26}
Creighton-Maritime, pp. 23-25, "Sir James the Ross" (1 text, 1 tune)
Creighton-SNewBrunswick 7, "Sir James the Ross" (2 texts, 1 tune)
Peacock, pp. 715-719, "Sir James the Rose" (1 text, 1 tune)
Karpeles-Newfoundland 18, "Sir James the Ross" (2 texts, 3 tunes)
Mackenzie 11, "Sir James the Rose" (2 texts, 1 tune) {Bronson's #16}
DT 213, JAMEROSE
Roud #2274
BROADSIDES:
NLScotland, L.C.Fol.70(50), "Tragedy of Sir James the Rose," Poet's Box (Glasgow), 1869; also RB.m.143(157), "Sir James the Ross"
CROSS_REFERENCES:
cf. "Child Maurice" [Child 83] (tune)
cf. "Sir James the Rose" [Child 213] (general plot)
NOTES: Child has only one version of 213 ("O heard ye of Sir James the Rose") but acknowledges a different ballad: "'Sir James the Ross, A Historical Ballad' (sometimes called 'The Buchanshire Tragedy'), was composed by the youthful Michael Bruce (1767) upon the story of the popular ballad, and has perhaps enjoyed more favor with 'the general' than the original." Coffin, _The British Traditional Ballad in North America_ (Philadelphia, 1950), pp. 128-129: "The Child 'Sir James the Rose' ballad is not in America. The American texts [including Pound's from Nebraska] are highly sophisticated and based on 'Sir James the Ross,' a song Child, IV, 156 thought to have been composed by Michael Bruce [disputed by Coffin citing Barry citing Keith 'that Michael Bruce is mistakenly considered the composer....']." Mackenzie regarding his two versions: "[They] represent 'Sir James the Ross,' an unacknowledged adaptation by Michael Bruce, of the old Scottish ballad 'Sir James the Rose' (Child, No. 213)." Confirming Coffin's observation, Karpeles-Newfoundland, Peacock, Creighton-SNewBrunswick, and Creighton-Maritime all are derived from the same text as MacKenzie's. - BS
File: C213A
===
NAME: Sir John Butler [Child 165]
DESCRIPTION: Men cross a moat by leather boat to Sir John Butler's hall. His daughter Ellen warns him his uncle Stanley is here. He says he is therefore doomed, and, indeed, he is murdered. His wife, in London, dreams his death, confirms it, seeks redress in vain.
AUTHOR: unknown
EARLIEST_DATE: before 1750 (Percy folio)
KEYWORDS: family homicide dream
HISTORICAL_REFERENCES: 1463 - The Butler Murder
FOUND_IN: 
REFERENCES: (1 citation)
Child 165, "Sir John Butler" (1 text)
Roud #4000
NOTES: Child gives a good deal of background to this murder, while admitting to some very substantial questions about it. But he distinctly fails to give some additional background -- notably the fact that this happened during the Wars of the Roses, when battles between noble families were commonplace. And he makes, in my view, far too little of the complicated connections of the families involved.
Lord Stanley was Thomas Stanley, the future Earl of Derby -- and the future husband of Margaret Beaufort, the mother of the future King Henry VII. And Ellen Butler? Well, there was an Eleanor Butler who (at least acording to the Bishop af Bath and Wells and King Richard III) was betrothed to King Edward IV, who was king in 1463 -- and who, if she *did* have a relationship with Edward IV, was having it right about the time of this murder. (For more on the Stanleys, see e.g. "The Vicar of Bray"; for the whole mess of Eleanor Butler, see e.g. "The Children in the Wood (The Babes in the Woods)" [Laws Q34].
I'm not claiming that any of this is neccessarily meaningful. But if anyone decides to try to learn more than Child had to say about this ballad, this probably needs to be looked into. - RBW
File: C165
===
NAME: Sir John Gordon: see Thomas Rymer [Child 37] (File: C037)
===
NAME: Sir John Grehme and Barbara Allan: see Bonny Barbara Allan [Child 84] (File: C084)
===
NAME: Sir Lionel [Child 18]
DESCRIPTION: (Sir Lionel) hears report (from a lady in distress?) of a murderous boar. Meeting the boar, he slays the beast. In the older versions, the boar's keeper then comes out to demand a price, and the knight then slays the keeper also.
AUTHOR: unknown
EARLIEST_DATE: 1876 (Christie, _Traditional Ballad Airs, vol. i_)
KEYWORDS: animal fight magic
FOUND_IN: Britain(Scotland(High),England) US(Ap,NE,SE,So)
REFERENCES: (23 citations)
Child 18, "Sir Lionel" (6 texts)
Bronson 18, "Sir Lionel" (17 versions)
Leather, pp. 203-204, "Brangywell"; p. 204, "Dilly Dove" (2 texts, 2 tunes) {Bronson's #5, 13}
BarryEckstormSmyth pp. 434-435, "Sir Lionel" (notes plus a partial reprint of Child A)
Flanders/Olney, pp. 60-61, "Old Bangum" (1 text, 1 tune) {Bronson's #17}
Flanders-Ancient1, pp. 226-229, "Sir Lionel" (1 text, 1 tune) {Bronson's #17}
Belden, pp. 29-31, "Sir Lionel" (2 texts, 1 tune, plus fragments of 1 stanza and 1 line respectively) {Bronson's #7}
Randolph 7, "Lord Bangum" (1 fragmentary text, 1 tune) {Bronson's #14}
Davis-Ballads 8, "Sir Lionel" (7 texts, 4 tunes entitled "Bangum and the Boar," "Old Bang'em," "Ole Bangim," "Sir Lionel") {Bronson's #12, #10, #8, #15}
Davis-More 10, pp. 72-78, "Sir Lionel" (4 texts, 4 tunes)
Scarborough-SongCatcher, pp. 191-191, "Sir Lionel" (1 text reprinted from Scarborough-NegroFS, and found also in Davis and Scarborough-NegroFS, with local title "Old Bangum"; 1 tune on p. 407) {Bronson's #8}
Scarborough-NegroFS, pp. 51-52, "Old Bangum" (1 text, 1 tune, the same as that in Scarborough-SongCatcher) {Bronson's #8}
SharpAp 9 "Sir Lionel" (4 fragments, 4 tunes) {Bronson's #16, #15, #11, #9}
Ritchie-Southern, p. 85, "Bangum Rid by the Riverside" (1 text, 1 tune)
Leach, pp. 100-103, "Sir Lionel" (2 texts)
McNeil-SFB2, pp. 157-159, "Ole Banghum" (1 text, 1 tune)
PBB 19, "The Jovial Hunter of Bromsgrove" (1 text)
Lomax-FSNA 272, "Old Bangum" (1 text, 1 tune) {Bronson't #8}
Niles 13, "Sir Lionel" (3 texts, 3 tunes)
Chase, pp. 126-127, "Old Bangum and the Boar" (1 text, 1 tune)
Abrahams/Foss, p. 60, "Old Bangum" (1 text, 1 tune)
Silber-FSWB, p. 217, "Old Bangum" (1 text)
DT 18, JOVHUNTR* OLBANGUM*
Roud #29
RECORDINGS:
Bentley Ball, "Bangum and the Boar" (Columbia A3084, 1920)
Logan English, "Bangum and the Boar" (on LEnglish01)
Samuel Harmon, "The Wild Boar" (AFS 2805B; on LC57) {Bronson's #2}
Frank Hutchison, "Wild Hog in the Woods" (OKeh 45274, 1928)
Jean Ritchie, "Old Bangum" (on JRitchie01)
Lonesome Luke [D. C. Decker] & his Farm Boys, "Wild Hog in the Woods" (Champion 16229, 1931; on KMM)
G. D. Vowell, "Bangum and the Boar" (AFS; on LC57)
ALTERNATE_TITLES:
Wild Hog
The Jovial Hunter
Rurey Bain
Bangum and the Bo'
Wild Hog in the Woods
Rackabello
NOTES: Many versions of this song have been stripped down to descriptions of the hunt and the fight. Others have subplots concerning Sir Lionel's brothers.
The versions of this called "Wild Hog in the Woods" should not be confused with the fiddle tune of the same name, which is unrelated to any tune I've ever heard with the ballad. Great tune, though - PJS
Flanders, in her notes in "Ancient Ballads," makes the astonishing (for her) admission of how different the common version of this is from the alleged roots: "If 'Old Bangum' can be considered as a direct descendant of the romance _Sir Eglamour of Artois_, it is surely a classic example of degeneration through oral tradition.... Although the Child 'Sir Lionel' is probably related to the medieval romance, scholars have just as probably been over-enthusiastic in relating 'Old Bangum' songs too closely to 'Sir Lionel.' As Belden, 29, suggests, a song-book or music hall rewriting may well lie between the two."
She adds, "The 'Old Bangum' texts are the only American forms of Child 18. They are known in... England as well, and are characterized by a nonsense refrain which Alfred Williams... notes is meant to sound like a bugle." - RBW
File: C018
===
NAME: Sir Neil and Glengyle [Laws M39]
DESCRIPTION: Ann is wooed by Sir Neil and Glengyle. Her brother, hearing a false rumor that Sir Neil has slandered his sister, demands a duel and is killed. Glengyle kills Sir Neil. Ann, horrified by the slaughter, will not have Glengyle and vows to die unwed
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: homicide brother sister courting death
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Laws M39, "Sir Neil and Glengyle"
Creighton-Maritime, pp. 92-95, "Sir Neil and Glengyle" (1 text, 3 tunes)
Mackenzie 20, "Sir Neil and Glengyle" (1 text, 1 tune)
DT 590, SIRNEIL
Roud #1914
NOTES: I was not able to read the one broadside Bodleian, 2806 c.11(44), "Glengyle & Sir Neil" ("In yonder isle beyond Argyle"), unknown, n.d. - BS
File: LM39
===
NAME: Sir Patrick Spence: see Sir Patrick Spens [Child 58] (File: C058)
===
NAME: Sir Patrick Spens [Child 58]
DESCRIPTION: The King, needing a good sailor, calls upon Sir Patrick Spens to sail (to Norway?) in the dead of winter. Though both Captain and crew fear the trip, they undertake it, and are drowned
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: sea storm wreck death
HISTORICAL_REFERENCES: 1286 - Death of Alexander III of Scotland
1290 - Death of his granddaughter Margaret "Maid of Norway"
FOUND_IN: Britain(Scotland(Aber)) US(Ap,MA,SE) Canada(Mar)
REFERENCES: (19 citations)
Child 58, "Sir Patrick Spens" (18 texts, 1 tune) {Bronson's #5}
Bronson 58, "Sir Patrick Spens" (12 versions+1 in addenda)
Percy/Wheatley I, pp. 98-102, "Sir Patrick Spence" (1 text)
BrownII 16, "Sir Patrick Spens" (1 text)
Leach, pp. 179-184, "Sir Patrick Spens" (3 texts)
Friedman, p. 297, "Sir Patrick Spens (Spence)" (2 texts, 1 tune)
OBB 75, "Sir Patrick Spens" (1 text)
PBB 66, "Sir Patrick Spens" (1 text)
Niles 25, "Sir Patrick Spens" (1 text, 1 tune)
Gummere, pp. 144-1445+331-332, "Sir Patrick Spens" (1 text)
Scott-BoA, pp. 25-27, "Sir Patrick Spens" (1 text, 1 tune)
Hodgart, p. 121, "Sir Patrick Spens" (1 text)
DBuchan 50, "Sir Patrick Spens" (1 text)
Creighton-SNewBrunswick 2, "Sir Patrick Spens" (1 text, a recited version)
TBB 20, "Sir Patrick Spens" (1 text)
Darling-NAS, pp. 60-63, "Sir Patrick Spens" (1 text)
HarvClass-EP1, pp. 74-76, "Sir Patrick Spence" (1 text)
DT 58, PATSPENS*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #418, "Sir Patrick Spence" (1 text, with several variants in the notes)
ST C058 (Full)
Roud #41
CROSS_REFERENCES:
cf. "Lord Derwentwater" [Child 208] (opening lyrics)
cf. "Young Allan" [Child 245] (lyrics)
ALTERNATE_TITLES:
Patrick Spenser
Sir Patrick Spence
NOTES: Whether this song is historical is disputed. If it *is* historical, it is based on one of the oldest incidents known to balladry: The succession of Scotland in the thirteenth century.
Alexander III of Scotland came to the throne in 1249, a boy not yet ten years old (see Magnusson, pp. 96-97. For references, see the Bibliography at the end of this note). Two years later, he went to England to be knighted and to marry Margaret, the daughter of the English King Henry III and the sister of the future Edward I (Magnusson, p. 97).
Alexander came of age in 1259. Within a couple of years, he was sending embassies to Norway, trying to gain control of the Western Isles and Orkney -- which for many centuries had given their allegiance, such as it was, to Norway (Magnusson, p. 97). Eventually negotiations gave way to war: Alexander wanted the Hebrides, while Norwegian king Haakon wanted to keep them and strengthen his control.
Fry/Fry, p. 74, report that one of Alexander's vassals attacked Skye in 1262. Our sources are all Norwegian, so we don't know whether Alexander was really involved, or how extensive the attack was. What is clear is that both sides sent forces to the western isles, though the ensuing Battle of Largs (1263) was more a series of meeting engagements than a full-scale battle. More damage was done to the combatants by a storm, and king Haakon, having seen his fleet badly damaged, headed for home and died soon after in the Orkneys (Mitchison, p. 33).
With Haakon dead, the Norwegians decided to negotiate once again. A treaty was concluded in 1266, by the terms of which Scotland in effect bought the Hebrides (and at a surprisingly low price; Magnusson, p. 103, thinks the Norwegians demanded the cash only so they could justify giving away land they were no longer willing to fight for).
In practice, the result didn't matter; the folk of the Islaes "paid no more heed to their Scottish  than they had to their Norwegian overlords" (MacLean, p. 33). But at least it ended the war. The countries became friendly enough that Alexander's daughter Margaret, by then 19 years old, was married to the 14-year-old grandson of King Haakon in 1281. Margaret's young husband was already Norway's King Eric II; he had ascended in 1280 (Mitchison, p. 37). Margaret didn't see much of his reign, though; she died in 1283, probably in childbirth; the baby girl would come to be known as "Margaret Maid of Norway" (Magnusson, p. 104).
At the time of the elder Margaret's betrothal, the Norwegian connection seemed minor; although Alexander III was a widower (his wife Margaret having died in 1275), he had two living sons. But the younger son, David, died in 1281, and then the heir, who would have been Alexander IV, died in 1284 (Magnusson, p. 105).
Alexander finally decided he had to marry again; he married Yolande (or Yolette) de Dreux in 1285. But it was too late for him. Indeed, the marriage brought his downfall, and led to the end of one of the few relatively peaceful period in Scottish history. On a dark night, on his way to visit his wife after a feast, he somehow fell from his horse and died in 1286 (Magnusson, pp. 106-107; Cook, p. 65). This, incidentally, led to one of Thomas of Ercildoune's most famous prophecies; see the notes to "Thomas Rymer" [Child 37].
When Alexander died in 1286, the only heir of his body was his granddaughter Margaret, daughter of the King of Norway by Alexander's daughter. She was four years old, but was made queen (not without some concern, since Scotland till then had never had a ruling queen; Cook, p. 65). Naturally with a guardian council. And with Edward I of England very interested. For one thing, she was a girl who could potentially be married to his son; for another, Margaret of Norway was not too distantly related to Edward himself, and a potential claimant to the English throne. Edward firmly interjected himself into the process of trying to bring the girl back to Scotland (Cook, p. 69). The negotiations were involved (Magnusson, pp. 110-111), since Norway, England, and Scotland were interested in her dynasty (because stood fairly high in the succession for each), and England, Scotland, and the Papacy were involved in negotiations for her marriage (since she and her proposed husband, the future Edward II, were within the prohibited degrees, being first cousins once removed. A dispensation was eventually obtained; Cook, p. 70).
Poor little Margaret! So much rested on her fate that the histories give us no idea of what she was like; on paper a queen, she was in fact a pawn. One can only feel sorry for her. She lost her mother at birth, she became queen of Scotland at three, her marriage was decided upon by the time she was seven, she left her childhood home at eight, and died at sea without even viewing the land of which she was titular queen! It was the forceful Edward I, not the Scots, who conducted most of the negotiations with the Norwegians. And one can't help but wonder if Edward's bluster didn't cause the Norwegians to drag things out. Eric II delayed Margaret's return for years.
Edward had theoretically agreed to leave Scotland an independent state after the marriage, and it was agreed that, if Margaret's marriage produced no heirs, Scotland would remain independent (Magnusson, p. 111). But it was quite clear that Edward had every expectation of running things (MacLean, p. 34).
Finally Edward fitted out a well-provisioned ship to carry the Queen, and perhaps her father (Cook, p. 71). Eric didn't like that; he preferred to use one of his own ships. It didn't help the poor girl; she died on the trip -- surrounded by the usual rumours of poisoning and murder. And now Scotland *really* had a succession problem. But that is an issue for another song.
Thus the texts of the ballad match some of the facts (fetching home "the king's daughter of Norrowa'"), but ignore the fact that the old king was long dead when the Scottish ship sailed to bring home the princess.
Some have proposed emending the text to describe sending Alexander's daughter *to* Norway, noting that a ship containing several Scottish lords sank on the way home. This is ingenious, but does not seem to fit the rest of the ballad; I would regard this emendation as highly suspect. (Of course, I don't like emendation.)
Just about every recording I've heard of this song seems to use the highly majestic tune sung by Ewan MacColl, but Bronson admits only one other traditional version with a tune akin to MacColl's; nine of his twelve versions are of a different type, and the twelfth (from Johnson) he believes inauthentic.
>> BIBLIOGRAPHY <<
Cook: E. Thornton Cook, _Their Majesties of Scotland_, John Murray, 1928
Fry/Fry: Peter and Fiona Somerset Fry, _The History of Scotland_, 1982 (I use the 1995 Barnes & Noble edition)
MacLean: Fitzroy MacLean, _A Concise History of Scotland_, Beekman House, 1970
Magnusson: Magnus Magnusson, _Scotland: The Story of a Nation_, Atlantic Monthly Press, 2000
Mitchison: Rosalind Mitchison, _A History of Scotland_, second edition, Methuen, 1982
- RBW
File: C058
===
NAME: Sir Peter Parker
DESCRIPTION: "Sir Peter Parker" relates how he attacked Sullivan's Isle outside Charleston. He receives no support from his superior, Clinton, so the rebels are able to beat off his ship Bristol. Parker decides it's time to return to base
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: rebellion war humorous injury
HISTORICAL_REFERENCES: June 28, 1776 - Clinton and Parker's failed assault on Charleston
FOUND_IN: US
REFERENCES: (2 citations)
Scott-BoA, pp. 64-66, "Sir Peter Parker" (1 text, 1 tune)
DT, NEWWAR*
CROSS_REFERENCES:
cf. "At Sullivan's Isle" (subject)
ALTERNATE_TITLES:
A New War Song by Sir Peter Parker
NOTES: The setting is, of course, the American revolution. Having been completely blocked by the colonials in 1775, the British decided on a two-part strategy in 1776. Most of the troops in Boston were shifted to New York (via Halifax), while a second force was sent to attack Charleston, South Carolina. It was to be a fiasco.
To be fair, the whole thing had been directed from London, and handled at too great a distance. According to Don Cook, _The Long Fuse: How England Lost the American Colonies 1760-1785_, p. 245, "orders were issued in December... to embark the Irish regiments at Cork and head across the Atlantic to rendezvous with a fleet in the American waters off Cape Fear, North Carolina. General Clinton would meet them at the end of February with additional reinforcements from Boston, and the combined armies would head for Charleston." Sir Henry Clinton was to the army in the Charleston assault, while Sir Peter Parker was in charge of the naval forces. Since Clinton was already in America, and Parker was coming from England, the two did not cooperate well.
The first problem was the timing. Atlantic weather saw to it that Parker's fleet, somewhat depleted, arrived in April, not February. This had the unfortunate effect of seriously weakening the troops, who had been at sea for eighty days (see Stanley Weintraub, _Iron Tears: America's Battle for Freedom, Britain's Quagmire: 1775-1783_, Free Press, 2005, pp. 61-62).
Clinton, who had been on the scene, learned that no one even had an accurate map to use when planning the landing. So bad was the British information that, when they tried to bombard Charleston, most of the mortar shells landed in unfortified bogs (Weintraub, p. 62).
Clinton got his troops ashore, but did not attack the crucial colonial position in Fort Moultrie. Clinton opposed the final plan, but Parker was in charge and ordered the assault to go ahead. To get into the harbor, Parker had to try to batter the fort into submission. He failed, and in the process a colonial shot blew off his breeches (producing the reference to "the wind in my tail," and a sour joke beginning "If honour in the breech is lodged"; Weintraub, p. 62). Other losses were more significant than Parker's pants: Three frigates aground, three ships damaged, one destroyed; the captain of the _Bristol_ lost his right arm.
Clinton and Parker returned to New York. It is likely that both should bear responsibility for the failure, but Parker seems to have borne the brunt of it; when Howe was recalled from his post as commander of British forces in America, Clinton was chosen to succeed him. - RBW
File: SBoa064
===
NAME: Sir Robert Peel, The
DESCRIPTION: "In the pleasant month of May, 'twas the year of thirty-eight... It was down in the narrows where they watched for the eel Lay her majesty's steamer called the Sir Robert Peel." Forced to land in America, the ship is burnt to avenge the Caroline
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: ship battle political revenge
HISTORICAL_REFERENCES: Dec 29, 1837 - The American vessel the Caroline, which had been transporting supplies to the Canadian rebels, is set afire and run over Niagara Falls by Canadians led by Captain Andrew Drew
May 30, 1838 - The Sir Robert Peel halts at Wells Island to take on wood. Raiders led by Bill Johnston attack her, take off her crew, and set her afire to avenge the Caroline
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 76-78, "The 'Sir Robert Peel'" (1 text, 1 tune)
Roud #4031
NOTES: For the history of the Canadian rebellion, which led to the events in this song, see the notes on "An Anti-Rebel Song" and "Farewell to Mackenzie."
This song is item dA33 in Laws's Appendix II. - RBW
File: FMB076
===
NAME: Sir William: see references under "The Knight and the Shepherd's Daughter" [Child 110] (File: C110)
===
NAME: Sir William Gower: see Captain Glen/The New York Trader (The Guilty Sea Captain A/B) [Laws K22] (File: LK22)
===
NAME: Sister Cyarline: see Went to the River (I) (File: R258)
===
NAME: Sister Seusan
DESCRIPTION: "Sister Sue and my (Aunt/gal) Sal, Gwine to git a home bime by-high. All gwine to lib down shin-bone al; Gwine to git a home bime by." Various verses on working, sailing, complaints. Noted as a Barbadian hand over hand.
AUTHOR: unknown
EARLIEST_DATE: 1899 (Bullen, _The Log of a Sea Waif_)
KEYWORDS: worksong shanty
FOUND_IN: US West Indies
REFERENCES: (2 citations)
Harlow, pp. 200-201, "Gwine to Git a Home Bime By" (1 text, 1 tune)
Hugill, pp. 390-391 "Sister Susan" (1 text, tune) [AbEd, p. 299]
ALTERNATE_TITLES:
Shinbone Al
NOTES: Bullen transcribed this shanty, and described the time he first heard it in his book _The Log of a Sea Waif._ He also included it later included in his collection _Songs of Sea Labor._ Hugill mentions that "Shinbone Alley" is a place name often referred to in American Negro songs. - SL
File: Hugi390
===
NAME: Sister Susan: see The Old Maid's Song (File: R364)
===
NAME: Sister's Husband, The: see Fair Annie [Child 62] (File: C062)
===
NAME: Sitting on Top of the World
DESCRIPTION: Singer's woman leaves him, then says "Come back... I need you so". He spurns her: "If you don't like my peaches, don't shake my tree...." He'll find another woman. Ch.: "But now she's gone, and I don't worry/Because I'm sitting on top of the world"
AUTHOR: Probably Walter Vincson (Digital Tradition lists Lonnie Carter and Walter Jacobs)
EARLIEST_DATE: 1930 (recording, Mississippi Sheiks)
KEYWORDS: hardheartedness love travel abandonment floatingverses lover
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
DT, STTNTOP*
Roud #7689
RECORDINGS:
Beale St. Rounders, "Sittin' On Top of the World" (Vocalion 1555, 1930)
(Joe) Evans & (Arthur) McClain, "Sitting On Top of the World" (Banner 32211/Oriole 8079/Perfect 180/Romeo 5079, 1931)
Shelton Brothers, "I'm Sittin' On Top of the World" (Decca 5190, 1936)
Mississippi Sheiks, "Sitting on Top of the World" (OKeh 8784, 1930; OKeh 45506, 1931)
Scottdale String Band, "Sittin' On Top of the World" (OKeh 45509, 1931; rec. 1930)
Doc Watson, "Sitting On Top of the World" (on WatsonAshley1)
Clarence Williams Jug Band, "Sitting On Top of the World" (OKeh 8826, 1930)
Bob Wills, "Sittin' On Top of the World" (Vocalion 03139, 1936 [rec. 1935])
SAME_TUNE:
Mississippi Sheiks, "Sitting On Top of the World #2" (OKeh 8854, 1931; rec. 1930)
NOTES: This song should not be confused with the Tin Pan Alley song, "I'm Sitting on Top of the World" (which goes on, "Just rollin' along, just rollin' along"), although the Mississippi Sheiks may have been ironically quoting from it. - PJS
File: dtSTTNTO
===
NAME: Siul a Ghra: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Siul a Gra: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Six Days Shalt Thou Labor
DESCRIPTION: "Six days shalt thou labor and do all thou art able, And on the seventh -- holystone the decks and scrape the cable" (or "the seventh the same, and clean out the stable," etc.) A (sailor's) complaint about hard work and dishonoring the Sabbath
AUTHOR: unknown
EARLIEST_DATE: 1840 (Two Years Before the Mast)
KEYWORDS: work hardtimes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 228, "For Six Days Do All That Thou Art Able" (1 text)
Roud #16857
NOTES: The first two lines of this are quoted in various forms; the description contains the earliest form I know, from Richard Henry Dana's _Two Years Before the Mast_. But it seems to have generalized.
We might add that, while some of the tasks described in the song are make-work, make-work was necessary at sea, especially aboard a naval vessel that had many more hands than were ordinarily needed to run the ship. Almost none of the sailors could read or do much except sail a ship; their only entertainment was grog (which had to be rationed, both because the supply was finite and because they had to be sober enough to work the ship) and maybe music. Had they not been kept busy, they would have gone stir-crazy -- or mutinied. - RBW
File: Br3228
===
NAME: Six Dukes Went a-Fishing
DESCRIPTION: (Six dukes) go fishing and find the body of the (some Duke). His body is brought (home/to London); the embalming is described in rather gory detail. His burial is described in language reminiscent of "The Death of Queen Jane"
AUTHOR: unknown
EARLIEST_DATE: 1690 (broadside)
KEYWORDS: death burial nobility corpse funeral
FOUND_IN: Britain(England(Lond,South)) US(NE)
REFERENCES: (9 citations)
Bronson (170), 2 versions in Appendix B to "The Death of Queen Jane," though these are not all the versions of the song known to Bronson
Flanders/Brown, p. 219, "Two Dukes" (1 text, 1 tune) {Bronson's #12}
Flanders/Olney, pp. 78-79, "Two Dukes" (1 text, 1 tune)
Flanders-Ancient3, pp. 159-160, "The Duke of Bedford" (2 texts, 2 tunes) {A=Bronson's #12}
PBB 48, "The Duke of Grafton" (1 text)
Sharp-100E 21, "The Duke of Bedford" (1 text, 1 tune) {Bronson's #11}
Vaughan Williams/Lloyd, p. 97, "Six Dukes Went a-Fishing" (1 text, 1 tune)
Hodgart, p. 150, "Six Dukes went a-fishing" (1 text)
BBI, ZN316, "As two men were a walking, down by the sea side"
ST FO078 (Partial)
Roud #78
CROSS_REFERENCES:
cf. "The Death of Queen Jane" [Child 170] (lyrics)
NOTES: The person referred to in this ballad is hard to determine. One text refers to the Duke as the "Duke of Grantham." There were three barons of Grantham (died 1770, 1786, and 1859; the third Baron was made earl in 1833), but their circumstances do not seem to fit the ballad. In any case, they were not dukes. - AS, RBW
In another text, the Duke is lord of Grafton. Grafton was a very temporary dukedom; Henry Fitzroy (the illegitimate son of Charles II) briefly held the title. Grafton is notable only for leading a Guards regiment during the Glorious Revolution, when he abandoned James II to support William and Mary. (There is, however, a broadside, BBI ZN2703, "Unwelcome Tydings over spreads the Land," entitled "Englands Tribute of Tears.. Death..Duke of Grafton.. 9th. of October, 1690.") A later Duke, the third, was Prime Minister 1767-1770, and partly responsible for the colonial problems leading to the American revolution, but this is obviously too late.
If we ignore the names and look at the internal evidence of the song, perhaps the least
implausible candidate is William de la Pole, Duke of Suffolk, who was widely regarded in England as having sold Normandy back to the French. King Henry ordered his exile in 1450 (to spare his life), but the ship he was sailing on was intercepted and Suffolk taken off. He was beheaded and his body thrown on the shore (May 2, 1450).
Rumor (probably false) had him linked romantically with Queen Margaret of Anjou, which would partly explain the line "royal Queen Mary went weeping away" in the "Grafton" text.
Another possibility, which as far as I know is original to me, is that the reference is actually to Richard Woodville, first Earl Rivers. Rivers was never a Duke -- indeed, he was only briefly an earl, and not a landed one. But he was the father of Queen Elizabeth Woodville (wife of Edward IV), which made him a sort of vague member of the royal family, which might cause him to be called a duke. Plus, he lived in Grafton. Rivers was executed in 1469 by members of the Neville (anti-Edward) faction.
Another difficulty is that, until relatively recently, England almost never had more than eight active Dukedoms (Buckingham, Clarence, Exeter, Gloucester, Lancaster, Norfolk, Suffolk, York), and usually fewer (e.g. the only Duke of Lancaster who was not also King was John of Gaunt). England, until the eighteenth century, had a limited peerage; the first three Georges nearly doubled the number of peers, creating the first significant class of landless Lords; the purposes, of course, were political.
I guess it's safe to conclude that this story is badly garbled. - RBW
To these possibilities, Sharp's _100 English Folksongs_ adds the son of the fourth Duke of Bedford, killed by a fall from his horse in 1767. - PJS
(Which, of course, appears to be later than the earliest broadside texts. At least Bedford was a real dukedom, attested to in some versions of the text, so the song might have been adjusted. - RBW)
See also Mary Rowland, 'Which Noble Duke?', _FMJ_ 1965 - RBW, following WBO
File: FO078
===
NAME: Six Girls: see The Six Sweethears (File: HHH605)
===
NAME: Six Horse-Power Coaker, The
DESCRIPTION: An old run-down motor that still has a lot of life left in it fails one day as the weather  worsens and they have a dory in tow. An orphan boy comes to the rescue in a skiff and is able to start the motor. They take on the boy from that time forward.
AUTHOR: A.R. Scammell
EARLIEST_DATE: 1940
KEYWORDS: recitation technology talltale ship rescue
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Doyle2, p. 74, "The Six Horse-Power Coaker" (1 text)
Blondahl, pp. 68-69, "The Six-Horsepower Coaker" (1 text, 1 tune)
Roud #7310
NOTES: The author, Arthur Reginald Scammell (mistakenly spelled with one "l" in [Doyle]), has written many poems, songs and even stories with Newfoundland themes. One of his more famous songs is, "The Squid-Jiggin' Ground." Some collections of his works include: _My Newfoundland: Stories, Poems, Songs_ (St. John's: Harry Cuff Publications, 1988) and "Newfoundland Echoes" (St. John's: Harry Cuff Publications, 1988). _Collected Works of A. R. Scammell_ was also published by Harry Cuff in 1990.
The boy in the song is referred to as being a "bedlamer boy" which is a corruption of the French phrase, "bete de la mer" used in Newfoundland to refer to half-grown seals and boys. See: Harold Horwood, _Newfoundland_ (Toronto: Macmillan of Canada , 1969), p. 84. - SH
File: Doy74
===
NAME: Six Jolly Miners
DESCRIPTION: About "six jolly miners." They come from all over Britain, "but all of their delight was to split those rocks in twine." "Sometimes we have good credit, boys, sometimes we've none at all." "We'll call for liquors plenty and drink our healths all round."
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: work mining drink nonballad
FOUND_IN: Britain(England(North,South)Scotland(Bord)) Canada(Mar) US(MA)
REFERENCES: (3 citations)
Kennedy 238, "Six Jolly Miners (1 text with supplements, 1 tune)
Copper-SoBreeze, pp. 286-287, "Six Jolly Miners" (1 text, 1 tune)
Creighton/Senior, p. 176, "The Jolly Miner " (1 text, 1 tune)
Roud #877
RECORDINGS:
Louis Rowe, "Six Jolly Miners" (on FSB9)
File: K238
===
NAME: Six King's Daughters, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Six Little Girls A-Sliding Went: see Three Little Girls A-Skating Went (File: R588)
===
NAME: Six Men and One Woman Taken Off the Ice at Petty Harb'r
DESCRIPTION: "Come all you hardy Fishermen, And hark to what I say, And hear how six were rescued Near Petty Harbor Bay." Stranded overnight on the ice, they desperately signal for help. Spotted at last, the Ingraham comes to rescue them
AUTHOR: unknown
EARLIEST_DATE: 1909 (Harbour Grace Standard)
KEYWORDS: wreck rescue
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 80, "Six Men and One Woman Taken Off The Ice at Petty Harb'r" (1 text, 1 tune)
File: RySm080
===
NAME: Six Months Ain't Long
DESCRIPTION: Singer reports that "all I've got's done gone"; he was framed by an upright judge and sentenced to six months in jail for shooting up the town.  Ch.: "Six months ain't long, ain't long my dear...six months ain't long for me to be gone/oh darling...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Rutherford & Foster)
KEYWORDS: captivity love violence crime prison punishment trial judge prisoner
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Leonard] Rutherford & [John] Foster, "Six Months Ain't Long" (Brunswick 490, rec. 1930; on KMM)
CROSS_REFERENCES:
cf. "My Last Gold Dollar" (lyrics)
cf. "Six Months in Jail Ain't So Long" (subject)
NOTES: The similarity to "Six Months in Jail Ain't so Long" is primarily in the situation, not the song. The lyrics are different, the tune is different, I split them. - PJS
File: Rc6MoLo
===
NAME: Six Months in Jail Ain't So Long
DESCRIPTION: "Six months in jail ain't so long, baby, It's workin' on the county farm. Got my pick an' shovel now, baby, Yo' true lub is gone. Who's gwine to be yo' true lub, baby, When I'm gone? Who gwine to bring you chickens... When I'm workin' on the county farm?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: prison lover food work
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 231, "Work-Song" (1 short text)
CROSS_REFERENCES:
cf. "Who Will Shoe Your Pretty Little Foot" (theme)
cf. "Six Months Ain't Long (subject)
File: ScNF231A
===
NAME: Six O'Clock Bells Ringing: see My Boyfriend Gave Me An Apple (File: Hamm011)
===
NAME: Six Questions: see Captain Wedderburn's Courtship [Child 46] (File: C046)
===
NAME: Six Sweethearts, The
DESCRIPTION: The singer recalls courting "six girls all at once." He enjoys it greatly until he starts to forget the girls' names. The girls unite to pay him back. He dreams of what else they might do -- and of being a Turk and marrying all of them
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: courting betrayal dream
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
SHenry H605, p. 340, "The Six Sweethearts" (1 text, 1 tune)
Creighton-Maritime, p. 128, "Six Girls" (1 text, 1 tune)
Roud #2704
File: HHH605
===
NAME: Sixpence: see Sing a Song of Sixpence (File: GGGSiSo6)
===
NAME: Sixteen Come Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: Sixteen Thousand Miles from Home
DESCRIPTION: "Oh, I'm sixteen thousand miles from home... To think that I should humble down To come out here stone-breaking." The new immigrant is met by a local contractor, who flatters him and tricks him into a menial job. (The singer prefers to join the army)
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: emigration work
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, pp. 67, 131-132, "Sixteen Thousand Miles from Home" (2 texts, 2 tunes)
Fahey-Eureka, pp. 72-73, "Sixteen Thousand Miles from Home" (1 text, 1 tune)
Manifold-PASB, pp. 32-33, "Sixteen Thousand Miles from Home" (1 text, 1 tune)
Meredith/Covell/Brown, p. 195, "Sixteen Thousand Miles" (1 tune)
Paterson/Fahey/Seal, pp. 122-124, "I'm Sixteen Thousand Miles from Home" (1 text)
File: MA067
===
NAME: Sixteen Tons
DESCRIPTION: "Now some folks say a man is made out of mud, But a poor man's made out of muscle and blood." The singer describes the hard life in the mines -- and the debts incurred. "St. Peter, don't you call me, 'cause I can't go; I owe my soul to the company store."
AUTHOR: Merle Travis
EARLIEST_DATE: 1946 (recorded by author)
KEYWORDS: work hardtimes poverty mining
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-FSNA 154, "Sixteen Tons" (1 text, 1 tune)
Green-Miner, p. 279-281, "Two by Travis": p. 295, "Sixteen Tons"(1 text, 1 tune)
DT, TON16
Roud #15162
RECORDINGS:
George Davis, "Sixteen Tons" (on GeorgeDavis01)
Tennessee Ernie Ford, "Sixteen Tons" (Capitol 3262, 1955)
B. B. King, "Sixteen Tons" (RPM 451, n.d.)
Merle Travis, "Sixteen Tons" (Capitol 48001, 1947; on 78 album "Folk Songs of the Hills", Capitol AD 50; rec. 1946) 
CROSS_REFERENCES:
cf. "'31 Depression Blues" (lyrics)
File: LoF154
===
NAME: Sixteen Years, Mama
DESCRIPTION: The daughter says that at 16 it is time she was wed. The mother offers her daughter a sheep instead; daughter would weep. Mother offers a cow; daughter would frown. Mother offers a man; daughter says "as soon as ever you can... Married I'd like to be"
AUTHOR: unknown
EARLIEST_DATE: 1977 (IRClare01,Voice15)
KEYWORDS: dialog mother bargaining animal
FOUND_IN: Ireland
REFERENCES: (0 citations)
Roud #12942
RECORDINGS:
Mary Delaney, "Fourteen Last Sunday" (on IRTravellers01)
Mikey Kelleher, "Daughter, Dearest Daughter" (on IRClare01)
Tom Lenihan, "Sixteen Years, Mama" (on Voice15)
CROSS_REFERENCES:
cf. "Whistle, Daughter, Whistle" (subject)
cf. "Lazy Mary" ("She Won't Get Up") (subject)
NOTES: This is "Whistle, Daughter, Whistle" without the whistle.
The last verse of Mikey Kelleher's "Daughter, Dearest Daughter" on IRClare01 is the "father and mother in yonder bed do lie" verse from "Blow the Candle Out" [Laws P17]. - BS
File: Rc16YrsM
===
NAME: Sixty Years Ago: see Twenty Years Ago (Forty Years Ago) (File: R869)
===
NAME: Skeppet Bernadotte
DESCRIPTION: Swedish capstan shanty. Translation - Ship sails from Cardiff, runs into various mechanical problems and bad weather and are left with nothing but bread to eat.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
KEYWORDS: foreignlanguage shanty ship technology food
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 469-470, "Skeppet Bernadotte" (2 texts-Swedish & English, 1 tune)
File: Hugi469
===
NAME: Skeptic's Daughter, The: see Rosedale Waters (The Skeptic's Daughter) (File: R601)
===
NAME: Skerry's Blue-Eyed Jane
DESCRIPTION: The singer rides up to a "lovely maid," and asks if she will come away with him. She refuses; she loves another. He says her love is married. She says he lies, and if her love were here, he would slay the singer. The singer reveals that he is her love
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: love courting separation reunion disguise
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H737, pp. 309-310, "Skerry's Blue-Eyed Jane" (1 text, 1 tune)
Roud #3816
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
File: HHH737
===
NAME: Skew Ball: see Skewball [Laws Q22] (File: LQ22)
===
NAME: Skewbald Black, The: see The Horse Wrangler (The Tenderfoot) [Laws B27] (File: LB27)
===
NAME: Skewball [Laws Q22]
DESCRIPTION: (Skewball) and one or more other horses run a race; the crowd favors another animal. (Half way through the course), Skewball tells his rider he will win. He pushes on to victory (and drinks a toast with his rider)
AUTHOR: unknown
EARLIEST_DATE: 1784 (broadside, Bodleian Harding B25)
KEYWORDS: horse racing promise
FOUND_IN: US(MW,NE,SE) Britain(England)
REFERENCES: (8 citations)
Laws Q22, "Skewball"
BrownII 136, "Skew Ball" (2 fragments)
Lomax-ABFS, pp. 68-70, "Stewball" (1 text, 1 tune)
Scarborough-NegroFS, pp. 62-64, "The Noble Skewball" (1 partial text plus a British version in a footnote, 1 tune)
Darling-NAS, pp. 151-152, "Stewball" (1 text)
Fife-Cowboy/West 8, "Squeball" (2 texts, 1 tune)
Silber-FSWB, p. 395, "Stewball" (1 text)
DT 349, STWBLHOR STWBLHR2
Roud #456
RECORDINGS:
"Bowlegs" [no other name given], "Stewball" (AFS 1863 B4, 1933)
Harold B. Hazelhurst, "Stewboy" (AFS 3143 B3, 1939)
Harry Jackson, "Old Blue Was a Gray Horse" (on HJackson1)
Ed Lewis & prisoners, "Stewball" (on LomaxCD1703)
A. L. Lloyd, "Skewball" (on Lloyd3, Lloyd6)
Pete Seeger, "Stewball" (on PeteSeeger43)
BROADSIDES:
Bodleian, Johnson Ballads 999[some lines illegible], "Skew Ball" ("Come gentlemen sportsmen I pray listen all"), J. Pitts (London), 1802-1819; also Harding B 11(3533), Harding B 15(289a), Harding B 15(289b), Harding B 15(290a), Firth c.19(78), Firth c.19(79), Harding B 11(73), Firth b.26(236), "Skew Ball"; Harding B 28(274), Harding B 25(1784), Harding B 25(1785), Harding B 6(54), G.A. Gen. top. b.29(24/2) [some words illegible] "Skewball"; Firth b.25(297), Johnson Ballads 1406, 2806 c.18(282), Firth c.26(51), "Scew Ball"
CROSS_REFERENCES:
cf. "Molly and Tenbrooks" [Laws H27] (plot)
cf. "Little Dun Dee" (plot)
NOTES: This seems to have given rise to a work song fragment, "Old Skubald"; see Darling-NAS, p. 325. - RBW
File: LQ22
===
NAME: Skibbereen
DESCRIPTION: A boy asks his father why he left Skibbereen when he is always speaking of it. The father lists reasons: First came the blight. Then the landlord took the land. Then he joined the 1848 rebellion, and had to flee. The boy promises revenge
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: Ireland rebellion hardtimes landlord exile starvation
HISTORICAL_REFERENCES: 1847/8 - Greatest of several Irish potato famines
1848 - Irish rebellion
FOUND_IN: Ireland Australia Canada(Ont) US(MW)
REFERENCES: (5 citations)
Hayward-Ulster, pp. 52-53, "Skibbereen" (1 text)
PGalvin, p. 46, "Skibbereen" (1 text, 1 tune)
Meredith/Covell/Brown, p. 163, "Skibbereen" (1 text, 1 tune)
Dean, pp. 22-23, "Skibbereen" (1 text)
DT, SKIBREEN*
Roud #2312
RECORDINGS:
O. J. Abbott, "Skibbereen" (on Abbott1)
Freddy McKay, "Skibbereen" (on Voice08)
CROSS_REFERENCES:
cf. "Over There (I - The Praties They Grow Small)" (subject: The Potato Famines) and references there
NOTES: The 1848 rebellion was the result of many factors. One was hunger -- the potato blight drove food prices beyond the reach of common people; in the end, millions died and many more went to America. For details, see the notes to "Over There (I - The Praties They Grow Small)."
Another was land hunger; the preceding decades had forced many Irish smallholders off their lands while allowing the rich (usually English) to enlarge their holdings. By the time of the blight, most Irish were working holdings of five acres or less; there simply wasn't enough land for the population.
The image of the landlord squeezing the tenants is also accurate. Though landlords in Ireland were always unusually ruthless, things got worse in the post-blight period. The landlords preferred raising stock, with a prospect for selling it, to helping peasants (who supplied only labor). The poor laws of the period helped them clear off the land: A peasant who appealed for food because his crops were taken by the blight automatically lost his lease. Between 1851 and 1857, the number of smallholdings in Ireland fell by about a sixth.
Finally, revolution was in the air; almost all of Europe (except England) was in turmoil.
Unfortunately for the rebels, the very factors that caused the revolt meant that it had no strength and could gain no foreign help. And England, with a stable government at home and all her enemies distracted, could deal with the rebellion at its leisure.
I don't know that it's significant that Skibbereen is described as the rebel's home place. But it's interesting, since Skibbereen was where O'Donovan Rossa founded the Phoeni National and Literary Society -- which, despite its name, was an armed rebel group -- though this was abouta decade after1848. (For this story, see Terry Golway, _For the Cause of Liberty_, p. 131. For Rossa, see the notes to "Rossa's Farewell to Erin.") - RBW
File: PGa046
===
NAME: Skin and Bones (The Skin and Bones Lady)
DESCRIPTION: "There was an old woman, all skin and bones." The old woman decides to go to church. At the church she encounters a (rotting?) corpse. She asks the (parson/clock), "Will I be thus when I am dead." When told "Yes," she screams and/or dies
AUTHOR: unknown
EARLIEST_DATE: 1810 (Gammer Gurton's Garland, revised edition)
KEYWORDS: death questions
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England)
REFERENCES: (15 citations)
Belden, pp. 502-503, "Old Woman All Skin and Bone" (3 texts)
Randolph 69, "The Skin-and-Bone Woman" (2 texts, 2 tunes)
BrownIII 142, "Old Woman All Skin and Bones" (4 texts plus 2 excerpts and mention of 3 more; the "B" text seems to have picked up a "Worms Crawl In" chorus)
Brewster 53, "The Skin-and-Bone Lady" (1 short text, clearly this though it lacks the "skin-and-bone" reference)
Eddy 86, "The Skin-and-Bone Lady" (2 texts, 1 tune)
Ritchie-SingFam, pp. 11-12, "[Skin and Bones]" (1 text, 1 tune)
Ritchie-Southern, p. 20, "Skin and Bones" (1 text, 1 tune)
JHCox 167, "The Skin-And-Bone Lady" (2 texts)
Flanders/Brown, pp. 180-181, "The Old Woman All Skin and Bones" (2 texts, 1 tune)
Linscott, pp. 44-46, "Old Woman All Skin and Bone" (1 text, 1 tune)
Opie-Oxford2 293, "There was a lady all skin and bone" (1 text)
Baring-Gould-MotherGoose #92, pp. 86-88, "(There was a lady all skin and bone)"
Chase, p. 186, "The Old Woman All Skin and Bones" (1 text, 1 tune)
Botkin-NEFolklr, p. 586, "Old Woman All Skin and Bone" (1 text, 1 tune) 
DT, SKINBONE
Roud #501
RECORDINGS:
Anonymous singer, "There Was an Old Woman All Skin and Bones" (on USWarnerColl01)
File: R069
===
NAME: Skin the Goat's Curse on Carey
DESCRIPTION: Skin the Goat says before he sails that he will give Carey, the informer, his curses, such as, "by some mistake may he shortly take A flowing pint of poison." Skin the Goat promises that "when I die, my old ghost will sit on his bed-post"
AUTHOR: unknown
EARLIEST_DATE: 1883 (Zimmermann)
KEYWORDS: transportation humorous betrayal curse Ireland
HISTORICAL_REFERENCES: Chronology of the Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 85, "Skin the Goat's Curse on Carey" (1 text)
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
NOTES: For another broadside on the same subject see
Bodleian, Harding B 26(605), "'Skin the Goat's' Letter" ("You jolly old boys just hold your noise"), unknown, n.d.
Zimmermann p. 62: "The Phoenix Park murders and their judicial sequels struck the popular imagination and were a gold-mine for ballad-writers: some thirty songs were issued on this subject, which was the last great cause to be so extensively commented upon in broadside ballads."
Zimmermann p. 284: "'Skin the Goat' was the nickname of James Fitzharris, the cabman who drove the murderers of Lord Cavendish and Thomas Henry Burke to and from Phoenix Park. He was sentenced to penal servitude for 'conspiracy' because he refused to identify his passengers." - BS
File: Zimm085
===
NAME: Skinner on the Dock
DESCRIPTION: The singer leaves Lockport (on the Erie Canal), curses out Skinner, and describes some of his crewmates on the canal boat.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy canal moniker
HISTORICAL_REFERENCES: 1825 - Erie Canal opens (construction began in 1817)
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 466-467, "Skinner on the Dock" (1 text, 1 tune)
NOTES: Legman in Randolph-Legman posits that these are the "lost" first verses of "The Erie Canal."  - EC
File: RL466
===
NAME: Skinner, Skinner, You Know the Rule
DESCRIPTION: "Skinner, skinner, you know the rule, Eat your breakfast and curry your mule, Curry your mules and curry them right, Let's get on the big boat next Saturday night." The singer complains about (work? and) his troubles with his woman
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work nonballad animal
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 23, "Skinner, Skinner, You Know the Rule" (1 text, 1 tune)
Roud #9999
NOTES: A "skinner" is a teamster. - RBW
File: MWhee023
===
NAME: Skinner's Song
DESCRIPTION: "I looked at de sun and de sun looked high, I looked at de captain and he wunk his eye, And he wunk his eye, and he wunk his eye, I looked at de captain and he wunk his eye." "I looked at de sun and de sun looked red... de captain... he turned his head."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 230, "Skinner's Song" (1 short text, 1 tune)
CROSS_REFERENCES:
cf. "On the Road Again" (form)
NOTES: A skinner is a teamster. Scarborough explains that "The Negro is not eager to work overtime." Understandable, since he certainly wouldn't get paid for it!
Scarborough's fragment doesn't look quite like anything else I've seen, but it feels as if it's derived from "On the Road Again," or something in the "Joseph Mikel" family. One of those railroad/rambler songs, anyway. - RBW
File: ScaNF230
===
NAME: Skinniest Man I Ever Knew, The: see The Thinnest Man (File: PHCFS175)
===
NAME: Skip to My Lou
DESCRIPTION: Various stanzas, all with the chorus "Skip to my Lou, my darling": "Lost my partner, what'll I do?" "I'll get another one prettier than you!" "Flies in the buttermilk, shoo shoo shoo!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(Ap,MW,So)
REFERENCES: (16 citations)
Randolph 516, "Skip to My Lou" (5 texts plus 2 excerpts, 1 tune)
Randolph/Cohen, pp. 395-397, "Skip to my Lou" (1 text, 1 tune -- Randolph's 516A)
Hudson 152, p. 300, "Skip to My Lou" (1 text)
Fuson, pp. 166-169, "Skip to My Lou" (1 very full text)
Cambiaire, pp. 131-132, "Skip to My Lou" (1 text)
Scott-BoA, pp. 167-168, "Skip to My Lou" (1 text, 1 tune)
Lomax-FSUSA 30, "Skip to My Lou" (1 text, 1 tune)
Lomax-ABFS, pp. 294-295, "Skip to My Lou" (1 text, 1 tune)
Fife-Cowboy/West 99, "Skip to My Lou" (1 text, 1 tune)
Arnett, p. 60, "Skip to My Lou" (1 text, 1 tune)
Chase, pp. 193-199, "Skip to My Lou" (1 text, 1 tune, plus figures)
Darling-NAS, pp. 256-257, "Skip to My Lou" (1 text)
PSeeger-AFB, p. 90, "Skip To My Lou" (1 text, 1 tune)
Pankake-PHCFSB, p. 288, "Skip to My Lou" (1 text)
Silber-FSWB, p. 389, "Skip To My Lou" (1 text)
DT, SKIPLOU
Roud #3593
RECORDINGS:
James Crase, "Skip to My Lou" (on MMOKCD)
Crockett's Kentucky Mountaineers, "Skip To My Lou" (Crown 3188/Montgomery Ward 3025, 1931)
Pete Daley's Arkansas Fiddlers, "Skip to My Lou" (Continental 3012, n.d.)
Uncle Eck Dunford, "Skip to my Lou, My Darling" (Victor 20938, 1927; on CrowTold01)
Georgia Organ Grinders, "Skip To My Lou, My Darling" (Columbia 15415-D, 1929)
Spud Gravely & Glen Smith, "Skip to My Lou" (on HalfCen1)
John D. Mounce et al, "Skip to My Lou" (on MusOzarks01)
Ritchie Family, "Skip to My Lou" (on Ritchie03)
Pete Seeger, "Skip to My Lou" (on PeteSeeger08, PeteSeegerCD02) (on PeteSeeger17) (on PeteSeeger32) (on PeteSeeger21) (on PeteSeeger22) (on PeteSeeger23)
CROSS_REFERENCES:
cf. "Waltz the Hall" (lyrics)
File: R516
===
NAME: Skipper Dan
DESCRIPTION: The Tiger is ready to go out. The singer on Sunday tries to borrow money from Skipper Dan. Skipper Dan refuses because the singer would get drunk. The singer replies that he will sell his rags to get money for liquor.
AUTHOR: 1976 (Lehr/Best)
EARLIEST_DATE: 
KEYWORDS: drink sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 97, "Skipper Dan" (1 text, 1 tune)
NOTES: Lehr/Best: "No doubt more verses exist." - BS
File: LeBe097
===
NAME: Skipper Tom
DESCRIPTION: "I scarce been in bed three ticks of the clock When at me back door I heard a loud knock." Skipper Tom wakes the singer because he has a big fish on the line. The big fish gets away. They go closer to shore to get smaller fish.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing sea ship
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 143-144, "Skipper Tom" (1 text, 1 tune)
Roud #9967
File: Pea143
===
NAME: Skipper's Wedding, the
DESCRIPTION: "Good neighbours, I'm come for to tell you, Our skipper and Moll's to be wed; And if it be true what they're saying, Egad, we'll be rarely fed." The available foods are listed, as are the odd characters who will be present
AUTHOR: Words: William Stephenson ?
EARLIEST_DATE: 1900 (Stokoe/Reay); Stephenson died 1836
KEYWORDS: marriage party music food
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp.  24-26, "The Skipper's Wedding" (1 text, 1 tune)
ST StoR024 (Partial)
Roud #2620
CROSS_REFERENCES:
cf. "The Blythesome Bridal" (theme) and references there
cf. "The Night Before Larry Was Stretched" (tune)
File: StoR024
===
NAME: Skon Jungfrun Hon Gangar Sig Till Sogsta Berg (The Pretty Maid Climbs the Highest Mountain)
DESCRIPTION: Swedish shanty. A maid's her betrothed sails away. After (three) years she agrees to marry another. He returns just after the wedding, she laments it is too late, she thought he was dead. He says he will be soon, write her a farewell and kills himself.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
LONG_DESCRIPTION: Swedish shanty. A maid's her betrothed sails away. After (three) years she agrees to marry another. He returns just after the wedding, she laments it is too late, she thought he was dead. He says he will be soon, write her a farewell and kills himself. (In some versions it is the bride who commits suicide.)
KEYWORDS: foreignlanguage shanty sailor separation suicide wedding return reunion betrayal
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 545-548, "Skon Jungfrun Hon Gangar Sig Till Sogsta Berg" (2 texts-Swedish & English, 1 tune)
CROSS_REFERENCES:
cf. "Out In the Moonlight (I Will Love Thee Always)" (plot)
cf. "Susannah Clargy [Laws P33]" (plot) and references there
File: Hugi545
===
NAME: Skye Boat Song (Over the Sea to Skye)
DESCRIPTION: "Speed, bonnie boat, like a bird on the wing... Carry the lad that's born to be king Over the sea to Skye." The singer grieves over the dead of Culloden, and wishes Bonnie Prince Charlie a safe escape
AUTHOR: Words: Harold Boulton / Music: Annie MacLeod
EARLIEST_DATE: 1884 (sheet music)
KEYWORDS: Jacobites ship escape sea royalty
HISTORICAL_REFERENCES: 1720-1788 - Life of Charles Edward Stuart, "Bonnie Prince Charlie"
1722-1790 - Life of Flora MacDonald
1745-1746 - '45 Jacobite rebellion led by Bonnie Prince Charlie
Apr 16, 1746 - Battle of Culloden. The Jacobite rebellion is crushed, most of the Highlanders slain, and Charlie forced to flee for his life.
Jun 28-29, 1746 - Aided by Flora MacDonald, and dressed as her maidservant, Charles flees from North Uist to Skye in the Hebrides.
Sep 20, 1746 - Charles finally escapes to France
FOUND_IN: Britain US(MW)
REFERENCES: (2 citations)
Brewster 79, "Speed, Bonnie Boat" (1 fragment plus a copy of Boulton's original text)
DT, SKYEBOAT
Roud #3772
BROADSIDES:
NLScotland, RB.m.143(121) "Over the Sea to Skye," Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "Flora MacDonald's Lament" (subject)
cf. "Twa Bonnie Maidens" (subject)
NOTES: It is ironic to note that, while this song had a certain vogue as an art piece, the only traditional collections seem to have been in North America.
Susan Maclean Kybett, in _Bonnie Prince Charlie: A Biography of Charles Edward Stuart_ (Dodd, Mead, 1988), pp. 232-233, makes an interesting observation: Although the song says that Flora (MacDonald) will keep watch over Charlie during the passage: "It was actually the Prince who kept watch by Flora's weary head during their storm-tossed crossing of the sea of the Hebrides. Having been up the last two nights sewing, she fell asleep while Charles saang Jacobite songs, such as 'The Twenty-ninth of May' from the rising of 1715 and 'The King Shall Enjoy His Own Again....'" - RBW
File: Brew79
===
NAME: Slack Away Yer Reefy Tayckle: see Let Go the Reef Tackle (File: Doe165)
===
NAME: Slack Your Rope: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Slago Town: see Sligo Town (File: CW145)
===
NAME: Slaney Side, The: see The Tan-Yard Side [Laws M28] (File: LM28)
===
NAME: Slapander-Gosheka
DESCRIPTION: "What would my mother say to me, if I should come home with Big Billy? Chorus: Slappoo, slapeter, slap-an-der-go-she-ka, slappoo! I'd tell her to go and hold her tongue, for she did the same when she was young." Other verses have similar rhymes.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty nonsense
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 98-99, "Slapander-Gosheka" (1 text, 1 tune)
Roud #9168
File: Harl098
===
NAME: Slaughter of the Laird of Mellerstain, The [Child 230]
DESCRIPTION: Fragment: A fair lady is heard lamenting for her slain husband, "John Hately, the Laird of Mellerstain." She laments that her ladies were not men who could have stood by him as he was killed.
AUTHOR: unknown
EARLIEST_DATE: 1828
KEYWORDS: death mourning homicide
HISTORICAL_REFERENCES: Jan 3, 1603 - Murder of "Johne Haitlie of Millstanes" by "William Home hes guidfather."
FOUND_IN: 
REFERENCES: (1 citation)
Child 230, "The Slaughter of the Laird of Mellerstain" (1 text)
Roud #4020
File: C230
===
NAME: Slav Ho: see Saltpetre Shanty (Slav Ho) (File: Colc097)
===