===
Version 2.4
===
NAME: 1861 Anti Confederation Song, An: see Anti-Confederation Song (File: FJ028)
===
NAME: 1913 Massacre
DESCRIPTION: In Calumet, Michigan, striking copper miners and their children are having a Christmas celebration; strike-breakers outside bar the doors then raise a false fire alarm. In the ensuing stampede, seventy-three children are crushed or suffocated
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1945 (recording by author)
KEYWORDS: lie strike death labor-movement mining disaster children
FOUND_IN: US
REFERENCES: (3 citations)
Greenway-AFP, pp. 157-158, "1913 Massacre"
Silber-FSWB, p. 306, "The 1913 Massacre" (1 text)
DT, MASS1913*
RECORDINGS:
Woody Guthrie, "1913 Massacre" (Asch 360, 1945; on Struggle 1, Struggle2)
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing)" (tune)
NOTES: In the late 19th/early 20th century, the rapid expansion of the electrical industry created great demand for copper, for which the chief source was the mines in the upper peninsula of Michigan. Bitter strikes resulted as the miners, under the leadership of the Western Federation of Miners, demanded decent pay and safer working conditions.
Guthrie's description of the events of 1913 is dead-on accurate, according to the residents of Calumet; Italian Hall, where the disaster occurred, was still standing in the early 1980s, but has since been torn down. - PJS
File: FSWB306A
===
NAME: '31 Depression Blues
DESCRIPTION: Coal miner tells of hard times in the Depression. Miners go to work hungry, ragged and shoeless and are cheated of their pay. The Supreme Court rules the National Recovery Act unconstitutional. The singer urges listeners to join the U.M.W.
AUTHOR: Credited to Ed Sturgill
EARLIEST_DATE: 1968 (recording, New Lost City Ramblers)
LONG_DESCRIPTION: Singer, a coal miner, tells of hard times in the Great Depression of the 1930s. Miners go to work hungry, ragged and shoeless; when they go to the office for scrip, they're told they're behind and owe the company as the scale boss cheats them of their pay. The National Recovery Act offers hope, but the Supreme Court rules it unconstitutional. Roosevelt declares a bank holiday; John L. Lewis wins the miners' battle; the singer urges listeners to join the U.M.W., saying the Depression is now gone
KEYWORDS: strike mining work hardtimes labor-movement
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
New Lost City Ramblers, "'31 Depression Blues" (on NLCR15, NLCRCD2)
Ed Sturgill, "'31 Depression Blues" (Big Pine 677M-7157, n.d.)
Three Stripped Gears, "1931 Depression Blues" (OKeh 45553, 1931)
CROSS_REFERENCES:
cf. "Bright Sunny South" (tune)
cf. "Sixteen Tons" (lyrics)
NOTES: Well, we have a conundrum here. I'd be prepared to suggest that the Sturgill song is based on the Three Stripped Gears' recording, but not having heard the latter, I refrain for now. If this turns out to be the case, I suppose it should get its own listing.
Sturgill's last verse incorporates lines from Merle Travis's "Sixteen Tons." - PJS
File: Rc31DB
===
NAME: 900 Miles: see Nine Hundred Miles (File: LxU073)
===
NAME: A Begging We Will Go: see A-Begging I Will Go (File: K217)
===
NAME: A Chur Nan Gobhar As A' Chreig (For Herding the Goats from the Rock)
DESCRIPTION: Gaelic. For herding the goats from the rock I would prefer the kilt. If I could have my choice I would prefer the kilt.
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton-Maritime)
KEYWORDS: foreignlanguage clothes nonballad animal
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 177, "Flushing the Goats" (1 text, 1 tune)
NOTES: The translation is from the Celtic Lyrics Corner site. - BS
File: CrMa177
===
NAME: A Diller, A Dollar
DESCRIPTION: "A diller, a dollar, A (ten o'clock) scholar, What makes you come so soon? You us'd to come at ten o'clock, and now you come at noon."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: 
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 465, "A diller, a dollar" (1 text)
Baring-Gould-MotherGoose #81, p. 82, "(A diller, a dollar)"
NOTES: I know of absolutely no traditional collections of this item, and I have no idea what it means. But reading it in Baring-Gould, I remember the first two lines from somewhere, with a fragment of a tune (plus, according to Cyn Collins, _West Bank Boogie_, Triangle Park, 2006, there was in the Sixties and Seventies a folk music bar/club at the University of Minnesota called the "Ten O'Clock Scholar"), so I am very tentatively including the piece in the Index. - RBW
File: BGMG081
===
NAME: A Drink in the Morn
DESCRIPTION: Dan O'Reilly explains to the judge the benefits of drinking "twenty or thirty" poteen between morning, when it "is good for the sight," and night. "In winter or summer, in June or July, I'll be punching all day till I die"
AUTHOR: unknown
EARLIEST_DATE: 1929 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #2615)
KEYWORDS: drink humorous nonballad
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Packy Dolan and The Melody Boys, "A Drink in the Morn" (on USBallinsloeFair)
File: RcADItM
===
NAME: A Fal-De-Lal-Day: see The Girl In Portland Street (File: Hugi054)
===
NAME: A Is for Apple Pie
DESCRIPTION: Alphabet song, beginning "A is/stands for apple pie, B baked/bit it" and perhaps ending "And don't you wish you had a piece of apple pie?"
AUTHOR: unknown
EARLIEST_DATE: 1671 (Some Observations upon the Answer to an Enquiry into the Grounds & Occasions of the Contempt of the Clergy)
KEYWORDS: food nonballad wordplay
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 874, "A Is for Apple Pie" (3 texts plus an excerpt, but the "D" text is "The Average Boy")
Opie-Oxford2 1, "A was an apple-pie" (1 text)
Baring-Gould-MotherGoose #611, pp. 240-241, "(A was an apple-pie)"
Roud #7539
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: The first six lines of this piece appear in John Eachard's 1671 pamphlet "Some Observations upon the Answer to an Enquiry into the Grounds & Occasions of the Contempt of the Clergy."
It first appears as an educational tool in Mary Cooper's 1743 spelling book, "The Child's New Play-thing," and was common in nineteenth century texts (often under the title, "The Tragical Death of an Apple Pie" or similar). - RBW
File: R874
===
NAME: A Is for Apple Pie (II): see The Average Boy (File: R874A)
===
NAME: A La Claire Fontaine
DESCRIPTION: French: The singer wanders by a clear fountain. He bathes, and hears a bird's song in the trees. He tells the nightingale that it has no cares. He, on the other hand, lost his love because he refused to give her the roses he had picked
AUTHOR: unknown
EARLIEST_DATE: 1865 (apparently referred to in 1608)
KEYWORDS: courting love separation foreignlanguage
FOUND_IN: Canada(Que) France
REFERENCES: (6 citations)
Fowke/Johnston, pp. 134-135, "A La Claire Fontaine" (1 text, 1 tune)
Fowke/MacMillan 55, "A La Claire Fontaine" (1 English and 1 French text, 1 tune)
Silber-FSWB, p. 333, "A La Claire Fontaine (By Yonder Flowing Fountain)" (1 French text with English translation by Arthur Kevess)
Kennedy 97, "Au Bord d'une Fontaine ['Twas There Beside a Fountain]" (1 text + English translation, 1 tune)
DT, ALACLAIR*
ADDITIONAL: Grace Lee Nute, _The Voyageur_, Appleton, 1931 (reprinted 1987 Minnesota Historical Society), pp. 105-107, "A La Claire Fontaine" (1 text plus English translation, 1 tune)
NOTES: This song has been called "The unofficial anthem of French Canada." - RBW
File: FJ134
===
NAME: A Robin, Jolly Robin
DESCRIPTION: "(Ah/Hey) Robin, (jolly/gentle) Robin, Tell me how thy (lady/leman) doth And thou shalt know of mine." "My lady is unkinde, perdie, Alack why is she so?" One singer says his lady is constant; the other says women change like the wind
AUTHOR: Sir Thomas Wyatt?
EARLIEST_DATE: 1765 (Percy) (quoted by Shakespeare in "Twelfth Night")
KEYWORDS: love nonballad betrayal
FOUND_IN: 
REFERENCES: (3 citations)
Percy/Wheatley I, pp. 185-187, "A Robyn Jolly Robyn" (1 text)
ADDITIONAL: Noah Greenberg, ed., An Anthology of English Medieval and Renaissance Vocal Music, pp. 84-87 (1 text, 1 tune with harmonization)
DT, HEYROBIN*
ST Perc1185 (Full)
NOTES: Often (though not universally) credited to Sir Thomas Wyatt (1503?-1542), and obviously well-known by the time Shakespeare wrote "Twelfth Night" (circa 1600); it is quoted by the Clown in IV.ii.71f. The music is credited to Williams Cornysh(e) (died c. 1523). The Cornysh(e) music first appears in British Library MS. Add. 31922.
It's not likely that this is a traditional song, but there are strong variations in the words (and Shakespeare's version does not look original); I include it because it was recorded on the "New Golden Ring," and people might think it traditional.
Wyatt had an incredibly complex career during the reign of Henry VIII (among other things, he was involved with Anne Boleyn before Henry noticed her), and is credited, among other things, with introducing the sonnet to England. - RBW
File: Perc1185
===
NAME: A Robyn Jolly Robyn: see A Robin, Jolly Robin (File: Perc1185)
===
NAME: A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea)
DESCRIPTION: French: Three ships are at anchor at St. Malo. Three women come to buy grain. They ask the merchant what his prices are. He asks for more than they can pay. They say so; he says he will give the grain away if he can't sell it that day. The women approve
AUTHOR: unknown
EARLIEST_DATE: 1946
KEYWORDS: bargaining commerce foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 16-17, "A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea)" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 14-15 "A St. Malo, beau port de mer" (1 text, 1 tune)
NOTES: Fowke report that St. Malo was the home port of Jacques Cartier, the French explorer who in 1534 named the St. Lawrence river. For this reason, the very name of the port evokes Quebec's history and patriotism.
The town itself is in Brittany, on the coast not far from the border with Normandy, and was often used as a privateering base for raids on Britain and the like. - RBW
File: FJ016
===
NAME: A St. Malo, beau port de mer: see A Saint-Malo, Beau Port de Mer (At Saint Malo Beside the Sea) (File: FJ016)
===
NAME: A Stor Mo Chroi (Treasure of My Heart)
DESCRIPTION: The singer to his/her love: You'll soon leave for a strange land "rich in its treasures"; "the lights of the city may blind you ... turn away from the throng and the bliss ... come back soon To the love that is always burning" and Erin's shore.
AUTHOR: Brian O'Higgins (Brian na Banban) (1882-1949) (source: notes to IRClare01)
EARLIEST_DATE: 1973 (IRClare01)
KEYWORDS: love emigration parting Ireland nonballad
FOUND_IN: Ireland
REFERENCES: ()

Roud #3076
RECORDINGS:
Ollie Conway, "A Stor Mo Chroi" (on IRClare01)
NOTES: Brian O'Higgins is also sometimes credited with "Moses Ritoora-li-ay." Quite a stretch from here to there. - RBW
File: RcAStMC
===
NAME: A was an apple-pie: see A Is for Apple Pie (File: R874)
===
NAME: A-Begging I Will Go
DESCRIPTION: "Of all the trades in England, The begging is the best, For when the beggar's tired, he can lay him down and rest...." The beggar describes the various pleasures of his profession, and declares that he will continue begging
AUTHOR: unknown
EARLIEST_DATE: 1684 (Playford's Choyce Ayres and Loyal Songs)
KEYWORDS: begging nonballad
FOUND_IN: Britain(England(North,Lond),Scotland(Aber))
REFERENCES: (10 citations)
Greig #30, p. 1, "The Beggin'" (1 text) 
GreigDuncan3 488, "The Begging" (14 texts, 11 tunes)
Kennedy 217, "A-Begging I Will Go" (1 text, 1 tune)
Logan, pp. 164-166, "The Jovial Beggar, a-begging we will go" (1 text)
Chappell/Wooldridge II, pp. 42-43, "A Begging We Will Go" (1 text, 1 tune)
Ford-Vagabond, pp. 267-270, "A-Begging We Will Go" (1 text, 1 tune, very long and conflate)
Ord, pp. 381-382, "To the Beggin' I Will Go" (1 text)
DT, ABEGGIN*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 265, "The Happy Beggarman"
Tim Coughlan, Now Shoon the Romano Gillie, (Cardiff,2001), pp. 287-289, "A Begging I Will Go" as one of the sources of Coughlan 94, "O, a-beggin' I will go, my love."
Roud #286
RECORDINGS:
Ewan MacColl and Peggy Seeger, "To the Begging I Will Go" (on ENMacCollSeeger02)
BROADSIDES:
Bodleian, Harding B 28(287), "The Beggar," C. Croshaw (York), c.1817
CROSS_REFERENCES:
cf. "Let the Back and Sides Go Bare" (theme)
cf. "The Old Settoo" (theme and some lines)
cf. "A King Canna Swagger" (theme : "who would be a king, When beggars live so well?")
SAME_TUNE:
Age Renewed by Wedlock/Come All Ye Ancient Women (BBI ZN511)
The Merry Beggars of Lincolns-Inn-Fields/Three beggars met together (BBI ZN2603)
The Papist Prayers/There Is a Holy Father (BBI ZN2427)
The Rambling Roman Catholick/I am a Roman Catholick (BBI ZN1225)
Tradesman's Complaint, "Come hither, brother tradesmen, And hear the news I bring, 'Tis of a Tory minister" (song against the British policies leading to the American Revolution; see Stanley Weintraub, _Iron Tears: America's Battle for Freedom, Britain's Quagmire 1775-1783_, pp. 20-21)
ALTERNATE_TITLES:
To the Begging I Will Go
NOTES: Coughlan, _Now Shoon the Romano Gillie_, pp. 288-289, notes the following verse from Playford's _Choyce Ayres and Loyal Songs_ (1684): "I fear no plots against me, I live in open cell, Then who would be a king, When beggars live so well?" Coughlan continues, "It has been suggested that this verse contains a veiled reference to the tradition that King James V of Scotland (1513-42) was in the habit of consorting with Travellers.... {A} similar story is told of the English King John (1199-1216)...." This may be confused with the report in Child's preface to 279, "The Jolly Beggar": "We are regularly informed by editors that tradition imputes the authorship of both 'The Jolly Beggar' and 'The Gaberlunyie-Man' to James Fifth of Scotland.... The tradition as to James Fifth is, perhaps, not much older than the publication in either case [1724], and has no more plausibility than it has authority." - BS
The basis for the legend may be the fact that he was a fairly lusty liege; according to Stanley B. R. Poole, _Royal Mysteries and Pretenders_, Barnes & Noble, 1993, p. 36, he was thought to have had as many as nine illegitimate children. But I agree that there is no reason to link the songs to him.
Logan has this from a broadside "Be Valiant Still," with the tune listed as "The old carle to daunton me." Whatever that is; a tune "To Daunton Me" is #182 in the _Scots Musical Museum_.
The notion of begging songs predates even this quite ancient piece; in _A Poetical Rhapsody_, published 1602, we find "In Praise of a Beggar's Life" ("Bright shines the sun; play, beggars, play! Here's scraps enough to serve to-day"), credited to "A.W." - RBW
File: K217
===
NAME: A-Cruising We Will Go
DESCRIPTION: "Behold upon the swelling seas With streaming pennants gay, Our gallant ship invites the waves, While glory leads the way." "And a-cruising we will go." The singer asks the girls to be kind, recalls "Hardy's flag," and hopes for peace with America
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: navy ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Shay-SeaSongs, pp. 118-119, "A-Cruising We Will Go" (1 text)
Roud #8825
NOTES: Shay gives no information about the origin of this piece, and no tune; I doubt it is traditional, or even a song. It looks to me like some broadside poet's praise of the British  navy.
"Hardy" is presumably Thomas Masterson Hardy (1769-1839), Nelson's chief captain, who was made rear admiral in 1825, served as First Sea Lord 1830-1834, and finally reached the rank of vice admiral in 1837. - RBW
File: ShaSS118
===
NAME: A-Growing (He's Young But He's Daily A-Growing) [Laws O35]
DESCRIPTION: The girl rebukes her father for marrying her to a much younger boy. He tells her the lad is growing. She sends him to school in a shirt that shows he's married, for he is a handsome lad. She soon bears his son. He dies young; she sadly buries him
AUTHOR: unknown
EARLIEST_DATE: 1792 (as "Lady Mary Anne"), based on a text in the Herd manuscript (c. 1776)
KEYWORDS: marriage youth death mourning clothes
FOUND_IN: US(Ap,NE) Canada(Mar,Newf) Britain(Scotland,England(All)) Ireland Australia
REFERENCES: (23 citations)
Laws O35, "A-Growing (He's Young But He's Daily A-Growing)"
Flanders/Olney, pp. 196-197, "Young But Daily Growing" (1 text, 1 tune)
OBB 156, The Trees So High" (1 text)
Warner 60, "Young but Daily Growing" (1 text, 1 tune)
Meredith/Anderson, p. 177, "My Bonny Love is Young" (1 text, 1 tune)
Peacock, pp. 677-678, "He's Young but He's Daily Growing" (1 text, 2 tunes)
Karpeles-Newfoundland 29, "Still Growing" (1 text, 1 tune)
Creighton/Senior, pp. 107-109, "He's Young but He's Daily A-Growing" (2 texts plus 1 fragment, 1 tune)
Creighton-Maritime, pp. 100-101, "He's Young But He's Daily A-Growing" (2 texts, 2 tunes)
SharpAp 72, "Still Growing" (1 text, 1 tune)
Sharp-100E 25,  "The Trees They Do Grow High" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 99, "The Trees They Grow So High" (1 text, 1 tune)
Scott-BoA, pp. 16-18, "The Trees They Grow So High (The Bonny Boy)" (2 texts,  2 tunes)
Hodgart, p. 147, "Still Growing" (1 text)
Kennedy 216, "Young and Growing" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 40, "The Trees They Do Be High" (1 text, 1 tune)
DBuchan 40, "The Young Laird of Craigstoun" (1 text)
Ord, p. 112, "My Bonnie Laddie's Lang, Lang o' Growing" (1 text)
MacSeegTrav 23, "Long A-Growing" (2 texts, 2 tunes)
Darling-NAS, pp. 132-133, "The Trees They Grow So High" (1 text)
Silber-FSWB, p. 217, "Daily Growing" (1 text)
DT 307, DAILYGRO* LANGGRO*
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, pp. 40-41, "The Trees They Do Grow High" (1 text, 1 tune)
Roud #31
RECORDINGS:
Sean 'Ac Donnca, "The Bonny Boy" (on TradIre01)
Liam Clancy, "Lang A-Growing" (on IRLClancy01)
Nathan Hatt, "He's Young But He's Daily A-Growing" (on MRHCreighton)
Mary Anne Haynes, "Long A-Growing" (on Voice06)
Lizzie Higgins, "Lady Mary Ann" (on Voice17)
Fred Jordan, "The Bonny Boy" (on Voice03)
Tom Lenihan, "The Trees They Do Be High" (on IRTLenihan01)
BROADSIDES:
Bodleian, Harding B 16(156d), "My Bonny Lad is Young, But He's Growing", H. Such (London), 1849-1862; also Firth c.21(19), Harding B 11(4066), "My Bonny Lad is Young, But He's Growing"; Harding B 11(2216), "My Bonny Lads Growing"; Harding B 11(1685), Harding B 15(210b), "My Bonny Lad is Young and Growing"
CROSS_REFERENCES:
cf. "The Days Are Awa That I Hae Seen" (lyrics)
ALTERNATE_TITLES:
Daily Growing
Lady Mary Ann (a rewrite by Robert Burns)
My Bonnie Laddie's Young (But He's Growing Yet)
Young Craigston
NOTES: [A. L. Lloyd writes,] "It is sometimes said that the ballad is based on the actual marriage of the juvenile laird of Craigton to a girl several years his senior, the laird dying three years later in 1634. But in fact the ballad may be older; indeed, there is no clear evidence that it is of Scottish origin. Child marriages for the consolidation of family fortunes [or other political reasons - RBW] were not unusual in the Middle Ages and in some parts the custom persisted far into the seventeenth century. The presenting and wearing of coloured ribbons, once common in Britain, still plays a prominent part in betrothal and marriage in Central and Eastern Europe." - PJS
While the usual marriage custom was for older men to marry younger women, there were several very early instances of the reverse in English and Scottish royal history, though I doubt any of them actually inspired this song.
The first that we know of came in 1017. Canute (Cnut), who was King of Denmark by right but had become King of England by conquest, displacing the native dynasty of Ethelred II Unraed ("Ethelred the Unready," though his nickname actually translates as "no-council"), married Emma the widow of Ethelred a year after he assumed the throne. (For dates in what follows, I am using Mike Ashley, _British Kings and Queens_, Barnes & Noble, 2000 (originally published as _The Mammoth Book of British Kings and Queens_, 1998)). Ashley, p. 486,
Canute was 21 at the time of the marriage; we don't know Emma's age, but her son Edward the Confessor was born around 1004, so Ashley, p. 482, suggests she was born c. 985. There is no question that she was much older than her husband (though still young enough to bear him a son, Harthecanute). This is hardly similar to the story here, though, as Emma probably married Canute voluntarily, and in any case, her father, Duke Richard I of Normandy, had died in 996 (Ashley, p. 499). Emma may have had a right to gripe, though, since Canute did not set aside his earlier common law wife Aelgifu when he married Emma.
A more suitable parallel to the situation in this song arose after the Norman Conquest. King Henry I had married his daughter Matilda/Maud to the Holy Roman Emperor Henry V. But she was very young when they married (perhaps twelve), and when the emperor died in 1125, she was still childless (and perhaps 23). The lords in Germany didn't want to send her home, and she doesn't seem to have had a strong desire to return to England either, but Henry -- who now desperately needed an heir -- got her back (see W. L. Warren, _Henry II_, University of California Press, 1973; I use the 1977 paperback edition; p. 11).
 Her father Henry I then married her to Geoffrey, Count of Anjou, who was ten or twelve years younger than she (Ashley, p. 517). They were never happy -- Matilda, though described by Warren as "strikingly handsome," seems to have been a fairly prickly person, On p. 12, Warren calls her "haughty and domineering, expecting devotion as her due rather than trying to earn it." Frank McLynn, _Richard & John: Kings at War_, da Capo, 2007, p. 7, declares that "the marriage was not a success, largely because Matilda was such a domineering personality; this was the very quality that lost her England when she had [King] Stephen on the ropes in 1141. Headstrong, overbearing, tactless, haughty, arrogant, and abusive, Matilda alienated everyone she came in contact with, even her own kinsmen. The general consensus was that Matilda was an over-masculine woman; her lack of the traditionally feminine qualities appalled contemporaries who thought her a freak of nature.... And since Matilda acted like a virago and indicated to her husband that, as a kingÕs daughter, she had married beneath her, it was not long before he ignored her and consoled himself with a harem of mistresses. Nonetheless, the duty of founding a new dynasty had to be performed, so it was into this loveless union that Henry II was born on 1 March 1133."
Henry II himself was the third, and probably the most famous, instance of the phenomenon of an older wife with a young husband. As McLynn notes in the very next sentence, "Henry II would continue the Angevin pattern of contracting unhappy marriages." More, he once again wedding a much older woman. In 1152, at the age of 18, he married Eleanor Duchess of Acquitaine, who had been divorced from King Louis VII of France (Ashley, p. 518). She was at least ten, and probably 11 or 12, years older than her husband (though she still managed to bear him eight children, and she outlived him by 15 years, dying in 1204 at about the age of 82). Here again, though, her father was dead.
Fourth, King Henry VIII took as his first wife Katherine of Aragon (Ashley, p. 630). They married in 1509, shortly after he came to the throne; he was about to turn 18, she was 23 or 24, and the widow of Henry's older brother Arthur.
Fifth, Frances Brandon, whose first husband was Henry Grey of Dorset and whose daughter was Jane Grey the "Nine Days' Queen," after the execution of her first husband in 1554 married one of her servants, Adrian Stokes (see Alison Plowden, _Lady Jane Grey: Nine Days Queen_, Sutton, 2003, facing p. 119). She was born in 1517; he was said to be 16 years younger, meaning that she was in her late thirties (and, based on her portrait, gone to fat) and he in his early twenties when they married. There were apparently no offspring of the married; she died in 1559.
It should be noted that in none of these cases was the younger husband the *first* spouse of the older wife. All four queens had been married before (though it is possible that Arthur and Katherine had not consummated their marriage; this at least was the argument that was given to the Pope to make the marriage between Henry and Katherine legal). Thus in no case was the wife really a spinster. And all four husbands were old enough to consummate the marriage at once (though Geoffrey of Anjou was barely so), and none of the husbands died soon after -- though Emma of Normandy, who died in 1052, outlived Canute by 17 years; Eleanor of Acquitaine, as noted, outlived Henry II by 15; and Matilda, who died 1167, outlived Goeffrey by 16 years; only Katherine of Aragon, who died in 1533, predeceased her husband.
There was one later case in which the wife had not had a previous husband: Mary Tudor, at 37, married the future Philip II of Spain in 1554. Although he was 11 years younger than she was, he was already a widower (and would end up marrying four times). Also, according to Magnus Magnusson, _Scotland: The Story of a Nation_, Atlantic Monthly Press, 2000, p. 104, Margaret, daughter of Alexander III of Scotland, was 19 when she married 14-year-old Erik II King of Norway.
I would note that not one of these marriages seems to have been especially happy. Canute kept a second wife. Matilda spent most of her time after 1135 in England, while Geoffrey stayed in Normandy. Henry II took mistresses (notably Rosamund Clifford) and eventually imprisoned Eleanor. Henry VIII, besides taking mistresses, tried to have his marriage with Katherine annulled (though that was due to her inability to bear a male heir, which almost everyone now thinks was more his problem than hers; Ashley thinks he had syphilis, though genetic disease seems at least as likely; the Tudors had inherited a lot of very bad genes from Catherine of France, the daughter of the mad king Charles VI). Margaret of Scotland died, probably in childbirth, at the age of 22, bearing the future Margaret Maid of Norway (Magnusson, p. 105. For the Maid of Norway, see the notes to "Sir Patrick Spens" [Child 58].) And Philip of Spain abandoned his creaky, unattractive, seemingly infertile wife after only a little more than a year.
(I suppose I should add that King Edward IV married a significantly older woman, Elizabeth Woodville, but this hardly counts; she was still fairly young and regarded as quite beautiful, and Edward pursued her entirely voluntarily and -- as it turned out -- at great cost to himself and his family. In any case, she not only married him happily but clearly set out to lure him into marriage.) - RBW
MacColl and Seeger report this song from 1670 in the Guthrie manuscript. We have been unable to verify this, and they are lumpers. - PJS, RBW
Lizzie Higgins's "Lady Mary Anne" on Voice17 is very close to the Robert Burns text (source: "Lady Mary Anne" on Burns Country site). Munnelly/Deasy-Lenihan 40 is [also] close to "Lady Mary Anne."
Also collected and sung by Ellen Mitchell, "Lady Mary Ann" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: LO35
===
NAME: A-Lumbering We Go: see Once More A-Lumbering Go AND Bung Yer Eye (File: Wa031)
===
NAME: A-Rolling Down the River (The Saucy Arabella)
DESCRIPTION: Shanty. "Arabella set her main top-s'l (x3) ... a rollin' down the river." Verses list a full-rigged ship's sails: "The Arabella set her main gans'l/main royal/main skys'l, etc." Second chorus: "Oh, a pumpkin pudden an' a bulgine pie, aboard the Arabella"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: sailor ship shanty
FOUND_IN: US
REFERENCES: (1 citation)
Hugill, pp. 178-179, "A-Rolling Down the River" (1 text, 1 tune) [AbrEd pp. 144-145]
Roud #8343
CROSS_REFERENCES:
cf. "So Early in the Morning" (tune)
ALTERNATE_TITLES:
The Arabella
Shenandoah
Dave Crockett
NOTES: Hugill says the tune is similar to a minstrel song "So Early in the Morning." - SL
File: Hug178
===
NAME: A-Rovin'
DESCRIPTION: In this cautionary tale, a sailor meets an Amsterdam maid, fondles portions of her body progressively, has sex with her, and catches the pox. She leaves him after he has spent all his money.
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: bawdy disease sailor warning whore
FOUND_IN: Britain(England) US(MA,NE,So,SW) Australia
REFERENCES: (16 citations)
Walton/Grimm/Murdock, pp. 36-38, "A-Roving" (1 composite text, 1 tune)
Colcord, pp. 87-88, "A-Roving" (1 text, 1 tune)
Harlow, pp. 49-52, "A-Roving" (2 texts, 2 tunes)
Hugill, pp. 48-52, 101, "A-Roving" (6 texts plus 3 fragments, 4 tunes; the 5th text is "Go Rowing," a 1916 Norwegian adaptation by Henrik Wergelands taken from Brochmann's "Opsang Fra Seilskibstiden." p.101 is a version of "A Long Time Ago") [AbrEd pp. 46-48]
Sharp-EFC, XXV, pp. 28-29, "A-Roving" (1 text, 1 tune)
Cray, pp. 64-67, "A-Rovin'" (1 text, 1 tune)
Randolph-Legman I, pp. 124-125, "The Maid of Amsterdam" (1 text, 1 tune)
Doerflinger, pp. 56-58, "A-Roving" (2 texts, 2 tunes)
Bone, pp. 99-103, "Amsterdam" (1 censored text, 1 tune)
Shay-SeaSongs, pp. 80-81, "Maid of Amsterdam (A-Roving)" (1 text, 1 tune)
Linscott, pp. 125-130, "Amsterdam" [1 fragment, 1 tune, censored by the informant)
Meredith/Covell/Brown, p. 96, "A-roving" (1 text, 1 tune)
JHJohnson, p. 51, "The Amsterdam Maid" (1 text)
Silber-FSWB, p. 89, "A-Roving" (1 text)
DT, AROVIN1* AROVIN2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "A'Rovin" is in Part 1, 7/14/1917.
Roud #649
RECORDINGS:
Richard Maitland, "A-Roving" (AFS, 1939; on LC26)
Stanley Slade & chorus: "A'Roving" (on Lomax41, LomaxCD1741)
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "All Under the New Mown Hay"
cf. "Yo Ho, Yo Ho" (theme, lyrics)
cf. "Tickle My Toe" (theme)
cf. "The Girl in Portland Street" (plot, theme)
cf. "Baltimore (Up She Goes)" (theme)
NOTES: This is a partial formula song in that the sailor begins at the knee, moves up to the thigh, and then to the "snatch." See "Yo Ho, Yo Ho" ("I Put My Hand") for extended treatment of this formula. - EC
Some similar lines are found in Thomas Heywood's "The Rape of Lucrece" (c. 1607), and Shay traces this piece back to that time (Masefield also accepts, and may have originated, this identification), but Doerflinger states that they are not the same song.
The version collected by Meredith from Wally Marshall has an unusual ending; when the singer places his hand upon the girl's breast, she breaks wind, seemingly causing him to abandon the venture. - RBW
File: EM064
===
NAME: A-Roving on a Winter's Night: see My Dearest Dear (File: SKE40)
===
NAME: A-Walking and A-Talking: see The Cuckoo (File: R049)
===
NAME: A, U, Hinny Bird
DESCRIPTION: "Its O, but aw ken well -- A, U, hinny burd, The bonny lass o' Benwell, A, U, A." "She's lang-legg's and mother-like... See, she's raking up the dyke." "The Quayside for sailors... The Castle Garth for tailors...." Additional places round out the song
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 160-161, "A, U, Hinny Burd" (1 text, 1 tune)
ST StoR160 (Partial)
Roud #235
File: StoR160
===
NAME: A. R. U.
DESCRIPTION: "Been on the hummer since ninety-four, Last job I had was on the Lake Shore, Lost my job in the A.R.U. And I won't get it back till nineteen-two And I'm still on the hog train flagging my meals Ridin' the brake beams close to the wheels."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: railroading hardtimes unemployment strike labor-movement
HISTORICAL_REFERENCES: June 20, 1893 - Socialist Eugene Debs (1855-1926) organizes the A.R.U. (American Railway Union)
June 27, 1893 - A severe decline in the stock market leads to the Panic of 1893. The next year will see severe labor troubles as workers try to survive the economic contraction
May 11, 1894 - The Pullman Strike. The Pullman employees have been squeezed by the company to the point where they can no longer survive
June 26, 1894 - Eugene Debs calls the A.R.U. strike to support the Pullman workers. Roughly 60,000 workers go off the job.
July 2, 1894 - Attorney General Olney, who works with railroad interests, convinces President Cleveland to break the Pullman Strike. Cleveland orders Debs to call off the strike on the grounds that it interferes with the U.S. mail. (Pullman cars, however, do not carry mail.)
July 6, 1894 - Troops fire on the railroad strikers in Kensington, IL
July 10, 1894 - Debs is indicted for defying President Cleveland's injunction (on Dec. 14 he will be sentenced to six months in prison)
Aug 3, 1894 - The Pullman strikers give in
FOUND_IN: US(So)
REFERENCES: (2 citations)
Sandburg, pp. 190-191, "A. R. U." (1 fragment, 1 tune)
Greenway-AFP, p. 57, "A.R.U." (1 text)
NOTES: After the A.R.U. strike of 1894, most of the strikers were blacklisted by the railroad companies. With little else to do, they rode the rods or tried to get jobs under false names -- only to be fired if they were discovered. - RBW
File: San190
===
NAME: A'body's Like to be Married but Me
DESCRIPTION: "As Jenny sat down wi' her wheel b the fire... She said to herself... "Oh! a'body's like to be married but me." She recalls the companions of her youth, perhaps interested then but no longer. She concludes they are worthless -- but still feels unhappy
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford); said to have been printed in the 1802 _Scots Magazine_
KEYWORDS: oldmaid rejection loneliness
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 299-300, "A'body's Like to be Married but Me" (1 text)
Roud #7160
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
File: FVS299
===
NAME: Aaron Burr
DESCRIPTION: "Oh, Aaron Burr, what have you done? You've shot great General Hamilton! You hid behind a Canada thistle And shot him with your old hoss-pistol!"
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder political
HISTORICAL_REFERENCES: July 11, 1804 - Duel between Aaron Burr and Alexander Hamilton, resulting in the wounding of the latter; he died the next day
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 257, (no title) (1 short text)
NOTES: The duel between Vice President Aaron Burr (1756-1836) and former Treasury Secretary Alexander Hamilton (c. 1756-1804) is the subject of so much folklore that I am not even going to try to cover it. The duel itself arose out of Burr's resentment at Hamilton's (successful) efforts to prevent his election as governor of New York.
Burt claims that this is a "quatrain which was popular for more than half a century," though I can't recall seeing it elsewhere. - RBW
File: Burt257
===
NAME: Abalone
DESCRIPTION: "In Carmel Bay the people say we feed the lazzaroni On caramels and cockle-shells and hunks of Abalone." The virtues of this mollusk are extolled: It cures pain, tastes better than the finest foods, and can be transmitted faster than electricity (?!)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense nonballad animal
FOUND_IN: US(SW)
REFERENCES: (2 citations)
Sandburg, p. 333, "Abalone" (1 text, 1 tune)
ADDITIONAL: _Sing Out_ magazine, Volume 32, #4 (1987), p. 90, "Abalone" (1 text, 1 tune)
Roud #10113
NOTES: The anonymous _Book of Vulgar Verse_ credits a version of this to George Sterling. But the book is apparently some five decades newer than Sandburg, and does not list a more detailed source. In support of this claim, K. LaRoe writes, "I had recently read a reference to The Abalone Song, written by the poet George Sterling in the early 1900s while staying in an artist's colony in Carmel California."
There seems to be a strong tendency for singers to rewrite this; I suspect Sandburg's hand in his version, and Sam Hinton confesses to adding four verses to the _Sing Out!_ version. - RBW
File: San333
===
NAME: Abandonado, El
DESCRIPTION: Spanish: "The Abandoned." First line: "Me abanonastes, jujer, porque soy muy pobre." The singer's girl is leaving him because he is poor. He admits to character faults. He asks "What am I to do if I am the abandoned one?"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love courting poverty drink gambling abandonment Mexico foreignlanguage
FOUND_IN: US(So) Mexico
REFERENCES: (2 citations)
Sandburg, pp. 295-297, "El Abandonado" (1 text, 1 tune)
Lomax-ABFS, pp. 364-366, "El Abandonado (The Abandoned One") (1 text plus prose translation, 1 tune)
File: San295
===
NAME: Abdul Abulbul Amir: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdul the Bulbul Emir (I)
DESCRIPTION: The heroic Moslem Abdul and the gallant Russian Ivan Skavinsky Skevar chance to meet. It doesn't take them long to begin duelling, which inevitably results in the deaths of both. Their burials and the mourning for them are described
AUTHOR: credited to Percy French
EARLIEST_DATE: 1877 (copyright under the title "Abdulla Bulbul Ameer")
KEYWORDS: humorous death foreigner
HISTORICAL_REFERENCES: 1853-1854 - Crimean War
FOUND_IN: 
REFERENCES: (6 citations)
Sandburg, pp. 344-346, "Abdul, the Bulbul Ameer" (1 text, 1 tune)
Lomax-ABFS, pp. 341-343, "Ye Ballade of Ivan Petrofsky Skevar" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 128-131, "Abdul Abulbul Amir" (1 text, 2 tunes)
Silber-FSWB, p. 21, "Abdul, The Bulbul Amir" (1 text)
Fuld-WFM, p. 84, "Abdulla Bulbul Ameer"
DT, ABDULBUL*
Roud #4321
RECORDINGS:
Ernest Hare, "Abdul Abulbul Amir" (Edison 52284, 1928)
Frank Crumit, "Abdul Abulbul Amir" (Victor 20715, 1927)
CROSS_REFERENCES:
cf. "Abdul the Bulbul Emir (II)" (tune & meter)
SAME_TUNE:
Frank Crumit, "The Return of Abdul Abulbul Amir" (Victor 22482, 1930)
Frank Crumit, "The Grandson of Abdul Abulbul Amir" (HMV [UK] B-4331, 1933) 
ALTERNATE_TITLES:
Abdul, The Bulbul Ameer
Ivan Skavinsky Skevar
NOTES: Often listed as being of unknown authorship -- probably because French's original composition (set in the Crimean War) was stolen (French had not secured copyright, and gave the song away for five pounds) and printed without his name.
Conflict between Russia and the Ottoman Empire was almost constant in the nineteenth century, as the Tsar sought to expand his realm and the feeble Turks tried to hold onto their European possessions. Full-fledged wars were few, however, making it clear that this song refers to the Crimean War (which pitted England, France, and the Ottomans against the Russians).
Abdul's cry, "Allah Akbar," means "God is great," and is a common Islamic slogan. "Bulbul Amir" means "nightingale chieftain" in Turkish -- but it is far from certain that French knew this.
There was an interesting article about Percy French, who was an Irish-born engineer and entertainer, in _Sing Out_ magazine, Volume 32, #4 (1987), pp, 18-20, It quotes extensively from James N. Healy, _Percy French and His Songs_, 1966, a book which I have not seen. - RBW
File: LxA341
===
NAME: Abdul the Bulbul Emir (II)
DESCRIPTION: Abdul the Bulbul Emir and Ivan Stavinsky Stavar engage in a duel to see who can have intercourse with the greatest number of women. At the moment of triumph, Ivan bends over, with dreadful results.
AUTHOR: original version credited to Percy French, 1877
EARLIEST_DATE: original version copyright 1877 as "Abdulla Bulbul Ameer"
KEYWORDS: bawdy parody humorous sex contest homosexuality
FOUND_IN: Australia Canada England New Zealand US(NE,SW)
REFERENCES: (2 citations)
Cray, pp. 210-212, "Abdul the Bulbul" (2 texts, 1 tune)
DT, ABDULBL2*
Roud #4321
CROSS_REFERENCES:
cf. "Abdul the Bulbul Emir (I)" (tune & meter)
NOTES: The ballad here is a bawdy parody of the original, reportedly written by French at Trinity College, Dublin. - EC
For a discussion of the Crimean War setting of the original "Abdul," see that song - RBW
File: EM210
===
NAME: Abdul, the Bulbul Ameer: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdul, the Bulbul Amir: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abdulla Bulbul Ameer: see Abdul the Bulbul Emir (I) (File: LxA341)
===
NAME: Abe Lincoln Stood at the White House Gate
DESCRIPTION: "Abe Lincoln stood at the White House Gate... When along came Lady Lizzie Tod, Wishing her lover good speed." Lincoln tries several times to take Richmond, and is foiled each time
AUTHOR: unknown
EARLIEST_DATE: 1917 (Davis)
KEYWORDS: Civilwar parody humorous horse
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Davis-Ballads 20, (No title, but filed as an appendix to "Lord Lovel") (1 text)
Friedman, p. 97, "Lord Lovel" (2 texts, but the "B" text is this)
Darling-NAS, pp. 46-47, "Abe Lincoln Stood at the White House Gate" (1 text, filed under "Lord Lovel")
Roud #6867; also 48
CROSS_REFERENCES:
cf. "Lord Lovel [Child 75]" and references there
NOTES: Abraham Lincoln's wife was Mary Todd; this apparently become "Lizzie Tod[d]" in the ballad.
The song as collected by Davis appears to be a fragmentary account of the various Federal attempts to take Richmond in 1861-1862. The first attempt lasted only "one or two days," seemingly referring to McDowell's Bull Run campaign of 1861. This was followed by McClellan's Peninsular campaign of spring and summer 1862, seemingly not mentioned in the song.
The final stanza refers to Lincoln's "Burnside horse," which "stuck tight in the mire." Ambrose Burnside was in charge at the Battle of Fredericksburg, which may or may not be alluded to, and also commanded the "mud march," clearly the subject of the last line. - RBW
File: DarNS046
===
NAME: Abel Brown the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Abie's White Mule
DESCRIPTION: About a moonshiner and how he outwits a marshal. After the revenuer finds the still and starts to take it home, but Abe and "Hanner" (Hannah?) rescue it. Chorus: "Corn liquor [or other drink, e.g. peach brandy] can (get/pull/blow) (a man/you) down."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: drink police rescue
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 117-118, "Abie's White Mule" (1 text)
CROSS_REFERENCES:
cf. "Bad Ale Can Blow a Man Down" (lyrics)
File: thBa117
===
NAME: Abilene
DESCRIPTION: "Abilene, Abilene, prettiest town (you) ever seen, (folks) there don't treat you mean In Abilene, my Abilene." The singer complains about life in the big city, hears the trains, and wishes they were carrying (him) back to Abilene
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home train nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 48, "Abilene" (1 text)
DT, ABILNE*
CROSS_REFERENCES:
cf. "Ohio River, She's So Deep and Wide" (floating lyrics)
NOTES: Some sources credit this to John D. Loudermilk; others call it traditional. I'm not really sure what to think. There are verses which I think must be composed, and I have yet to see a truly traditional version. But Loudermilk could have touched up a traditional song. - RBW
The song has also been credited to the folk-revival performer Bob Gibson. - PJS
File: FSWB048
===
NAME: Aboard of the Kangaroo: see The Good Ship Kangaroo (File: MA060)
===
NAME: Aboard the Henry Clay
DESCRIPTION: Capstan shanty. Verses tell of a "lime-juice jay" that got drunk and went into a fit. The mate kicks him off the boat and he drowns. Later the mate is found with a knife in his back. Refrains repeat last lines of verses.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty sailor murder drink
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 207-208, "Aboard the Henry Clay" (1 text, 1 tune)
Roud #9160
File: Harl207
===
NAME: Aboard the Kangaroo: see The Good Ship Kangaroo (File: MA060)
===
NAME: Aboot the Bush Willy: see About the Bush Willy (File: StoR097)
===
NAME: About the Bush, Willy
DESCRIPTION: "Aboot the bush, Willy, aboot the bee-hive, Aboot the bush, Willy, I'll meet thee belyve." "Then to my ten shillings Add you but a groat; I'll go to Newcastle And buy a new coat." The singer describes the prices of clothing
AUTHOR: unknown
EARLIEST_DATE: 1882 (Bruce/Stokoe)
KEYWORDS: clothes nonballad
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
Stokoe/Reay, p.  97, "Aboot the Bush, Willy" (1 text, 1 tune)
Baring-Gould-MotherGoose #240, pp. 153-154, "(About the bush, Willy)"
DT, BUSHWILI
Roud #3149
File: StoR097
===
NAME: Abraham Lincoln Is My Name
DESCRIPTION: "Abraham Lincoln is my name, From Illinois I did came, I entered the city in the night, And took my seat by candlelight."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Civilwar playparty
HISTORICAL_REFERENCES: 1861 - Inauguration of Abraham Lincoln
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 65-66, (no title) (1 fragment)
NOTES: This is probably a fragment of a song about Abraham Lincoln's sneaking into Washington for his inauguration (there were threats of violence, so he arrived in secret and disguise). But all that is left in Thomas is a fragment seemingly used as a singing game.
The likelihood is high that it is based on a traditional item of some sort:
(Name) is my name
(Country) is my nation
(Somewhere) is my dwelling (place)
And Christ is my salvation OR And Death's my destination.
Walter de la Mare, _Come Hither_, revised edition, 1928, prints a version of this as (32) in the notes on poem #470 (with Elizabeth Waters of Wales being the protagonist), and Alfred Bester's acclaimed science fiction novel _The Stars My Destination_ also uses this framework as the career summary of the main character Gully Foyle. - RBW
File: ThBa065
===
NAME: Abram Brown the Sailor: see Bollochy Bill the Sailor (File: EM081)
===
NAME: Abroad As I Was Walking: see Down By Blackwaterside (File: K151)
===
NAME: Absalom, My Son: see David's Lamentation (File: FSWB412B)
===
NAME: Absent-Minded Man, The
DESCRIPTION: The singer illustrates his absent-mindedness. A girl trips over clay and he leaves the girl for dead and takes the clay to a doctor ... He puts the kettle on a chair and sits on the fire. He puts his dog to bed and chains himself in the yard.
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan2); c.1890 (broadside, NLScotland L.C.Fol.70(99b))
KEYWORDS: humorous dog
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 284, "The Absent-Minded Man" (1 text)
Roud #5855
BROADSIDES:
NLScotland, L.C.Fol.70(99b), "Absence of Mind," Poet's Box (Dundee), c.1890
File: GrD2284
===
NAME: Accident down at Wann, The
DESCRIPTION: A train hits a buggy sitting on the tracks. The buggy's inhabitants are killed.
AUTHOR: unknown
EARLIEST_DATE: 1981 (Cohen); apparently first printed 1909
KEYWORDS: train wreck death
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, p. 272, "The Accident down at Wann" (notes only)
File: LSRa272F
===
NAME: According to the Act
DESCRIPTION: The song details shipboard life, and how conditions are kept tolerable, for "There's nothing done on a limejuice ship contrary to the Act." The most obvious example is the ration of limejuice, but other rules are also cited
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: work law sailor ship
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 42-43, "According to the Act" (1 text, 1 tune)
Hugill, pp. 58-59, "The Limejuice Ship" (1 text, 1 tune) [AbrEd pp. 54-55]
Roud #8341
CROSS_REFERENCES:
cf. "The Son of a Gambolier" (tune & meter) and references there
ALTERNATE_TITLES:
Limejuice and Vinegar
The Limejuice Ship
NOTES: The British Merchant Shipping Acts regulated most parts of a sailor's life, including the regular rations of lime juice (to prevent scurvy). Hence the title "limey" for British sailors, the word "limejuice tubs" for British ships -- and hence also this song.
Ironically, for the most part it was not lime but lemon juice that was given to sailors. They called it limejuice anyway, probably to make it sound more palatable. - RBW
File: FaE042
===
NAME: Account of a Little Girl Who Was Burnt for Her Religion, An: see The Romish Lady [Laws Q32] (File: LQ32)
===
NAME: Acres of Clams (The Old Settler's Song)
DESCRIPTION: The prospector reports on the sad fate of the gold rush men: "For each man who got rich by mining... hundreds grew poor." He decides to abandon digging and head out to be a farmer near Puget Sound. This, too, proves hard, but he is too poor to move again
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: gold farming poverty settler  derivative
FOUND_IN: US(NW)
REFERENCES: (4 citations)
Lomax-FSUSA 55, "The Old Settler's Song" (2 texts, 1 tune)
Darling-NAS, pp. 283-284, "Acres of Clams" (1 text)
Silber-FSWB, p. 48, "Acres of Clams" (1 text)
DT, OLDSETLR*
Roud #10032
RECORDINGS:
Pete Seeger, "The Old Settler's Song" (on PeteSeeger47); "Acres of Clams, " [parody] (on PeteSeeger47)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
cf. "A Hayseed Like Me" (tune, lyrics)
File: LxU055
===
NAME: Across the Blue Mountain
DESCRIPTION: A married man asks (Katie) to marry him and go "across the Blue Mountain to the Allegheny." Katie's mother tells her to let him stay with his own wife. Katie answers, "He's the man of my heart." (The confused ending may tell of her poverty or abandoment)
AUTHOR: unknown
EARLIEST_DATE: 1962
KEYWORDS: love courting travel abandonment infidelity mother children
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Abrahams/Foss, pp. 14-16, "Across the Blue Mountain" (4 texts, 1 tune)
DT, BLUEMNTN
CROSS_REFERENCES:
cf. "High Germany" (floating lyrics)
NOTES: Abrahams and Foss note that the several versions of this song (they print four, all of which reportedly use the same tune) are from the same area -- central Virginia, on the eastern slope of the Blue Ridge. (The Alleghenies can indeed be seen from the crest of the Blue Ridge.)
Their four versions were all collected in 1962, from an interesting list of sources: Florence Shiflett of Wyatt's Mountain; David Morris, also of Wyatt's Mountain; Effie Morris, of Shiflett Hollow; and Marybird McAllister, of Brown's Cove.
The four versions fall into two types. The two from Wyatt's Cove end with a moralising conclusion (the girl ends up "lame" and perhaps abandoned, and regrets her ending). These stanzas have a slightly different feel from the rest of the song, and are much poorer poetry; one suspects a later addition.
On the other hand, the other two versions do not have a proper resolution; the girl simply wishes she could be with the fellow and "valleys" (envys?) the woman who will be with him.
Portions of the song seem older (e.g. all four versions have as their second verse the stanza "I'll buy you a horse, love, and a saddle to ride," which comes from "High Germany" or something similar). One suspects that a local Blue Ridge balladeer reshaped an older song to describe a now-forgotten local event.
At least, it's probably forgotten. There is a story in Walter R. Borneman's _1812: The War That Forged a Nation_, p. 15, about Harmon Blennerhasset (1765-1831). Born in Ireland, he eloped in 1796 with an 18-year-old girl. Meeting disapproval at home, he sold his estates, moved to the Americas, and after a brief residence in the east, crossed the Alleghenies with the girl. Reading the story, I was instantly and strongly remined of this song.
Of course, the details differ. One difference is substantial: The reason Blennerhasset was shunned was because the girl he eloped with was his niece. And he ended up returning home to England; he was caught up in Aaron Burr's Louisiana conspiracy. I don't really think Blennerhasset inspired this song, but it was interesting enough to form the basis for an idle footnote. - RBW
File: AF014
===
NAME: Across the Hall
DESCRIPTION: "Go straight across the hall To the opposite lady, Swing her by the right hand, Right hand round and back to the left, And balance to your partner."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 536, "Across the Hall" (1 short text, 1 tune)
Roud #7646
File: R536
===
NAME: Across the Rocky Mountain: see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Across the Western Ocean
DESCRIPTION: "Oh, the times are hard and the wages low, Amelia, where you bound to? The Rocky Mountains is my home Across the western ocean." The emigrants leave poverty behind to set out for better conditions in America. Unusual passengers may be described
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: emigration poverty hardtimes
FOUND_IN: US
REFERENCES: (9 citations)
Colcord, p. 118, "Across the Western Ocean" (1 text, 1 tune)
Harlow, pp. 58-59, "Across the Western Ocean" (1 text, 1 tune)
Hugill, pp. 292-293, "Across the Rockies," "Across the Western Ocean" (2 texts, 1 tune) [AbrEd pp. 215-216]
Sandburg, p. 412, "Leave Her, Bullies, Leave Her" (2 text, 1 tune, but the "A" text is "Leave Her, Johnny, Leave Her")
Shay-SeaSongs, pp. 71-72, "Across the Western Ocean" (1 text, 1 tune)
Scott-BoA, pp. 150-151, "Across the Western Ocean" (1 text, tune referenced)
SHenry H96, p. 96, "It's Time for Us to Leave Her" (1 text, 1 tune -- a fragment, short enough that it could be this or "Leave Her, Johnny, Leave Her")
Silber-FSWB, p. 88, "Across the Western Ocean" (1 text)
DT, WSTOCEAN*
Roud #8234
CROSS_REFERENCES:
cf. "Leave Her, Johnny, Leave Her" (floating lyrics; tune)
cf. "Uncle Bill Teller" (form, lyrics)
NOTES: Shay attempted to find a ship _Amelia_ that might have been the inspiration for the chorus. He found none that fit, and suggested "O'Malley" as a possible emendation. Of course, the other possibility (as he himself admits) is that Amelia is just a girl.
Shay also has an unusual verse, in which the sailor heads across the ocean "To join the Irish army." Shay does not connect this with any sort of militarism; he thinks it applies simply to the mass emigration of the Irish to America. - RBW
File: San412
===
NAME: Across the Western Ocean (II): see Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go) (File: Doe062)
===
NAME: Across the Western Ocean I Must Wander: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: Across the Wide Missouri: see Shenandoah (File: Doe077)
===
NAME: Adam Bell, Clim of the Clough, and William of Cloudesly [Child 116]
DESCRIPTION: Three outlaws live in the forest. William visits his wife, is arrested, is rescued by the others. They seek pardon from the king, succeed by the queen's intervention, then show their archery prowess, including cleaving an apple on a child's head.
AUTHOR: unknown
EARLIEST_DATE: 1536
KEYWORDS: outlaw pardon royalty
FOUND_IN: Britain(England)
REFERENCES: (4 citations)
Child 116, "Adam Bell, Clim of the Clough, and William of Cloudesly" (2 texts)
Bronson 116,  "Adam Bell, Clim of the Clough, and William of Cloudesly" (1 version, though Bronson questions its connetion with this song)
Percy/Wheatley I, pp. 153-179, "Adam Bell, Clym of the Clough, and William of Cloudesley" (1 text)
OBB 114, "Adam Bell, Clym of the Clough, and William of Cloudesly" (1 text)
Roud #3297
CROSS_REFERENCES:
cf. "Auld Matrons" [Child 249] (theme)
NOTES: For the connection of this song with the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C116
===
NAME: Adam Gorman: see Captain Car, or, Edom o Gordon [Child 178] (File: C178)
===
NAME: Adam in the Garden Pinning Leaves
DESCRIPTION: Chorus "Oh Eve, where's Adam? (x3) Adam in the garden pinning leaves." "I know my God is a God of war/He fought the battle at the Jericho wall"; "The first time God called/Adam refused to answer/And the next time God called/God hollered louder."
AUTHOR: unknown
EARLIEST_DATE: 1934 (field recording, Alberta Bradford & Becky Elsey)
KEYWORDS: nonballad religious gods
FOUND_IN: US(So)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 126-127, "Adam in the Garden Pinnin' Leaves" (1 text, 1 tune)
Courlander-NFM, pp. 43-44, (no name) (partial text)
Silber-FSWB, p. 24, "Adam In The Garden Pinning Leaves" (1 text)
DT, ADAMGRDN
Roud #15647
RECORDINGS:
Alberta Bradford & Becky Elsey, "Adam in the Garden Pinnin' Leaves" (AFS 105 B1, 1934)
McIntosh County Shouters, "Eve and Adam" (on McIntosh1)
New Lost City Ramblers, "Adam in the Garden" (on NLCR10)
CROSS_REFERENCES:
cf. "John the Revelator" (theme)
NOTES: The mention of Adam making clothing of fig leaves occurs in the Bible in Gen. 3:7; God comes after Adam in 3:8-9. The siege of Jericho is described in Joshua 6, with a foreshadowing in Joshua 2. - RBW
File: CSW126
===
NAME: Adams and Liberty
DESCRIPTION: Written for the John Adams campaign, but in praise of American freedom (it never mentions Adams): "Ye sons of Columbia, who bravely have fought For those rights which unstained from your sires have descended" (and so on, for nine weary stanzas)
AUTHOR: Words: Robert Treate Paine, Jr.
EARLIEST_DATE: 1798 (composed)
KEYWORDS: patriotic political nonballad America
HISTORICAL_REFERENCES: 1796 - John Adams's first (successful) Presidential campaign
1797-1801 - Adams's Presidency
1800 - Adams is defeated for re-election by Thomas Jefferson
FOUND_IN: 
REFERENCES: (1 citation)
Spaeth-ReadWeep, pp. 11-14, "Adams and Liberty" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "The Star-Spangled Banner" (tune) and references there
cf. "Jefferson and Liberty" (concept)
cf. "Lincoln and Liberty" (concept)
NOTES: It may reasonably be questioned if anyone actually survived reading (let alone singing) this piece. Paine (whom Spaeth says was regarded as "vain, lazy, and vicious," and a "literary hack") was nonetheless paid $750 for his efforts. (And you thought the Defense Department overpaid for the goods it received.)
If this song has any distinction at all, it is that it is probably the version of the "Anacreon" tune known to Ferdinand Durang, who later fitted the tune to "The Star Spangled Banner." - RBW
File: SRW011
===
NAME: Adams's Crew
DESCRIPTION: A few of the characters on Adams's crew of lumberjacks are described.
AUTHOR: unknown
EARLIEST_DATE: 1886
KEYWORDS: lumbering work logger cook humorous nonballad moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 67, "Adams's Crew" (1 text)
Roud #8843
NOTES: The "moniker song" consists mostly of listing the names of one's compatriots, and perhaps telling humorous vignettes about each; it's common among lumberjacks, hoboes, and probably other groups. This song was collected from two of the characters chronicled in it. - PJS
File: Be067
===
NAME: Adelita
DESCRIPTION: First line: "Adeilta se llama la ingrata Le qu' era duena de todo mi placer." The soldier says that Adelita is the source of "all my pleasures" who "drives all men to distraction." Now he must go to war; if she deserts him, he will pursue her anywhere
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Mexico love separation soldier foreignlanguage
FOUND_IN: Mexico US(MW,SW)
REFERENCES: (2 citations)
Sandburg, pp. 300-301, "Adelita" (1 text, 1 tune)
Silber-FSWB, p. 335, "Adelita" (1 text)
File: San300
===
NAME: Adeste Fideles (O Come All Ye Faithful)
DESCRIPTION: Latin: "Adeste fideles, laeti triumphantes, venite, venite in Bethlehem." English: "O come, all ye faithful, Joyful and triumphant, O come ye, O come ye to Bethlehem."
AUTHOR: probably John Francis Wade
EARLIEST_DATE: 1760 (Anglican church office manual); probably written c. 1740
KEYWORDS: religious nonballad foreignlanguage
FOUND_IN: US
REFERENCES: (6 citations)
RJackson-19CPop, p. 1, "Adeste Fideles" (1 text, 1 tune)
Silber-FSWB, p. 380, "O, Come, All Ye Faithful" (1 text)
Fuld-WFM, p. 86, "Adeste Fideles"
DT, ADESTFID*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 45, "O Come, All Ye Faithful" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #5, "Adeste, Fideles" (1 text); #53, "O Come, All Ye Faithful" (1 text)
RECORDINGS:
Criterion Quartet, "Oh, Come, All Ye Faithful" (Victor 16197-B, 1908)
BROADSIDES:
LOCSheet, sm1871 08939, "Adeste Fideles," Wm. J Bonner & Co (Philadelphia), 1871(tune)
NOTES: The first American printing of this piece (A Latin version of c. 1803) subtitles it "The favorite PORTUGUESE HYMN On the NATIVITY," but there is no particular reason to consider it Portuguese; according to Scholes in _The Oxford Companion to Music_, this title derives in fact from the Portugese Chapel in London.
The piece is believed to have been composed in the early 1740s by John Francis Wade, who also wrote the Latin words. Scholes reports an Irish manuscript of the tune dated 1746, and a variation on the theme was listed as an "Air Anglais" in the French Vaudeville "Acajou" in 1744. The rather loose English translation by Frederick Oakley appeared in 1852, based on Oakley's earlier 1841 translation.
Fuld gives details on other possible sources for both text and tune; all are possible, but not particularly likely. Substantiating details are lacking.
Recent scholarship has brought an interesting twist on this history. According to the _Penguin Book of Carols_, there are six manuscripts of this in the handwriting of John Francis Wade. The one of these thought to be oldest contains a reference to "regem nostrum Jacobum" -- "our King James," i.e. the Jacobite Old Pretender. And, of course, "regem angelorum" is quite close to "regem Angliorem," "King of England." There are also hints of Catholic practice in this manuscript. Whether all this really amounts to anything is, of course, an open question. - RBW
File: RJ19001
===
NAME: Adieu de la Mariee a Ses Parents (The Married Girl's Farewell to her Parents)
DESCRIPTION: French. To make a household you must work to get money to feed a wife and children. Father, you married me to a pig of a drunkard. Cherish and caress him, daughter, and in a short time he will change and you will have your household.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage marriage drink father
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 492, "Adieu de la Mariee a Ses Parents" (1 text, 1 tune)
File: Pea492
===
NAME: Adieu Lovely Nancy: see Farewell, Charming Nancy [Laws K14] (File: LK14)
===
NAME: Adieu Sweet Lovely Nancy
DESCRIPTION: "Adieu sweet lovely Nancy, ten thousand times adieu." The sailor must go over the sea "to seek for something new." He promises (to write, and tells) Nancy that, "Let my body go where it will, my heart will love you still." He hopes for a safe return
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: sailor separation
FOUND_IN: Britain(England) US(MW) Australia Canada(Newf)
REFERENCES: (5 citations)
Eddy 153, (fourth of several "Fragments of Irish Songs")
Peacock, p. 877, "Good-bye My Lovely Annie" (1 text, 1 tune)
Meredith/Anderson, pp. 178-179, "Lovely Nancy" (1 text, 1 tune)
Huntington-Whalemen, p. 260, "(Mary's Cot)" (1 text, mostly from this song though the first verse is "The Rose of Allandale")
DT, SWTNANCY
Roud #165
CROSS_REFERENCES:
cf. "The Whale-Catchers" (lyrics)
cf. "Old Kitarden" (lyrics)
cf. "The Bold Privateer" [Laws O32] (lyrics)
cf. "I Love My Sailor Boy" (lyrics)
File: E153D
===
NAME: Adieu to Bogie Side
DESCRIPTION: The singer calls on the muses to help him "sing sweet Huntly's praise. I leave a girl behind me Whose joy is all my pride, And bid farewell to Huntly And adieu to Bogie side." He bids farewell to friends and lands and hopes the girl will be safe
AUTHOR: possibly John Riddell
EARLIEST_DATE: 1904 (Ford); said to have been printed in _The People's Journal_ in 1878
KEYWORDS: love separation rambling farewell
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 265-266, "Adieu to Bogie Side" (1 text)
Ord, pp. 363-364, "Adieu to Bogie Side" (1 text)
Roud #4593
CROSS_REFERENCES:
cf. "Bogie's Bonnie Belle" (lyrics)
NOTES: For the complicated relationship between this song and "Bogie's Bonnie Bell," see the notes to that song. - RBW
File: FCS265
===
NAME: Adieu to Bon County
DESCRIPTION: "It's a great separation my friends they have caused me." The singer says his friends will regret driving him away. He bids farewell to friends and love. He says he will ramble and seek pleasure. When money is short, he will "chop wood and get more"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: separation drink party rambling
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 178-179, "Adieu to Bon County" (1 text, 1 tune)
DT, ADIEUBON
Roud #15553
CROSS_REFERENCES:
cf. "Farewell, Charming Nancy" [Laws K14] (floating lyrics)
cf. "Farewell to Old Bedford" (floating lyrics)
NOTES: The only version of this song I have seen so far is that in the Bayard collection, and it appears incomplete. Why is the singer leaving home? (Parents' opposition?) Why is there so little mention of his lost love?
I have to suspect that this is a worn-down, possibly reworked, version of something else (e.g. "Farewell, Charming Nancy") -- but I can't identify with any real probability what the original song was. It may well go back to the same ancestor as "Farewell to Old Bedford," but there has been a lot of drift in between. - RBW
File: LxA178
===
NAME: Adieu to Cold Weather: see Farewell He (File: FSC41)
===
NAME: Adieu to Dark Weather: see Farewell He (File: FSC41)
===
NAME: Adieu to Erin (The Emigrant)
DESCRIPTION: "Oh when I breathed a last adieu To Erin's vales and mountains blue...." The singer loves Mary, but Mary "deplores" him; he responds by leaving the country. "Can I forget the fateful day... When nought was left me but to say Farewell my love farewell"
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: love separation emigration rejection
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 255-256, "Adieu to Erin" (1 text, 1 tune)
ST SWMS255 (Full)
Roud #2068
File: SWMS255
===
NAME: Adieu to Lovely Garrison
DESCRIPTION: The singer is far away from home. He bids adieu to the places he spent his youth, describing their beauty. He would return to see them all.
AUTHOR: unknown
EARLIEST_DATE: 1977 (IRHardySons)
KEYWORDS: farewell Ireland nonballad
FOUND_IN: Ireland
REFERENCES: ()

Roud #17892
RECORDINGS:
Packie McKeaney, "Adieu to Lovely Garrison" (on IRHardySons)
NOTES: Notes to IRHardySons: "Garrison is in the north of Fermanagh, on the shores of Lough Melvin, just on the border with Co Leitrim."
The places named that I can find are all in Northern Ireland or northern Eire: in Co Fermanagh (Aghamuldowney, Farrancassidy, Lough Erne, Lough Melvin), Co Donegal (Belleek, Camlin Groves, Bundoran, Ballyshannon), Co Leitrim (Kiltyclogher), Co Down (Kilcoo) and Co Louth (Carranmore). The remaining names are Brolagh Bog, Sheehan Mountain and Knockareven. - BS
File: RcAtLoGa
===
NAME: Adieu to Maimuna
DESCRIPTION: Capstan shanty. "The boatmen shout, 'tis time to part, no longer can we stayâ Twas then Maimuna taught my heart how much a glance can say." Four verses describing a tearful farewell, the last two lines of each repeated are as a chorus.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty parting farewell
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 169-170, "Adieu to Maimuna" (1 text, 1 tune)
Roud #8226
File: Harl169
===
NAME: Adieu to Prince Edward's Isle: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Adieu to the Banks of the Roe
DESCRIPTION: The singer, admitting his "happiest moments are flown," prepares to depart  Ireland and his home. He bids farewell to everything he can think of -- the countryside, relatives, pastor. He will dig gold in Australia, and hopes he can return home
AUTHOR: James Maxwell ?
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: emigration farewell gold
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H245, pp. 197-198, "Adieu to the Banks of the Roe" (1 text, 1 tune)
File: HHH245
===
NAME: Adieu, Sweet Lovely Jane: see Sweet Jane [Laws B22] (File: LB22)
===
NAME: Admiral Benbow
DESCRIPTION: Despite being badly outnumbered, Benbow prepares for battle (against the French), but captains Kirkby and Wade flee the contest. In the fight that follows, Benbow loses his legs, but orders his face to be turned toward the fight even as he dies 
AUTHOR: unknown
EARLIEST_DATE: 1841
KEYWORDS: battle sea death abandonment
HISTORICAL_REFERENCES: 1702 - Death of Admiral John Benbow in battle in the West Indies
FOUND_IN: Britain(England(South))
REFERENCES: (5 citations)
PBB 76, "The Death of Admiral Benbow" (1 text)
Sharp-100E 87, "Admiral Benbow" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 92-93, "Admiral Benbow" (1 text, 1 tune)
DT, ADBENBOW* ADBENBW2
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 149, "The Death of Admiral Benbow" (1 text)
Roud #227
NOTES: The story outlined here is true in its general details. John Benbow (1653-1702), commanding the British in the West Indies, and was mortally wounded in battle with the French after two of his captains deserted him (the two were later tried and executed for cowardice). The battle took place off Cartagena (the one in Columbia, not the one in Spain; see Alfred Thayer Mahan, _The Influence of Sea Power Upon History_, p. 207). Benbow became a naval hero, and several later battleships were named for him.
One version of the story is briefly told in Arthur Herman, _To Rule the Waves_, pp. 245-246. Herman argues that Benbow was wrong and his captains right: The British squadron of six ships was not strong enough to fight the French. But Benbow (who lost only his right leg, not both) lived long enough to order the court martial of the rebellious officers. The leader, Richard Kirkby of the _Defiant_, was executed, as was one of the other captains. This firmly established the principle of obedience to orders no matter how stupid.
Not everyone agrees with Herman's interpretation. Richard Woodman, _A Brief History of Mutiny_, Carroll & Graf, 2005, devotes pp. 48-58 to Benbow and his subordinates, and draws a very different picture.
Benbow was a very unusual admiral, in that he was a "tarpaulin" officer -- that is, one drawn from the ranks of the sailors, rather than a noble who went straight into the officer class (Woodman, p. 48). He spent time as a merchant sailor and a privateer as well as in the navy, and seems to have developed a very high opinion of his own judgment as a result (Woodman, p. 49). Woodman, p. 49, says that the French fleet under Ducasse had a fleet with a total of 258; Benbow's force he lists as having 456 guns.
Anthony Bruce and William Cogar, _An Encyclopedia of Naval History_, 1998 (I use the 1999 Checkmark edition) on p. 40 sum up Benbow's career as follows: "Although Benbow came to be regarded as a hero in popular legend, there remains a doubt about his place in British naval history and whether his high reputation was well deserved."
G. N. Clark, _The Later Stuarts 1660-1714_, corrected edition, Oxford, 1944, p. 317, summarizes the whole incident as follows: "Vice-Admiral John Benbow, with seven English ships, had a good opportunity of attacking a weaker French squadron which remained to operate against English and Dutch commerce. Unfortunately four of his captain failed to join the fight, and it was a failure. Benbow was mortally wounded. Two of the captains were court martialed and shot. There is a still popuar folk-song about this dramatic but unimportant event."
James L. Stokesbury, _Navy & Empire_, Morrow, 1983, p. 108, also declares the French squadron "weak." He makes the interesting note that Benbow's story did not immediately inspire firm obedience by future captains; in 1708. Admiral Wager could not make his captains fight at Porto Bello.
Most texts of this fit the tune of "Captain Kidd" (and the only one I've seen which doesn't appears to have been fiddled with), though the tune in Chappell isn't quite the standard "Captain Kidd." It is also said to be used for "A Virgin Most Pure." We might note that Kidd went to the scaffold at the time Benbow was fighting his fight with the French.
This is not the only song about Benbow; Firth (who calls this one "The Death of Admiral Benbow") prints another, "Admiral Benbow," on p. 148. That is said to date from at least 1784, though it appears less popular than this (which seems to have first been printed in Halliwell's _Early Naval Ballads_).
Benbow's reputation as a stickler seems to have been richly deserved; in addition to his conduct in the battle that caused his death, he was tough on people who showed up in the West Indies without leave -- even if they were subjects of the British crown! When the Scottish Darien expedition resulted in disaster, a shipful of colonists fled to the Indies -- and were refused help by Benbow! (see Oliver Thomson, _The Great Feud: The Campbells & the MacDonalds_, Sutton, 2000, p. 88). - RBW
File: PBB076
===
NAME: Admiral Byng
DESCRIPTION: Admiral Byng is ordered "the French to disperse from New Home" in the Mediterranean Sea. He sends Admiral West to attack the French but he held his own ship back. The ballad implies he was bribed. He is condemned by the King to be shot.
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan1)
KEYWORDS: battle navy execution trial
HISTORICAL_REFERENCES: Mar 14, 1757 - Admiral John Byng executed for neglect of duty for his part in the loss of Minorca to the French (source: "Minorca" at the Blupete site).
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #151, p. 1, "Come All Ye British Tars" (1 text)
GreigDuncan1 140, "Admiral Byng" (1 text)
Roud #3791
NOTES: Greig: "The victim into whose mouth the ballad is put was Admiral Byng. He was sent with a squadron to relieve the island of Minorca, which was blockaded by a French fleet. Rear-Admiral West played his part well, but Byng handled his ships so unsuccessfully that he had to sail back to Gibraltar, leaving Minorca to its fate. For this failure he was recalled, tried, and condemned to be shot on board ship. This was in 1757."
The court never considered that bribery or gold played any part in the Admiral Byng's decision not to try to relieve General Lord Blakeney at St Philip's Castle on Minorca. (Source: Peter Burke, _Celebrated Naval and Military Trials_ (Lindon, 1866), pp. 72-81, quoted in a pdf file "The Trial of Admiral Byng" at the Hillsdale College site)
GreigDuncan1: "It is included by Bertrand Harris Bronson in his discussion of songs with this distinctive stanza pattern; see "Samuel Hall's Family Tree" in _The Ballad as Song_ (Berkeley and Los Angeles, 1969), pp. 18-36. Here is the last verse:
All traitors gets their doom, so maun I, so maun I,
All traitors gets their doom, so maun I;
All traitors gets their doom, wears the sackcloth in their bloom,
Because it is their doom, so maun I.
I assume "New Home" is either on or near Minorca, the site of the battle. - BS
I think "New Home" is probably an error for "Mahon," or Port Mahon, the chief harbor on Minorca. The Spanish name is accented on the second syllable, which makes this mis-hearing more likely.
If Admiral John Byng (1704-1757) is remembered today, it is usually for the quip Voltaire penned regarding his execution: The British executed an admiral from time to time Òpour encourager les autres," "to encourage the others" (see, e.g., Borneman, p. 66; Keegan, p. 45; Herman, p. 281. For sources cited in this discussion, see the Bibliography at the end of this note).
Byng probably wasn't a great admiral, but most of his misfortune was really the result of being in the wrong place at the wrong time. He found himself in the middle of an undeclared war. What Europeans called the "Seven Years' War" officially ran from 1756 to 1763 -- but it had already gone on for more than a year in the America (for the early phases of the French and Indian War, as it was known in the colonies, see "Braddock's Defeat"). So it was quite clear that war was coming in Europe -- but diplomatic niceties had to be observed; no one wanted to be blamed for firing the first shot. 
The French had the strategic initiative. They had forces on both the Atlantic and Mediterranean coasts -- the former in position to sail to North America, where the French already had had success, the latter in position to capture Minorca. The British navy could potentially halt either move (Borneman, p. 62, estimates they had an advantage of about 100 ships of the line to 60 for the French) -- but only if it knew where to go!
The French goal seems to have been to nibble away at the British. Minorca was an obvious spot. British only since 1708, it had become a major British naval base (Borneman, p. 63), but it was much more accessible to the French than the British. And the British forces in the area were clearly inadequate: Four ships of the line, three frigates, and one sloop. The need to reinforce was obvious. Hence Byng was sent with reinforcements. The son of a famous though not always successful admiral (Keegan/Wheatcroft, pp. 55, 304), Byng had served at sea from an early age (Borneman, p. 63), but he had limited experience in combat. He was regarded as a good administrator (Anderson, p. 170), was known for strict discipline (Borneman, p. 63), and apparently was highly regarded prior to the Minorca fiasco (Herman, p. 280).
The French had anticipated the declaration of war. Their attacking force, commanded by Admiral la Galissoniere and supported by twelve ships of the line, had left Toulon on April 10, 1756, with 150 transports and 15,000 soldiers (Mahan, p. 285). The force had arrived at Minorca on April 19. This was overwhelming force against a defending army of only about three thousand men.
By the time Byng reached Minorca on May 2, the French were already attacking the tiny garrison at Fort Saint Philip (Borneman, p. 64), even though France had not yet formally declared war. The forces on Minorca could not hold out long; they were too heavily outnumbered. Their only hope was for Byng to defeat the French fleet in the area and cut off the attackers.
Byng was in many ways at a disadvantage. His nearest base was Gibraltar, whereas the French were based in Toulon. Not only was Toulon closer, it was the main base of the French navy. And he was afraid to take troops from Gibraltar lest it too be invaded (Borneman, p. 64). Plus Byng's fleet was far from modern. He flew his flag in the 90-gun _Ramillies_, which had begun life as the _Royal Katherine_ in 1664. The ship was "rebuilt" in 1702 (at a time when "rebuilding" meant something close to building a ship from scratch), but that still made the vessel more than half a century old at the time Byng took command of the squadron. She had been renamed _Ramillies_ some fifty years before (for details on this, see Paine, p. 419).
"[T]he ships in his task force had only recently returned from raiding French commerce in the Atlantic. It was, therefore, with depleted crews, unmade repairs (two ships were taking on water fast enough to require frequent pumping), and fouled hulls that Byng's ships sailed from Portsmouth on April 7" (Anderson, p. 170).
The battle was a completely one-sided. There seems to be disagreement about what he intended. Mahan, p. 285, seems to say that Byng's intention was to fight in line ahead (that is, with all of his ships in a single line, with each English ship fighting what amounted to a single combat with a French ship), following the official British Fighting Instructions. Borneman, p. 65, argues that he wanted to "cross the T" on the enemy line and attack the rear of the French line, but that there was a signalling failure which caused the lead ships to go off in the wrong direction.
Whatever Byng's intention, the two fleets approached at a rather large angle -- estimated to have been about 30 to 40 degrees (Mahan, p. 286). This meant, since Byng was attacking the French fleet outside Port Mahon, that the lead British ships were much closer to the French line than the ships in the rear. When Byng gave the order to start the engagement, the ships at the front of the line did so, spending some four hours in combat (Anderson, p. 171) but the ships at the back were, in effect, left behind. The ships at the front of the line, in consequence, suffered rather severely (none were sunk but all had damage which affected their ability to sail); those at the back split off and accomplished nothing (Mahan, p. 287).
After the battle, Byng held a council of war with his captains. They concluded that they could not save Minorca; better to make sure that Gibraltar at least was safe (Mahan, p. 290; Borneman, p. 65). Byng headed back to Gibraltar, and the French captured Port Mahon on June 29 (Herman, p. 278).
Herman, p. 280, notes that "To this day historians debate the pros and cons of the case."
"[H]is failure at Minorca was as much a matter of following the official orders for line ahead battles too literally as it was a failure of nerve. Anson... had ordered Byng brought back to England for court-martial. The court of twelve naval officers had to find him guilty for avoiding battle: under Anson's own revisions to the Articles of War, they had no choice but to sentence Byng to death" (Herman, p. 280).
"At Gibraltar, Byng was relieved by Hawke and sent home to be tried. The court-martial, while expressly clearing him of cowardice or disaffection, found him guilty of not doing his utmost either to defeat the French fleet or relieve the garrison of Mahon; and, as the article of war prescribed death with no alternative punishment for this offence, it felt compelled to sentence him to death. The king refused to pardon, and Byng was accordingly shot" (Mahan, pp. 290-291).
"In retrospect, Byng's concern for Gibraltar and his decision not to risk his entire fleet when other corners of the British Empire were far more dependent on it than Minorca, may well prove his competence. And, of course, if his orders had been carried out competently in the first place, the result may have been far different. Instead, his execution became one of the most egregious affairs in the annals of the Royal Navy" (Borneman, p. 65).
"Byng... was executed not because he had lost the battle of Minorca (1756) but because he had done so in breach of the permanent fighting instructions and so confronted his court-martial with no choice but to condemn him to the firing-squad" (Keegan, p. 45).
Ironically, Keegan seems to think highly of Byng, at least in broad terms. At this time, few naval battles produces a clear winner, so "[s]everal British admirals of the eighteenth century, of whom Byng was one, experimented at the risk of professional -- even personal -- extinction with tactics more likely to yield a decisive outcome" (Keegan, p. 49). Byng's problem was that he did not come up with the idea of breaking the line, which would wait for Rodney and Nelson.
What the court could do, it did: They recommended that the King pardon him. Pleas for mercy came from all quarters. But the government, its survival on the line, ignored all the calls. Byng was executed by firing squad on board the _Monarque_ (a captured French ship) "on March 14, 1757 -- the first and only British admiral ever executed for cowardice" (Herman, p. 281).
"Everywhere rose the cry for the punishment of Admiral Byng.... Members of parliament received petitions to call the ministers to account for sending him out too late. The naval court-martial, deliberating under the pressure of rising public resentment, condemned the unhappy Byng to death.... As a matter of fact, Byng had done nothing to justify the verdict. Of the crime of which he was declared guilty -- neglect of duty in battle -- he was entirely innocent. For the offenses of which he was guilty -- the desertion of Minorca and disobedience to admiralty instructions -- there was no legal penalty. The court somehow felt that the death penalty was excessive and recommended him to His Majesty's clemency. But that was denied him, for all around there stood the fallen ministers with their bribes and their boroughs, ready to crush anyone who suggested that Byng was not the sole author of the loss of Minorca. There is, perhaps, no more conclusive example of the extent and diversity of Whig patronage than the tale of the gates of mercy being shut against Byng" (Dorn, p. 345).
In a sense, Byng's defeat was a help to the British cause. The Newcastle government fell, and William Pitt the Elder took over (Herman, p. 279; Dorn, p. 291, though Dorn, p. 345, notes that this was a temporary government; Pitt would not really gain control until later, in a sort of coalition in which he ran things and Newcastle handled patronage duties; cf. Borneman, p. 73). Pitt swept a lot of chaff out of the war departments, and went on to win the war. But it was too late for Byng (who probably would have been out of a job even if he had still been alive).
Keegan/Wheatcroft, p. 55, sum up the situation this way: "Byng was a victim of public hysteria and government cowardice. Walpole commented, "The persecution of his enemies, who sacrifice him for their own guilt and the rage of a blind nation, have called forth all my pity for him" (Herman, p. 281).
>>BIBLIOGRAPHY<<
Anderson: Fred Anderson, _Crucible of War: The Seven Years War and the Fate of Empire in British North America, 1754-1766_, 2000 (I use the 2001 Vintage Books edition)
Borneman: Walter R. Borneman, _The French & Indian War: Deciding the Fate of North America_, Harper Collins, 2006
Dorn: Walter L. Dorn, _Competition for Empire: 1740-1763_ (part of the "Rise of Modern Europe" series), 1940 (I use the 1963 Harper Torchbooks version with revised bibliography)
Herman: Arthur Herman, _To Rule the Waves_, Harper Perennial, 2004, 2005
Keegan: John Keegan, _The Price of Admiralty: The Evolution of Naval Warfare_, Penguin, 1988, 1990
Keegan/Wheatcroft: John Keegan and Andrew Wheatcroft, _Who's Who in Military History from 1453_, 1976, 1987 (I use the 1991 Promotional Reprint Company edition)
Mahan: Alfred Thayer Mahan, _The Influence of Sea Power Upon History 1660-1783_, 1890 (mine is a reprint edition, but -- astonishingly -- it does not say who is the modern publisher!)
Paine: Lincoln P. Paine, _Ships of the World_, Houghton Mifflin, 1997
File: GrD1140
===
NAME: Adventures of Sandy and Donald, The: see Crafty Wee Bony (File: GrD1151)
===
NAME: Advice to Girls: see On Top of Old Smokey (File: BSoF740)
===
NAME: Advice to Paddy
DESCRIPTION: "Paddy ... join with your protestant brother." "Your foes have long prided to see you divided." If together, your foes won't oppose you. "Then your rights will be granted"; "keep asunder ... you shall live and die slaves"
AUTHOR: Edward Lysaght (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: Ireland nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 40, "Advice to Paddy" (1 text, 1 tune)
NOTES: This is one of those sadly ironic songs: Most of the early Irish agitation for independence was led by Protestants (e.g. Wolfe Tone was Protestant). Their attempts at rebellion failed in no small part because the Catholic peasantry was indifferent. (Understandably, since their problems were with landlords; the English government had no direct impact on their hardscrabble lives).
If Moylan's dating is right, though, by the time this was written, the situation had changed. By the late nineteenth century, Britain would have been willing to grant Home Rule in some form -- but the idea always died due to the opposition of Irish Protestants, especially in Ulster. Those people, once at the heart of the rebellion, had by then started to cling to Britain as protection for their rights. - RBW
File: Moyl040
===
NAME: Advice to Sinners
DESCRIPTION: "Oh, Sinner, you'd better take heed to the Savior's word today. You will follow the Christian round and still you will not pray." "Your body has to lie in the ground." "When Gabriel sounds his trumpet, you'll be lost." You get the idea
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown)
KEYWORDS: religious death sin
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 64, "Advice to Sinners" (1 text)
Roud #7847
NOTES: Evidently the author, like so many other "hymn" writers, had read every verse in the Bible except those dealing with judgment ("Judge not, that you be not judged," Matt. 7:1, etc.), forgiveness ("For if you forgive others their trespasses, your heavenly Father will also forgive you, but if you do not forgive... neither will your Father forgive," Matt. 6:14-15, etc.), and punishment ("Let the one without sin cast the first stone", John 8:7). 
It never ceases to amaze me how many Bibles there are in the world with those verses left out. - RBW
File: Br3064
===
NAME: Advice to the Boys: see The Bald-Headed End of the Broom (File: FaE190)
===
NAME: Ae May Morning: see Tripping Over the Lea [Laws P19] (File: LP19)
===
NAME: Aeroplane Song, The: see The Heavenly Aeroplane (File: R660)
===
NAME: Afore Daylight
DESCRIPTION: The wife complains her husband urinates on the floor rather than in the chamber pot. He replies that his first wife allowed him to defecate in the bed.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: scatological husband wife
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman II, pp. 590-591, "Afore Daylight" (1 text)
File: RL590
===
NAME: African Counting Song
DESCRIPTION: "Ninni nonni simungi, Ninni nonni simungi, Ninni nonno sidubi sabadute simungi. Ninni nonni simungi, Ninni nonni simungi, Ninni nonno sidubi sabadute simungi."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: foreignlanguage nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 19, "African Counting Song" (1 text, 1 tune)
NOTES: Scarborough's informant claimed that this was a counting song from Africa, but if he gave either a translation or a reference to the *part* of Africa, Scarborough failed to record it.
I do note that there are five words. Given what it known about some African counting systems, this raises the possibility that they stand for "one," "two," "three," "four," and "many." But I frankly doubt the whole business. - RBW
File: ScaNF019
===
NAME: After Aughrim's Great Disaster
DESCRIPTION: ""After Aughrim's great disaster, When our foe in sooth was master," a few survivers escape and hope to continue the struggle. The survivors go their separate ways (perhaps into exile), wishing success to their king
AUTHOR: unknown
EARLIEST_DATE: 1962
KEYWORDS: battle death disaster rebellion Ireland separation
HISTORICAL_REFERENCES: July 12, 1691 - Battle of Aughrim. Decisive defeat of Irish Catholic forces
FOUND_IN: Ireland
REFERENCES: (1 citation)
PGalvin, pp. 17-18, "After Aughrim's Great Disaster" (1 text, 1 tune)
Roud #16907
CROSS_REFERENCES:
cf. " Sean a Duir a'Ghleanna" (form)
NOTES: The Battle of the Boyne in 1690 (for which see "The Battle of the Boyne (I)") marked the real end of Jacobite hopes; James II fled to the continent following that battle, the French reduced their already limited commitment, and William III (who had overthrown James) returned to Britain. (It didn't help that the remaining Irish leaders despised each other.)
Many Irish, however, continued in rebellion, retreating to Athlone and Limerick. The British command was turned over to General Ginkel (the "Dutchman" of the song), who captured Athlone on June 30. Most Irish leaders wanted to concentrate on a holding action at Limerick, but St Ruth, the French commander, wanted to fight. He picked a position at Aughrim and waited for Ginkel.
Aughrim was a near-fought thing, but when the English won, they won decisively. St Ruth was dead, Tyrconnell died in August, and only Limerick was left in Irish hands. Sarsfield (Patrick Sarsfield, Earl of Lucan c. 1655-1693), the last real Irish leader and the best soldier of the lot, decided to seek terms while he still had a bargaining position.
On October 3, an agreement was secured under which the rebels could either swear allegiance to William or go into exile. Although William's guarantees included religious freedom, many chose to leave their country. The flight of "The Wild Geese" was in many ways the worst disaster in Irish history to this time. The anniversary of Aughrim continues to be a bitter day in Irish memories.
Sarsfield, having done what he could, joined the French service, and was killed at the Battle of Landen in 1693.
Not everyone was impressed with Sarsfield, to be sure. R. F. Foster, _Modern Ireland 1600-1972_ Penguin, 1988, 1989, p. 
148, notes that he came to everyone's attention for his bravery at the Boyne, but adds that "He was celebrated for his bravery but was notoriously not very bright; jealousy aroused by the Sarsfield mystique exacerbated the indiscipline an dissensions that already rent the Jacobites. On the other hand, his inspirational leadership helped raise Irish morale...."
This should not be confused with the Honorable Emily Lawless's poem 'After Aughrim," for which see, e.g., Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 100-101. - RBW
File: PGa017
===
NAME: After the Ball
DESCRIPTION: A girl asks her uncle why he never married. He recalls the sweetheart he took to a ball. After leaving for a moment, he sees her kissing another man. He abandons her; years later, after she is dead, he learns that the other man was her brother
AUTHOR: Charles K. Harris
EARLIEST_DATE: 1892 (copyright)
KEYWORDS: love courting separation death abandonment
FOUND_IN: US(Ap)
REFERENCES: (7 citations)
Cambiaire, p. 105, "After the Ball" (1 text)
Spaeth-ReadWeep, pp. 169-175, "After the Ball, the Deluge" (1 text plus variants, 1 tune)
Geller-Famous, pp. 64-69, "After the Ball" (1 text, 1 tune)
Gilbert, pp. 260-262, "After the Ball" (1 text)
Silber-FSWB, p. 268, "After The Ball Is Over" (1 text)
Fuld-WFM, p. 87, "After the Ball"
DT, AFTRBALL* (UNFORTU6* -- a parody)
Roud #4859
RECORDINGS:
Fiddlin' John Carson, "After The Ball (Okeh 45669, c. 1933; rec. 1930)
Homer Christopher & Wife, "After the Ball" (OKeh 45041, 1926
Crockett's Kentucky Mountaineers, "After the Ball" (Brunswick 394, rec. 1929)
Vernon Dalhart, "After the Ball" (Columbia 15030-D, 1925) (Edison 51610 [as Vernon Dalhart & Co.], 1925)
Dixon Brothers, "After the Ball" (Montgomery Ward M-7577, 1938)
Tom Darby & Jimmie Tarlton, "After the Ball" (Columbia 15254-D, 1928)
Humphries Brothers, "After the Ball" (OKeh 45478, 1930)
Bradley Kincaid, "After the Ball" (Supertone 9648, 1930) (Conqueror 7984, 1932)
CROSS_REFERENCES:
cf. "After the War Is Over" (tune)
cf. "Tragic Romance" (plot)
cf. "Fatal Rose of Red" (theme)
SAME_TUNE:
After the War is Over (File: R855)
Poor Nellie (Pankake-PHCFSB, p. 143)
NOTES: Gilbert describes how Harris (at the time, according to Geller, an impoverished banjo teacher) wrote this song by blowing an actual incident all out of proportion (he saw a girl distressed at a fight with her lover, but there is no evidence that the quarrel ended their relationship).
The song was one of the most popular of its era; sales of the sheet music earned Harris $48,000 in just its first year in print. - RBW
File: SRW169
===
NAME: After the War Is Over
DESCRIPTION: "Angels are weeping o'er the foreign war... But still they are calling young men to war.... After the war is over, after the world's at peace, many a heart will be aching After the war has ceased. Many a home will be vacant, many a child left alone...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: war death derivative
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 855, "After the War is Over" (1 short text)
Roud #7530
CROSS_REFERENCES:
cf. "After the Ball" (tune)
File: R855
===
NAME: Afternoon Like This, An
DESCRIPTION: "An afternoon like this it was in tough old Cherokee An outlaw come a-hornin' in an' ask who I might be...." The singer boasts of Indians and outlaws in his background (e.g. Jesse James was his uncle), of learning to swear before learning to talk, etc.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Hoofs and Horns)
KEYWORDS: cowboy outlaw bragging family
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 35, "Cowboy Boasters" (5 texts, 2 tunes; this is the "E" text)
Roud #11217
File: FCW035E
===
NAME: Aged Indian, The (Uncle Tohido)
DESCRIPTION: A hunter, his wife, and his daughter live near Indians. One day, when the hunter is gone, an Indian comes and takes the child from the frantic mother. The child never returns, but teaches the Indian to love and revere the Bible
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: Indians(Am.) abduction Bible
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Belden, pp. 294-295, "Uncle Tahiah" (1 text)
LPound-ABS, 53, pp. 124-125, "The Aged Indian" (1 text)
Roud #6553
CROSS_REFERENCES:
cf. "The Fair Captive" (plot elements)
ALTERNATE_TITLES:
Uncle Tahia
NOTES: Your guess is as good as mine as to whether this is pro- or anti-Indian. - RBW
File: LPnd124
===
NAME: Aghaloe Heroes: see The Aughalee Heroes (File: Zimm098)
===
NAME: Agincourt Carol, The
DESCRIPTION: King Henry (V) travels to France "wyth grace and myght of chyvalry," captures Harfleur, and wins a great victory at Agincourt, "Wherfore Englonde may call and cry, 'Deo gracias (x2) anglia Rede pro victoria.'"
AUTHOR: unknown
EARLIEST_DATE: before 1500 (Bodleian MS Selden B. 26); hints in chronicles imply that it was sung at Henry V's return to England 1415/16
KEYWORDS: England France battle royalty
HISTORICAL_REFERENCES: 1413 - Accession of Henry V
Aug 11, 1415 - Invasion of France
Sept 22, 1415 - Surrender of Harfleur
Oct 25, 1415 - Battle of Agincourt. Henry V, outnumbered by about 10 to 1, defeats the French, inflicting casualties in the same 10:1 ratio
1422 - Death of Henry V
FOUND_IN: 
REFERENCES: (6 citations)
Percy/Wheatley II, pp. 29-31, "For the Victory at Agincourt" (1 text)
Stevick-100MEL 51, "(The Agincourt Carol)" (1 text)
Chappell/Wooldridge I, pp. 25-30, "The Song of Agincourt" (1 text, 1 tune)
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #2716
Noah Greenberg, ed., An Anthology of English Medieval and Renaissance Vocal Music, pp. 62-65 (1 text, 1 tune with harmonization)
DT, AGINCRT1*
ST MEL51 (Full)
CROSS_REFERENCES:
cf. "King Henry Fifth's Conquest of France" [Child 164] (subject)
ALTERNATE_TITLES:
For the Victory at Agincourt
NOTES: The Latin refrain means, "Thank God, England, for victory."
Henry V had a legitimate claim to the throne of France derived from his great-grandfather Edward III (whose mother had been a French princess). Under English law, he was rightful King of France (or would have been, were it not for the fact that Henry had cousins who were proper heirs to both the thrones of England and France. But that's another story).
The French, however, didn't want an English king, and eventually dredged up the "Salic Law" to prevent succession through the female line. Henry V's predecessors Richard II and the usurper Henry IV had been too busy to do anything about that, but Henry V had the leisure to invade France.
The invasion of 1415 was the first and most spectacular of Henry's campaigns. After taking Harfleur to give him a base in Normandy, he engaged in a great chevauchee (destructive raid in which he burned everything in his path).
The enraged French pursued, and even appeared at one point to have Henry trapped; he reportedly offered terms, which the French foolishly ignored (they thought ten to one odds in their favor were enough to win the day). Henry found a good position and waited for the French to show up. He then used his longbowmen to shatter their army. He proceeded to Calais to return his army to England and prepare his next campaign.
Henry reportedly forbade any musical odes to Agincourt, preferring to give credit to God. He got them anyway (though the clever author here never explicitly credits Henry).
For more historical background, see "King Henry Fifth's Conquest of France" [Child 164].
This, the most famous Agincourt piece, appeared very shortly after the campaign. Two copies survive, the more important being MS. Selden B.26 (Bodlian library, with music); the other is at Cambridge.
There is no evidence that this song ever entered oral tradition; it's almost unsingable. But the frequency with which it is quoted argues for its presence here.
Rosemary Hawley Jarman, _Crispin's Day: The Glory of Agincourt_, Little Brown, 1979, p. 191, suggests that the song is by John Lydgate -- but while Lydgate did write about Agincourt, there is no reason to think this is his work. Juliet Barker, _Agincourt_,2005 (I use the 2007 Back  Bay paperback edition), p. 361, suggests that this was "probably a production of Henry's own royal chapel or a religious house and has been preserved in ecclesiastical archives." She suggests that other Agincourt songs were written but are lost.
This song was designed for three voices (Barker, p. 360): two voices in unison singing the verses, with the opening line of the chorus sung by a single voice, then two voices in harmony for the second line, and the remainder sung with variations by all three voices.- RBW
File: MEL51
===
NAME: Agricultural Irish Girl, The
DESCRIPTION: Mary Ann Malone is a big, strong, agricultural Irish girl. At 17, she is not educated -- "doesn't speak Italian" -- but knows "all befits a lady." "She neither paints nor powders, and her figure is her own" She's aggressive. She will strike for her wages.
AUTHOR: J. F. Mitchell (words and music) (source: broadside, LOCSheet sm1885 05879)
EARLIEST_DATE: 1885 (broadside, LOCSheet sm1885 05879)
KEYWORDS: work humorous nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 66, "The Agricultural Irish Girl" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 244, "The Agricultural Irish Girl"
BROADSIDES:
LOCSheet, sm1885 05879, "Mary Ann Malone The Agricultural Irish Girl," Chas. D. Blake (Boston), 1885 (tune)
NOTES: The sheet music version takes place in New York. As O Lochlainn suspects, "probably American" - BS
File: OLcM066
===
NAME: Ah Roop Doop Doop
DESCRIPTION: "'Tis very well done, says Johnny Brown, Is this the way to London town? I'll stand you thus, I'll stand you by, Until you hear the watchman cry: A roop doop doop doop doodle doodle do, A roop doop doop doop doodle doodle do!"
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 448, "Ah Roop Doop Doop" (1 text)
Roud #7607
File: R448
===
NAME: Ah-Hoo-E-La-E
DESCRIPTION: Javanese sea shanty. "Ah hoo-e, la-e, ah hoo-e, la-e, ah-e, hoo-e, ah hoo-e, la-e ung!" Used as a hauling and loading shanty, with the pull on the syllable "Ung." 
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty foreignlanguage
FOUND_IN: Indonesia
REFERENCES: (1 citation)
Harlow, p. 115, "Ah-Hoo-E-La-E" (1 text, 1 tune)
NOTES: Harlow says he took it down from the coolies singing and can't vouch for the translation. - SL
File: Harl115
===
NAME: Ah, Smiler Lad
DESCRIPTION: The singer recalls to his horse Smiler how they had been laughed at by "yon muckle tearers frae Pitgair" before the ploughing match. "When the wark was a' inspeckit" they were best of sixty ploughs. He makes Smiler's bed and feeds him.
AUTHOR: John Sim (source: Greig #166, p. 2)
EARLIEST_DATE: 1909 (GreigDuncan3)
KEYWORDS: contest farming nonballad recitation horse
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #66, p. 2, ("Ah, Smiler lad, my trusty frien'") (1 text)
GreigDuncan3 425, "Ah, Smiler Lad" (1 text)
Roud #5942
NOTES: Greig: "... a ploughman's address to his horse when suppering him after a ploughing match. The match took place at Tyrie Mains about 1812, and the plouhgman in question was said to come from Rora. The piece is not a song, but it is so good and seasonable that we must try to find room for as much of it as possible." - BS
File: GrD3425
===
NAME: Ah! Si Mon Moine Voulait Danser!
DESCRIPTION: French: The young woman wants a monk (the word also means a spinning top) to dance. She offers him a cap, a gown, etc., then a psalter; he apparently refuses each. She says she would offer him more, but he has taken a vow of poverty
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: playparty clergy dancing foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (4 citations)
Fowke/Johnston, pp. 106-107, "Ah! Si Mon Moine Voulait Danser!" (1 text, 1 tune)
Fowke/MacMillan 40, "Ah! Si Mon Moine Voulait Danser!" 1 English & 1 French text, 1 tune)
Silber-FSWB, p. 327, "Ah! Si Mon Moine Voulait Danser!" (1 text)
ADDITIONAL: Grace Lee Nute, _The Voyageur_, Appleton, 1931 (reprinted 1987 Minnesota Historical Society), pp. 136-138, "Ah! Si Mon Moine Voulait Danser" (1 text plus English translation, 1 tune)
File: FJ106
===
NAME: Aiken Drum
DESCRIPTION: Aiken Drum lives in the moon, plays with a ladle, dresses in food including breeches of haggis bags. Willy Wood lives in another town, plays on a razor, eats Aiken Drum's clothes but chokes on the haggis bags
AUTHOR: unknown
EARLIEST_DATE: before 1863 (Halliwell)
KEYWORDS: clothes death food humorous talltale
FOUND_IN: 
REFERENCES: (4 citations)
Opie-Oxford2 7, "There was a man lived in the moon, lived in the moon, lived in the moon" (1 text)
Baring-Gould-MotherGoose #254, pp. 157-158, "(There was a man lived in the moon, lived in the moon, lived in the moon)"
Montgomerie-ScottishNR 97, "(There came a man to our town)" (1 short text)
DT, AIKDRUM* AIKDRUM3*
Roud #2571
NOTES: A haggis bag, I guess, would be a sheep's stomach lining. - BS
The dating on this song is a bit uncertain. The Opies apparently cite 1821 on the basis of Hogg's _Jacobite Relics_ -- but that is the other "Aikendrum" ("Ken ye how a Whig can fight, aikendrum, aikendrum). It is generally claimed that the word "Aikendrum" in that song is derived from the character in this, which would of course make this older -- but I know of no proof of that assertion. Hogg does quote a snippet of what appears to be this song, but the whole thing is awfully thin. - RBW
File: OO2007
===
NAME: Aikendrum
DESCRIPTION: "Ken ye how a Whig can fight?" The ballad gives examples that Whigs can't fight, that Sunderland, who had sworn to clear the land, cannot be found. The song imagines "the Dutchmen" drowned, Jacobite victory, and King James crowned.
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2)
KEYWORDS: rebellion Scotland humorous nonballad patriotic Jacobites
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Hogg2 7, "Aikendrum" (1 text, 1 tune)
DT, AIKNDRUM*
Roud #2571
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Aikendrum" (on SCMacCollSeeger01)
CROSS_REFERENCES:
cf. "Ye Jacobites By Name" (tune)
NOTES: Opie 7 quotes the first lines of this song noting that it is "a ballad about the opposing armies before the battle of Sheriffmuir (1715)." The Battle of Sheriffmuir took place November 13, 1715 between the Jacobites and Hanoverians. Told from the Jacobite viewpoint this song does not reflect the outcome of the battle. Both sides claimed victory in this biggest battle of the 1715 Jacobite uprising. - BS
The Digital Tradition lists this to the tune of "Captain Kidd." The two are related, I think, but Ewan MacColl's tune is shifted to minor and has other differences.
I suspect that the song may have been mistranscribed by Hogg. The first line was clearly heard as "Ken ye hoo a Whig can fight, Aikendrum, aikendrum." But "hoo" can be either "how" (as Hogg and the above description) or "who"; the latter makes more sense.
The song refers to "Sunderland," which on its face would appear to be Charles Spencer, Third Earl of Sunderland (1674-1722), a Whig politician who had been one of the leaders of the governments from 1706-1710, and who intrigued for high office under George I as well. In this period, though, he was Lord Lieutenant of Ireland and doing very little other than trying to get higher office out of George I.
It is generally agreed that "Sunderland" is in fact "Sutherland," a Hannoverian general in Scotland who was responsible for guarding Scotland but who was outmanuevered by the Jacobite Sir Donald MacDonald.
Not that the Jacobite success did much good. John Erskine, Earl of Mar (1675-1732), had been part of the government under Queen Anne, but was dismissed after George I took the throne in 1714. He finally cast his lot with the Jacobite forces, and commanded the rebels at Sheriffmuir, the great battle of the 1715 rebellion.
According to Christopher Sinclair-Stevenson, _Blood Royal: The Illustrious House of Hanover_ (Doubleday, 1980), p. 53, Sheriffmuir took place on a "bitterly cold day." The Jacobites had an overwhelming numerical advantage (usually listed as on the order of 9000 men to the Duke of Argyll's 3500 or so), but Mar had no idea what to do with his troops and the battle -- the only serious clash of the 1715 Jacobite rebellion -- was a tactical draw, with both armies gaining ground on the right and yielding it on the left. Mar, still possessed of his big numerical advantage, didn't even try to hold the field. He proceeded to wander around Scotland for a while, then fled into exile with the Old Pretender James (III).
As for James himself, he hadn't made it to Scotland at the time, and Susan Maclean Kybett (who is, to be sure, rather an anti-Stuart biographer) "wonders why James came to Scotland at all" (Kybett, _Bonnie Prince Charlie_, Dodd Mead, 1988, p. 16). She also notes that James came to be called "Old Mr. Melancholy" (which fits), adding that his presence largely quelled what enthusiasm for rebellion there remained. - RBW
Hogg2 credits Sir Walter Scott as provider of the clue that "Sunderland should have been written Sutherland... [The song] refers to the state of the Jacobite and Whig armies immediately previous to the battle of Sheriffmuir [November 13, 1715], and must have been a song of that period." Hogg then has the verse beginning "Donald's running round and round" refer to "Sir Donald MacDonald [who] came down from Sky[e], with 700 hardy islanders in his train; on which ... they chased Lord Sutherland's men to the hills." He has the verse beginning "Did you hear of Robin Roe" refer to Sir Robert Monroe "who was joined with Sutherland at that period." - BS
File: RcAikDr1
===
NAME: Aim Not Too High: see references under Fortune My Foe (Aim Not Too High) (File: ChWI076)
===
NAME: Aimee McPherson
DESCRIPTION: Aimee McPherson, radio evangelist, vanishes after a camp meeting; later claiming she was kidnapped. A grand jury investigation uncovers a "love-nest" at Carmel-by-the-Sea. She's jailed and bailed out; her paramour vanishes.
AUTHOR: Words: Unknown/Music: Cab Calloway
EARLIEST_DATE: 1961 (recording, Pete Seeger)
LONG_DESCRIPTION: Aimee McPherson, radio evangelist, vanishes after a camp meeting; upon returning, she claims she was kidnapped. A grand jury investigation uncovers a "love-nest" at Carmel-by-the-Sea, where "the dents in the mattress fitted Aimee's caboose." She's jailed and bailed out; her paramour vanishes. Last lines: "If you don't get the moral then you're the gal for me/'Cause there's still a lot of cottages down at Carmel-by-the-Sea"
KEYWORDS: sex abduction bawdy humorous clergy
HISTORICAL_REFERENCES: 1926 - The "disappearance" of Aimee Semple MacPherson
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 189, "Aimee McPherson" (1 text)
DT, AIMEEMC*
Roud #10296
RECORDINGS:
Pete Seeger, "Aimee McPherson" (on PeteSeeger39)
CROSS_REFERENCES:
cf. "The Hi-De-Ho Man" (tune)
ALTERNATE_TITLES:
Aimee Semple McPherson
The Ballad of Aimee McPherson
NOTES: The song tells the story pretty accurately. - PJS
Aimee Semple MacPherson (1890-1944) was truly larger than life. Born Aimee Kennedy, she married Robert Semple in 1908; he died in China on missionary work in 1910. In 1912 she married Harold MacPherson, whom she divorced in 1921. In 1918, she founded the Foursquare Gospel church (a Pentecostal sect which still exists, though it's not overly large). 1926 saw her disappearance. A third marriage failed in 1931. She died in 1944, of a heart attack or drug overdose. - RBW
File: FSWB189A
===
NAME: Ain' Go'n to Study War No Mo: see Down By the Riverside (Study War No More) (File: San480)
===
NAME: Ain' No Mo' Cane on de Brazos: see Ain't No More Cane on this Brazos (File: LxA058)
===
NAME: Ain' No Mo' Cane on dis Brazis: see Ain't No More Cane on this Brazos (File: LxA058)
===
NAME: Ain't Goin' to Worry My Lord No More: see Ain't Gonna Grieve My Lord No More (File: R300)
===
NAME: Ain't Going to Rain No More: see Ain't Gonna Rain No More (File: R557)
===
NAME: Ain't Gonna Grieve My Lord No More
DESCRIPTION: Chorus: "I ain't gonna grieve my Lord no more...." Verses give conditions for getting into heaven, e.g. "You can't get to Heaven on roller skates, You'll roll right by them pearly gates." Instructs the listener to help the singer get to heaven
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: religious clergy
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Randolph 300, "Oh You Caint Go to Heaven" (1 text)
BrownIII 549, "Ain't Goin' to Worry My Lord No More" (1 text, perhaps somewhat adapted (e.g. the second verse is "If you get there before I do... Punch a little hole and pull me through"), but too short and too similar to this to separate)
Silber-FSWB, p. 22, "Ain't Gonna Grieve My Lord No More" (1 text)
Pankake-PHCFSB, pp. 82-84, "I Ain't Gonna Grieve My Lord No More" (1 text, 1 tune -- probably composite, though the conflation may be the work of the informant rather than the Pankakes)
DT, GRIEVLD
Roud #12801
RECORDINGS:
Commonwealth Quartet, "I Ain't Gonna Grieve" (Conqueror 7079, 1928)
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "I Ain't Gonna' Grieve My Lord Anymore" (Champion 15812 [as by Jim Taylor and Bill Shelby]/Supertone 9494 [as by  Jordan & Rupert]/Conqueror 7277, 1929)
File: R300
===
NAME: Ain't Gonna Let Nobody Turn Me Round: see Keep On a-Walking (Ain't Gonna Let Nobody Turn Me Round) (File: SBoA374)
===
NAME: Ain't Gonna Rain No More
DESCRIPTION: Verses held together by the refrain, "It ain't gonna rain no more." (Either between lines or as a standalone chorus). Examples: "What did the blackbird say to the crow? It ain't gonna...." "We had a cat down on our farm; it ate a ball of yarn...."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: nonsense nonballad animal
FOUND_IN: US(MW,SE,So)
REFERENCES: (8 citations)
Randolph 557, "Ain't Going to Rain No More" (1 short text, 1 tune); also perhaps 275, "The Crow Song" (the "D" fragment might be this piece)
Randolph/Cohen, pp. 409-410, "Ain't Going to Rain No More" (1 text, 1 tune -- Randolph's 557)
BrownIII 430, "Ain't Gonna Rain No More" (5 short texts)
Scarborough-NegroFS, p. 107, "'Tain't Gwine Rain No Mo'" (1 text, 1 tune); also p. 108 (no title) (1 text; the chorus at least goes here though the verses may be from a rabbit-hunting song)
Sandburg, p. 141, "Ain't Gonna Rain" (1 short text, 1 tune)
Scott-BoA, pp. 212-213, "T'ain't Gonna Rain No Mo'" (1 text, 1 tune)
Fuld-WFM, p. 307, "It Ain't Gonna Rain No Mo'"
DT, AINTRAIN
Roud #7657
RECORDINGS:
Al Bernard, "It Ain't Gonna Rain No Mo'" (Puritan 11305, 1923)
[Al] Bernard & [Frank] Ferera, "It Ain't Gonna Rain No Mo'" (Cameo 487, 1924)
Fiddlin' John Carson, "It Ain't Gonna Rain No Mo'" (OKeh 40204, 1924)
Ed Clifford [pseud. for Vernon Dalhart], "It Ain't Gonna Rain No Mo'" (Bell P-279, 1924)
Wendell Hall, "It Ain't Gonna Rain No Mo'" (Victor 19171, 1923) (Edison 51261, 1923)  (Gennett 5271, 1923) (CYL: Edison [BA] 4824, n.d.)
Ernest Hare, "It Ain't Gonna Rain No Mo'" (OKeh 40140, 1924)
[Billy] Jones & [Ernest] Hare "It Ain't Gonna Rain No Mo'" (Columbia 87-D, 1924) (Edison 51430, 1924) (CYL: Edison [BA] 4935 [as "It Ain't Gonna Rain No More"], n.d.).
Gid Tanner & his Skillet Lickers, "It Ain't Gonna Rain No Mo'" (Columbia 15447-D, 1929)
Tune Wranglers, "It Ain't Gonna Rain No Mo'" (Bluebird B-7272, 1937)
CROSS_REFERENCES:
cf. "Ain't No Bugs on Me" (tune, structure)
cf. "Ain't Got to Cry No More"
SAME_TUNE:
The States Song ("What Did Io-way?") (Pankake-PHCFSB, pp. 206-207)
NOTES: A popular version of this piece was published in 1923 as by Wendell W. Hall. Even the cover, however, admits that it was an "old southern melody" -- and since we have traditional versions at least from 1925, there is little doubt that the song is traditional. - RBW
File: R557
===
NAME: Ain't Gonna Study War No More: see Down By the Riverside (Study War No More) (File: San480)
===
NAME: Ain't Got No Place to Lay My Head
DESCRIPTION: "Ain't got no place to rest my head, Oh baby..." "Steamboat done put me out of doors..." "Steamboat done left me and gone." "Don't know what in this world I'm going to do." "Sweetheart's done quit me and he's gone." "Out on the cold frozen ground"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river work unemployment home separation
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 80-81, "Ain't Got No Place to Lay My Head" (1 text, 1 tune)
Roud #10027
File: MWhee080
===
NAME: Ain't Got to Cry No More
DESCRIPTION: "AInt got to cry no more (x2), Blackberries growin' round mah cabin door; Ain't got to cy no more." "I ain't got to cry no more... Pickaninnies rollin' on mah cabin door (sic.)." "Ain't got to cry no more... Possum gittin' fat behin' my cabin door."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: nonballad animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 431, "Ain't Got to Cry No More" (1 text)
Roud #11774
CROSS_REFERENCES:
cf. "Ain't Gonna Rain No More"
File: Br3431
===
NAME: Ain't Gwine to Work No More
DESCRIPTION: "Ain't gwin to work no more, Labor is tiresome shore, Best occupation am recreation, Life's mighty short, you know.... Peter won't know if you're rich or poor, So I ain't gwin to work no more." The singer asserts they need not worry about the future
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work money
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 234, (no title) (1 short text)
File: ScNF234A
===
NAME: Ain't It a Shame: see It's A Shame to Whip Your Wife on Sunday (File: CSW078)
===
NAME: Ain't It Great to Be Crazy?
DESCRIPTION: Nonsense with chorus: "Boom, boom, ain't it great to be crazy (x2), (Silly and foolish) all day long, Boom, boom...." Example: Way down where the bananas grow, A flea stepped on an elephant's toe... Why don't you pick on someone your own size?"
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: nonsense humorous animal nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 192, "Ain't It Great to Be Crazy" (1 text)
DT, GRTCRAZY*
Roud #15691
File: DTgrtcra
===
NAME: Ain't It Hard to Be a Nigger: see Hard to Be a Nigger (File: LxA233)
===
NAME: Ain't No Bugs on Me
DESCRIPTION: Nonsense and topical verses; "The night was dark and drizzly/The air was full of sleet/The old man joined the Ku Klux/And Ma she lost her sheet"; Chorus: "There ain't no bugs on me (x2)/There may be bugs on some of you mugs/But there ain't no bugs on me."
AUTHOR: assembled by Fiddlin' John Carson
EARLIEST_DATE: 1928 (recording, Fiddlin' John Carson)
LONG_DESCRIPTION: Nonsense and topical verses; "The night was dark and drizzly/The air was full of sleet/The old man joined the Ku Klux/And Ma she lost her sheet"; "Billy Sunday is a preacher/His church is always full/For the neighbors gather from miles around/To hear him shoot the bull"; "The monkey swings by the end of his tail/And jumps from tree to tree/There may be monkey in some of you guys/But there ain't no monkey in me." Chorus: "There ain't no bugs on me (2x)/There may be bugs on some of you mugs/But there ain't no bugs on me."
KEYWORDS: humorous nonballad nonsense bug
FOUND_IN: 
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 226, "Ain't No Bugs on Me" (1 text, 1 tune)
Silber-FSWB, p. 244, "There Ain't No Bugs On Me" (1 text)
DT, AINTNOBG*
Roud #17569
RECORDINGS:
Fiddlin' John Carson, "Ain't No Bugs on Me" (OKeh 45259, 1928)
Fiddlin' John Carson & Moonshine Kate, "Ain't No Bugs on Me" (Bluebird 5652, 1934)
New Lost City Ramblers, "Ain't No Bugs on Me" (on NLCR06) (NLCR16)
CROSS_REFERENCES:
cf. "It Ain't Gonna Rain No Mo'" (tune, structure)
cf. "Jordan is a Hard Road to Travel" (words)
cf. "The Barefoot Boy with Boots On" (floating lyrics)
NOTES: In the 1920s, the Ku Klux Klan attained great influence in the Southeast and Midwest; it took a certain courage to make fun of them in public. Also in the 1920s, the Scopes trial turned Darwinian biology into a courtroom circus; Carson vents anti-evolution sentiments in the "monkey" verse. And Billy Sunday was a popular evangelist of the time. - PJS
This seems to be a modification of "It Ain't Gonna Rain No More," with topical and floating verses inserted by Carson. The resulting song may have gone into oral tradition due to its use in camps.
Incidentally (and not too surprisingly, considering), the bit about humans and monkeys is wrong. While neo-Darwinism does posit that humans are descended from apes, and from monkey-like creatures before that, we are not descended from any living ape species, nor indeed any living monkey. Rather, humans are descended from a sort of proto-ape, which was descended from a proto-primate somewhat like a monkey. According to Richard Dawkins, _The Ancestor's Tale_, Mariner, 2004, p. 137, the last monkeys split from the ape lineage about 25 million years ago, and the earliest split from monkeys was some 40 million years ago (p. 141). The oldest surviving monkey species that still exist are thought to be some 15 million years old. Thus there are a total of some 35 million years of evolution separating us from the existing monkey most closely related to humans. Note that apes aren't monkeys either. Not that that would satisfy an I-don't-do-science type.... - RBW
File: CSW226
===
NAME: Ain't No Grave Can Hold My Body Down
DESCRIPTION: Singer has heard of a city with streets of gold. He has found a throne of grace. Jesus, on the cross, tells his disciples to take his mother home. Cho: "When the high trumpet sounds/I'll be getting up, walking around/Ain't no grave can hold my body down"
AUTHOR: unknown
EARLIEST_DATE: 1942 (recording, Bozie Sturdivant)
LONG_DESCRIPTION: Singer has heard of a beautiful city -- heaven -- with streets paved with gold. He has found a throne of grace, "it will 'point my soul a place." Jesus, hanging on the cross, hears Mary moan. He tells his disciples to take his mother home; singer laments the crucifixion of Jesus. Ch.: "When the high trumpet sounds/I'll be getting up, walking around/Ain't no grave can hold my body down"
KEYWORDS: death dying Bible religious mother Jesus
FOUND_IN: US(SE)
REFERENCES: ()

Roud #12182
RECORDINGS:
Caudill Family, "Ain't No Grave Gonna Hold My Body Down" (Champion 902, n.d.)
Brother Claude Ely, "There Ain't No Grave Gonna Hold This Body Down" (King 1311, 1954) [he may have also recorded it in 1947]
Bozie Sturdivant, "Ain't No Grave Can Hold My Body Down" (AFS 6639 B1, 1942; on LC10, LCTreas)
NOTES: This is very close to being a nonballad, but there's just enough narrative in the second verse for it to squeak in. It's also one of the masterpieces of the human spirit. - PJS
The reference to the (beloved) disciple caring for Mary mother of Jesus is to John 19:26-27, "When Jesus saw his mother... he said to the [beloved] disciple, 'See! Your mother.' And from then on the disciple took her to his own home." - RBW
File: RcANGCHM
===
NAME: Ain't No More Cane on this Brazos
DESCRIPTION: The singer remarks, "There ain't no more cane on this Brazos, oh-oh-oh; They done ground it all down to molasses, oh-oh-oh." He describes the dreadful conditions faced by the prisoners and wishes he could escape such horrors
AUTHOR: unknown
EARLIEST_DATE: 1934 (field recording)
KEYWORDS: prison abuse punishment death
FOUND_IN: US(So)
REFERENCES: (9 citations)
Scott-BoA, pp. 305-306, "No More Cane on this Brazos" (1 text, 1 tune)
Lomax-FSUSA 92, "Ain't No Mo' Cane on dis Brazis" (1 text, 1 tune)
Lomax-ABFS, pp. 58-59, "Ain' No Mo' Cane on de Brazos" (1 text, 1 tune)
Arnett, p. 144, "No More Cane on This Brazos" (1 text, 1 tune)
Courlander-NFM, pp. 132-133, (no title) (1 text, heavily modified to produce a blues feel)
Jackson-DeadMan, pp. 77-75, "Should A Been on the River in 1910" (1 text, 1 tune; the first verse, about driving women and men alive, is from this song or "Go Down, Old Hannah", but the remainder is a separate piece); pp. 130-132, "No More Cane on the Brazos/Godamighty" (1 text, 1 tune, a mixture of this with another song Jackson calls "Godamighty" though it has almost no lyric elements in common with "Godalmighty Drag")
Darling-NAS, pp. 326-327, "No More Can on this Brazos" (1 text)
Silber-FSWB, p. 65, "Ain't No More Can On This Brazos" (1 text)
DT, CANEBRAZ*
Roud #10063
RECORDINGS:
 Mose "Clear Rock" Platt, "Ain' No More Cane on the Brazos" (AFS 2643 B1, 1939)
CROSS_REFERENCES:
cf. "Go Down, Old Hannah"
cf. "Oughta Come on the River"
cf. "Should A Been on the River in 1910" (lyrics)
NOTES: The amount of common material in this song and "Go Down, Old Hannah" makes it certain they have cross-fertilized. They may be descendants of a common ancestor. But the stanzaic forms are different, so I list them separately. - RBW
File: LxA058
===
NAME: Ain't No Use O' My Workin' So Hard: see Ain't No Use Workin' So Hard (File: DarNS329)
===
NAME: Ain't No Use Workin' So Hard
DESCRIPTION: "Ain't no use of my workin' so hard, darlin' (x2), I got a gal in the (rich/white) folks' yard, She kill me a chicken, She bring me the wing, Ain't I livin' on an easy thing..." "She thinks I'm workin', I'm layin' in bed...."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: work food floatingverses
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Colcord, p. 185, "In De Mornin'" (1 short text, 1 tune)
BrownIII 478, "You Shall Be Free" (1 text, with three verses of this plus one apparent floater and the "Oh, nigger, you shall be free" chorus)
Scarborough-NegroFS, p. 235, "Ain't No Use O' My Workin' So Hard" (1 text, 1 tune; also as a floating verse in the song preceding this one; see also the fragment following) also p. 236, (no title) (1 fragment)
Darling-NAS, pp. 328-329, "Ain't No Use Workin' So Hard" (1 text);
RECORDINGS:
Carolina Tar Heels, "There Ain't No Use Working So Hard" (Victor 20544, 1927)
CROSS_REFERENCES:
cf. "Sugar Babe (III)" (lyrics)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (lyrics)
cf. "Dat's All Right" (lyrics)
cf. "Tell Old Bill" (structure, refrain)
cf. "Cocaine (The Furniture Man)" (lyrics)
NOTES: This is a floating fragment which often joins songs such as the "Talking Blues," "You Shall Be Free," and perhaps "Raise a Ruckus." But it's here because it apparently exists on its own also. - RBW
Yep -- see the Carolina Tar Heels' recording, for one example. - PJS
File: DarNS329
===
NAME: Air Force Alphabet
DESCRIPTION: "A is for those Air Force boys, with hearts so brave and true ... Z is for ... Of all the letters in my song the one that beats them all Is V for Victory, the letter that won't let the old flag fall"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: nonballad wordplay
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 67, "Air Force Alphabet" (1 text, 1 tune)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: Leach-Labrador: "composed in the Canadian Air Force during World War II." - BS
File: LLab067
===
NAME: Airy Bachelor, The (The Black Horse)
DESCRIPTION: The singer warns all bachelors against his mistake. He wanders into town and meets a sergeant, who asks him to enlist. At first he refuses, but the soldier wears him down; at last he accepts. He bids farewell to home, family, and girl
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian Harding B 11(816))
KEYWORDS: soldier drink separation bachelor
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H586, p. 80, "The Black Horse" (1 text, 1 tune)
OLochlainn 17, "The Black Horse" (1 text, 1 tune)
McBride 8, "The Black Horse" (1 text, 1 tune)
Hayward-Ulster, pp. 58-60, "The Airy Bachelor" (1 text)
Roud #3027
BROADSIDES:
Bodleian, Harding B 11(816), "The Black Horse," T. Pearson (Manchester), 1850-1899; also 2806 b.9(231), 2806 c.8(141), Harding B 19(8), 2806 c.15(181), 2806 c.8(276), 2806 b.11(12)[some words missing], Harding B 26(60)[lines missing], "The Black Horse"
CROSS_REFERENCES:
cf. "Cashelnagleanna" (tune)
NOTES: Sam Henry gives a brief history of the Black Horse, the regiment named in the song, which was raised in 1688 as the Earl of Devonshire's Horse. Henry reports that it fought at the Boyne, though this is not listed among its battle honours.
It was formally recognized for its part at Blenheim, Ramillies, Oudenarde, Malplaquet, Dettingen, Warburg, various colonial affairs, and finally the First World War, where it fought from 1914 to 1918 (including the Somme and Cambrai). The regiment became the Princess Royal's Own (7th Dragoon Guards) in 1788. The regiment's separate history ended in 1922 when it was combined with the 4th Royal Dragoon Guards; the unit is now the 4th/7th Royal Dragoon Guards, and no longer has the Princess Royal as its honorary colonel. - RBW
File: HHH586
===
NAME: Al Bowen: see The Wreck at Maud (Al Bowen) (File: LSRa272H)
===
NAME: Alabama: see John Cherokee (File: Hugi439)
===
NAME: Alabama Bound (I) (Waterbound II)
DESCRIPTION: "Oh, the boat's up the river And the tide's gone down; I believe to my soul She's (Alabama/water) bound." Lovers are reunited by boat and train, Alabama bound. The Arctic explorer Cook is also mentioned as being Alabama bound to escape the cold.
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Charlie Jackson)
KEYWORDS: home return love separation floatingverses
HISTORICAL_REFERENCES: 1776-1779 - Third and last exploratory voyage of Captain Cook, which in 1778 explored the Arctic Ocean north of Siberia and Alaska
1908 - Dr. Frederick Cook claims to reach the North Pole
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Botkin-MRFolklr, p. 598, "Alabama Bound" (1 text, 1 tune)
MWheeler, pp. 27-28, "I'm the Man That Kin Raise So Long" (1 text, 1 tune); p. 53, "Ferd Harold Blues" (1 text, 1 tune); pp. 113-114, "Big Boat's Up the Rivuh" (1 text, 1 tune)
Scarborough-NegroFS, p. 236, (no title) (1 text, which appears more a collection of blues stanzas than an actual song, but verses from songs such as "Boat's Up the River" and "I Got a Gal in de White Folks' Yard")
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "The Boat's Up the River" (AFS 3979 B3, 1940)
Delmore Brothers, "I'm Alabama Bound" (Bluebird B-8264, 1939)
Roscoe Holcomb, "Boat's Up the River" (on Holcomb1, HolcombCD1)
Charlie Jackson, "I'm Alabama Bound" (Paramount 12289, 1925)
CROSS_REFERENCES:
cf. "Train That Carried My Girl from Town" (floating verses)
NOTES: Not to be confused with the Lead Belly song "Alabama Bound." - RBW
I assign the Holcomb recording to "Alabama Bound (I)" reluctantly, and for want of a better place to put it. He sings the same first verse (with "waterbound" rather than "Alabama bound"); the rest of the song is composed of floating blues verses. - PJS
That seems to be pretty typical, actually. This isn't so much a song as a first verse, a tune, and a bluesy feel. Wheeler's three assorted texts  are examples of the same phenomenon, and Scarborough's has the one verse and four other unrelated blues verses. - RBW
There is also a popular song, "Alabamy Bound," with words and music by Bud De Sylva, Bud Green, and Ray Henderson, published in 1925. As far as I can determine, it's not related to this song. - PJS
There is an interesting problem here in figuring out who is meant by the reference to the Arctic explorer Cook. The Botkin text, from Coleman and Bregman, reads
Doctuh Cook's in town,
Doctuh Cook's in town,
He foun' de No'th Pole so doggone cole
He's Alabama boun'.
This version comes from a book copyright 1942.
But there are two Cooks who explored the Arctic. Admittedly only one was entitled to be called "Doctor," but in the time of the first Cook, the term was used rather more loosely.
Captain James Cook (1728-1779) explored the Labrador and Newfoundland areas in the 1760s, and the Alaskan and Siberian coasts on his last voyage (1776-1779) -- though of course never came anywhere near the North Pole; he only briefly made it above 70 degrees north. Still, his penetration of the Bering Strait in 1778 brought him north of the Arctic Circle and opened the way for exploration of Alaska's North Shore; it was the "Farthest North" in that part of the world for many years, and it would be half a century before anyone made it much north of that mark in any part of the world. Thus it is reasonable to refer to Cook as at leasts approaching the North Pole.
Cook had aslo explored the Antarctic on his previous voyage (1772-1775); that probably brought back more useful information than the third voyage. It wasn't the Arctic, of course, but it was at least as cold. And he lived through it.
On the other hand, Dr. Frederick Cook (who was in fact a medical doctor) made several visits to the Arctic, and in 1908 claimed that he and two Eskimos had reached the North Pole. His claim was subjected to much question (see the notes to "Hurrah for Baffin's Bay"), and is probably to be rejected. He nonetheless ended up as something of a nine day wonder; we have to guess whether his brief fame, or Captain Cook's enduring fame, is more likely to have inspired this song. This would obviously be easier if we had more and better texts of the relevant verse.  - RBW
File: BMRF598
===
NAME: Alabama Bound (II)
DESCRIPTION: "I'm Alabama bound, I'm Alabama bound/And if the train don't stop and turn around/I'm Alabama bound"; "Don't you leave me here... If you must go... leave me a dime for beer"; "Don't you be like me... You can drink... sherry wine and let the whiskey be."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax), but elements at least were part of the 1925 Trixie Smith recording
KEYWORDS: nonballad floatingverses train travel drink abandonment
FOUND_IN: US(So)
REFERENCES: (8 citations)
Lomax-ABFS, pp. 206-209, "Alabama-Bound" (1 text, 1 tune, probably composite)
MWheeler, pp. 54-55, "I'm Alabama Bound" (1 text, 1 tune)
BrownIII 237, "If the Seaboard Train Wrecks I Got a Mule to Ride" (1 4-line text with lyrics seemingly from three different songs, but filed here because of the final line)
Scarborough-NegroFS, pp. 213-214, "Shine Reel" (1 fragment, 1 tune, mentioning being "Alabama Bound" but also mentioning some being on a boat that sank, so it might be part of "Shine and the Titanic")
Cohen-LSRail, pp. 450-451, "Railroad Blues (I)" (1 text, 1 tune, which Cohen apparently considers a separate song by Trixie Smith, but her song seems to have no independent circulation and shares enough lyrics with this piece that I file it here, particularly since the change in tune might be due to the jazz arrangement)
PSeeger-AFB, p. 44 "Alabama Bound" (1 text, 1 tune)
Silber-FSWB, p. 47, "Alabama Bound" (1 text)
DT, ALABOUND*
Roud #10017
RECORDINGS:
Pete Seeger, "Alabama Bound" (on PeteSeeger18) (on PeteSeeger22) (on PeteSeeger43)
Trixie Smith, "Railroad Blues" (Paramount 12262, 1925)
CROSS_REFERENCES:
cf. "Don't You Leave Me Here" (lyrics)
NOTES: This should not be confused with "Alabama Bound (I)." - PJS
Norm Cohen tells Paul Stamler that "Don't You Leave Me Here," a song sung by Jelly Roll Morton, not only shares lyrics with but is a version of this song. In the absence of a definitely traditional version of the latter, we leave the question open. - (PJS, RBW)
There is also a popular song, "Alabamy Bound," with words and music by Bud De Sylva, Bud Green, and Ray Henderson, published in 1925. As far as I can determine, it's not related to this song. - PJS
File: PSAFB044
===
NAME: Alabama Flood, The
DESCRIPTION: A man on the levee warns that a flood is coming. A few are killed; those who have lost loved ones and homes mourn. The singer asks for a helping hand. Ch.: "Down in Alabama/In the water and the mud/Many poor souls are homeless from the Alabama flood"
AUTHOR: listed as "Waite" on some recordings
EARLIEST_DATE: 1929 (recordings, Vernon Dalhart & Andrew Jenkins)
KEYWORDS: grief death river disaster flood
HISTORICAL_REFERENCES: Feb.-March 1929: Heavy rains cause floods in Alabama that leave 15,000 homeless
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Vernon Dalhart, "Alabama Flood" (Columbia 15386-D/Harmony 879-H [as Mack Allen], 1929)
Blind Andy [pseud. for Andrew Jenkins], "Alabama Flood" (OKeh 45319, 1929)
Frank Luther, "The Alabama Flood" (Banner 6369/Conqueror 7346/Challenge 812, 1929)
NOTES: It is a measure of how quickly the music industry operated that the Alabama flood of 1929 reached the peak of its damage on March 15; on March 21 Andy Jenkins and Vernon Dalhart were in the studios recording a song about it, and within a few weeks the records were on sale. - PJS
File: RcAlaFl
===
NAME: Alabama John Cherokee: see John Cherokee (File: Hugi439)
===
NAME: Alabama, The: see Roll, Alabama, Roll (File: Doe035)
===
NAME: Alan Bain: see The Murder of Alan Beyne (File: MA243)
===
NAME: Alan Bane: see The Murder of Alan Beyne (File: MA243)
===
NAME: Alan Maclean
DESCRIPTION: Singer goes to Aulton college; at a wedding, he and Sally Allen go off into the broom. Her father demands his expulsion; the Regent grants it. The singer joins the navy, and bids farewell to Aulton, vowing that if he ever returns he will marry Sally
AUTHOR: unknown
EARLIEST_DATE: 1963 (collected from Charlotte Higgins)
KEYWORDS: courting seduction sex travel ship father lover
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 82, "Alan Maclean" (1 text, 1 tune)
Roud #2511
ALTERNATE_TITLES:
The Minister's Son
File: McCST082
===
NAME: Alarmed Skipper, The (The Nantucket Skipper)
DESCRIPTION: Claims that Nantucket skippers were able to tell where their ships are by tasting the sounding lead. A sailor plays a trick by running the lead through a box of parsnips; the skipper thinks that Nantucket has sunk and they're sailing over a garden.
AUTHOR: James Thomas Fields
EARLIEST_DATE: 1845 (_Scientific American_)
KEYWORDS: talltale ship trick gardening humorous
FOUND_IN: US
REFERENCES: (3 citations)
Harlow, pp. 192-194, "The Nantucket Skipper" (1 text)
Shay-SeaSongs, pp. 198-199, "The Nantucket Skipper" (1 text)
ADDITIONAL: Scientific American, volume 1, number 4 (1845), "The Ballad of the Alarmed Skipper" (1 text)
Roud #9172
ALTERNATE_TITLES:
The Ballad of the Alarmed Skipper
NOTES: Definitely not a folk song; it's included in a couple of song collections as a gag. But it is a popular poem; _Granger's Index to Poetry_ lists the piece in three anthologies apart from Shay, and I have seen it in at least two other books besides those four. - RBW
File: ShaSS198
===
NAME: Albany Jail, The: see Sault Ste. Marie Jail, The (The Albany Jail) (File: FSC168)
===
NAME: Alberta: see Alberta, Let Your Hair Hang Low (File: BMRF576)
===
NAME: Alberta Homesteader, The: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Alberta, Let Your Hair Hang Low
DESCRIPTION: Alberta is asked to let her hair hang low, to say what's on her mind, and not to treat the singer unkind. AABA verses: "Alberta, let your hair hang low (x2), I'll give you more gold than your apron will hold, If you'll just let your hair hang low."
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: love hair nonballad
FOUND_IN: US(So)
REFERENCES: (5 citations)
Jackson-DeadMan, pp. 76-77, "Roberta" (1 text, 1 tune, clearly this song though it is the moan of a prisoner dreaming of escape so he can see his girl)
Botkin-MRFolklr, p. 576, "Alberta, Let Yo' Hair Hang Low" (1 text, 1 tune)
MWheeler, pp. 85-87, "Alberta, Let Yo' Hair Hang Low" (1 text, 1 tune)
Silber-FSWB, p. 74, ""Alberta (1 text)
DT, ALBRTA
Roud #10030
CROSS_REFERENCES:
cf. "It Makes a Long-Time Man Feel Bad" (lyrics)
File: BMRF576
===
NAME: Albertina
DESCRIPTION: Shanty. "Albertina says the story, Albertina's all for glory, Albertina that was the schooner's name, Pump 'er dry." Verses describe loading the ship, sailing away, getting stranded and sinking. Last verse has a maiden weeping for her lost lover.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
KEYWORDS: shanty ship wreck
FOUND_IN: Scandinavia Britain Germany
REFERENCES: (2 citations)
Hugill, pp. 327-330, "Albertina" (3 texts [English and Swedish], 2 tunes) [AbrEd pp. 245-246]
DT, ALBRTINA
ALTERNATE_TITLES:
Skonnert Albertina
NOTES: Norwegian origin, migrated and translated into Swedish, German, English (at least). - SL
File: Hugi327
===
NAME: Albury Ram, The: see The Derby Ram (File: R106)
===
NAME: Alderman of the Ward
DESCRIPTION: Singer says he used to be a street laborer, but he's come up in the world: he's now alderman of the ward and his daughter's well-dressed, to boot. He brags of the trappings of his improved situation and invites the listener to be his guest
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Warde Ford)
KEYWORDS: pride work political children
FOUND_IN: US(MW)
REFERENCES: ()

Roud #15471
RECORDINGS:
Warde Ford, "Alderman of the ward" (AFS 4209 A3, 1939; in AMMEM/Cowell)
NOTES: We have no keyword for "politician"!
Irish immigrant politicians controlled many city machines in the 1800s and 1900s. - PJS
File: RcAotW
===
NAME: Alderman's Lady, The
DESCRIPTION: An elderman promises a girl gifts in exchange for her love. She rejects him because he might reject her and their baby. He promises that he would take her to her mother and smother the baby. She refuses and he marries her.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: marriage sex mother
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 783-784, "The Elderman's Lady" (1 text, 2 tunes)
Roud #2533
NOTES: Peacock points out that "elderman" may be "alderman" [so, in fact, several British versions - RBW] and that "in former times aldermen had much higher rank than they do nowadays and were often governors of whole districts or members of nobility." - BS
To back this up, "alderman" is derived from Old English "ealdorman," not related to Old English eorl="earl" but often confused with it; an ealdorman was a local governor or viceroy. - RBW
File: Pea783
===
NAME: Ale and Tobacco: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: Ale-Wife and Her Barrel, The
DESCRIPTION: Singer's wife is an ale-seller and drunkard. She goes to market with her barrel; all know that he can't keep her out among men. Chorus: "The ale-wife, the drunken wife/The ale-wife she deaves me/My wifie wi' her barrelie/She'll ruin and she'll leave me"
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: marriage abandonment commerce drink nonballad wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
MacSeegTrav 110, "The Ale-Wife and her Barrel" (1 text, 1 tune)
GreigDuncan3 555, "The Ale-Wife" (2 texts)
Roud #6031
ALTERNATE_TITLES:
The Ale-Wife, the Drunken Wife
NOTES: Despite its long history, this song does not seem to have spread outside Aberdeenshire. - PJS
File: McCST110
===
NAME: Ale-Wife, The: see The Ale-Wife and Her Barrel (File: McCST110)
===
NAME: Alec Robertson (I)
DESCRIPTION: Arthur Nolan rides his horse Sulphide in the Sydney Steeplechase. The horse stumbles; Nolan is thrown off and trampled to death. Various people grieve and regret what happened.
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: death horse family mother racing grief
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 65-66,  "Arthur Nolan"; 150, "The Death of Alec Robertson" (2 texts, 1 tune)
Fahey-Eureka, pp. 220-221, "The Death of Alec Robertson" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "Tom Corrigan (theme)
cf. "The Death of Alec Robertson" (theme)
cf. "Alec Robertson (II)" (theme)
NOTES: The fullest text of this song seems to be the one Meredith and Anderson call "Arthur Nolan." However, there are two other variants which refer to the jockey as Alec Robertson, so it seems appropriate to give the song that title.
The characteristic feature of this song, and the one that connects the Arthur Nolan and Alec Robertson texts, is the reference to the jockey's mother: "Poor lad, his mother was not there To bid him last goodbye, But his stable-mate stood near With sad tears in his eye." - RBW
File: MA065
===
NAME: Alec Robertson (II)
DESCRIPTION: "Oh, the hobby of Australian boys Is jockeying to be, To mount a horse and scale the course No danger do they see." The usual story: Robertson races, is thrown from his horse, bids farewell to all, and dies
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: horse racing death mother
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 146, "The Jockey's Lament"; p. 151, "Alec Robertson" (2 texts, 1 tune)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "Tom Corrigan (theme)
cf. "The Death of Alec Robertson" (theme)
cf. "Alec Robertson (I)" (theme)
File: MA146
===
NAME: Alec's Lament
DESCRIPTION: ".. ye jolly bootleggers and you who handle brew: Beware of Howard Foley." Tignish was a town for fun but with Foley as policeman and Albert Knox as jail-keeper it's no place for a drinker. "I'll have to leave the village and go to some foreign land"
AUTHOR: Alec Shea
EARLIEST_DATE: 1982 (Ives-DullCare)
KEYWORDS: prison drink humorous police emigration home
FOUND_IN: 
REFERENCES: (1 citation)
Ives-DullCare, pp. 217, 241, "Alec's Lament" (1 text, 1 tune)
Roud #14001
NOTES: Ives-DullCare: "The song was written about 1960, and it adds to the fun to know that at that time the Tignish jail was nothing more than a tiny renovated shoemaker's shop." 
Tignish is near the north west corner of Prince County, Prince Edward Island. - BS
File: IvDC217
===
NAME: Alert, The
DESCRIPTION: Alert completes its outward course. Homeward bound, on passing through Gibraltar they meet fog and storm. The crew pray on deck and shake hands; the ship sinks. Captain Butler and his crew are mourned by wives and orphans in Wexford town.
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
HISTORICAL_REFERENCES: Feb 21, 1839: "The Alert was lost of Wexford.... The crew were lost" homeward bound from Galatz (source: Bourke in _Shipwrecks of the Irish Coast_ v3, p. 54; Ranson)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 65-67, "The Alert" (1 text)
File: Ran064
===
NAME: Alford Vale
DESCRIPTION: To the tune "Kelvingrove" ("The Shearin's Nae for You"), "Will ye come to Alford Vale, bonnie lassie O? Where tis sunny as thyself, Bonnie lassie O." The singer tries to lure the girl from the town with praises of the beautiful vale
AUTHOR: Words: La Teste, adapted by John Ord
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: nonballad home courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 84-85, "Alford Vale" (1 text)
Roud #3954
CROSS_REFERENCES:
cf. "The Shearin's Nae for You" (tune)
NOTES: Although this is one of the few pieces Ord admits to retouching, he gives no clue as to why he thought it worthy of such attention. Or of inclusion in his work. - RBW
File: Ord084
===
NAME: Alfred D Snow, The
DESCRIPTION: Alfred D Snow is bound from San Francisco to Liverpool with a cargo of grain. The ship breaks up on the sand. Captain Willie signals hoping for help from Dunmore. The lifeguards and the Dauntless arrive too late. Only seven bodies are recovered.
AUTHOR: Michael O'Brien "the famous ballad-maker" (Ranson)
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Jan 1, 1888 -  "The Alfred D Snow ... was driven ashore on sandbanks at Broomhill.... Captain Willie and 24 crew were drowned." "... the tug Dauntless approached within half a mile but could get no closer. The Dunmore lifeboat crew refused to launch...." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 74, v3, p.66)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 116-117, "The Alfred D Snow" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Orphan Girl (III)" (tune)
File: Ran116
===
NAME: Ali Alo
DESCRIPTION: French capstan shanty. "Ali alo pour Mascher! Ali, alo, alo... Il mang'la viande et nous donn les os. Ali, ali, ali, alo." Translation of the very short verses "He eats the meat and we get the bones," "He drinks the vine and we get the water," etc.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L.A. Smith, _Music of the Waters_)
KEYWORDS: foreignlanguage shanty worksong
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, p. 485, "Ali Alo" (1 text, 1 tune)
CROSS_REFERENCES:
cf: "Hullabaloo Belay" (similar tune and chorus)
File: Hugi485
===
NAME: Alice B.: see Ella Speed (Bill Martin and Ella Speed) [Laws I6] (File: LI06)
===
NAME: Alison and Willie [Child 256]
DESCRIPTION: Alison invites Willie to her wedding. He will not come except as the groom. She tells him that if he leaves, she will ignore him forever. He sets out slowly and sadly, sees an omen, and dies for love. A letter arrives, halting the wedding. Alison too dies
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: love wedding separation death
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (3 citations)
Child 256, "Alison and Willie" (1 text, 1 tune) {Bronson's [#1]}
Bronson 256, "Alison and Willie" (1 version)
Leach, pp. 625-626, "Alison and Willie" (1 text)
Roud #245
File: C256
===
NAME: All Among the Barley
DESCRIPTION: "Now is come September, the hunter's moon begun," and young men and women meet in the fields: "All among the barley, Who would not be blythe, When the ripe and bearded barley Is smiling on the scythe." Barley is declared the king of all grains
AUTHOR: unknown
EARLIEST_DATE: 1871 (sheet music)
KEYWORDS: food courting harvest
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
DT, AMNGBARL
Roud #1283
BROADSIDES:
LOCSheet, sm1871 00667, "All Among the Barley" Lee & Walker, (Philadelphia), 1871 (tune); also sm1874 10936, "All Among the Barley, J. L. Peters (New York), 1874
NOTES: Both LOC sheet music publications credit the tune of this to Elizabeth Stirling, and item sm1871 00667 says the words to this are by "A.T." But the tune doesn't look like the one I know; I suspect both have been somewhat rewritten. - RBW
File: BdAAtBar
===
NAME: All Around de Ring, Miss Julie
DESCRIPTION: "All around de ring, Miss Julie, Julie, Julie! All around de ring, Miss Julie! All on a summer day. Oh, de moon shines bright, de stars give light; Look way over yonder! Hug her a little and kiss her too, And tell her how you love her!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: love nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 106, "All Around de Ring, Miss Julie" (1 text)
File: Br3106
===
NAME: All Around Green Island's Shore
DESCRIPTION: A man brags to a woman about the virtues of his boat, his other possessions, and his willingness to beat his rival to win the girl. The girl replies comically in the negative.
AUTHOR: unknown
EARLIEST_DATE: 1933 (Greenleaf/Mansfield)
KEYWORDS: courting bragging rejection
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 135, "All Around Green Island Shore" (1 text)
Doyle2, p. 65, "All Around Green Island's Shore" (1 text, 1 tune)
Doyle3, p. 9, "All Around Green Island's Shore" (1 text, 1 tune)
Blondahl, p. 72, "All Around Green Island's Shore" (1 text, 1 tune)
Roud #6353
ALTERNATE_TITLES:
Green Island Shore
NOTES: The "Trinity" mentioned in the song is perhaps in Trinity Bay but there is a "Green Island Cove" and a "Green Island Brook" far away in the Strait of Belle Isle. - SH
Doyle3 cites "Ballads and Sea Songs of Newfoundland" [Greenleaf & Mansfield, 1933] as the source. - BS
File: Doy65
===
NAME: All Around My Hat
DESCRIPTION: The singer's true love has been transported; (he) promises that "All around my hat I will wear the green willow... for a twelve month and a day... [for] my true love ... ten thousand miles away." He hopes they can reunite and marry
AUTHOR: unknown
EARLIEST_DATE: 1888 (Ashton)
KEYWORDS: love separation transportation
FOUND_IN: Britain(England(Lond,South)) Canada(Mar)
REFERENCES: (5 citations)
Kennedy 145, "All Round My Hat" (1 text, 1 tune)
Creighton/Senior, pp. 126-127, "All Round My Hat" (2 fragments, 2 tunes)
Creighton-Maritime, pp. 80-81, "All Around My Hat" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 194-195, "All Round My Hat" (1 tune, presumably this one)
DT, ROUNDHAT*
Roud #567
RECORDINGS:
Neil O'Brien, "All Around My Hat" (on MRHCreighton)
CROSS_REFERENCES:
cf. "The Jolly Miller" (tune)
cf. "The Death of Brugh" (tune)
cf. "Around Her Neck She Wore a Yellow Ribbon" (theme)
cf. "The Green Willow" ("All around my hat" lyrics)
SAME_TUNE:
The Death of Brush (File: RcTDOB)
NOTES: Kennedy calls this "Perhaps one of the most popular of all English love songs." And this does not even take into account the Steeleye Span recording, said to have gone higher on the British pop charts than any other traditional song. (Don't ask me if that's a compliment.)
But Kennedy also claims this as the same tune as "The Budgeon It Is a Delicate Trade" (for which see under "The Miller of Dee") -- which it is *not*; "The Budgeon" is in the Lydian mode, and his tune for "All Around My Hat" is an ordinary Ionian melody. (Possibly the two were more alike in the original version of Chappell, which was his reference for "The Budgeon"; that edition levelled some modal tunes).
One of Sam Henry's texts, "The Laird's Wedding," mixes this with "The Nobleman's Wedding (The Faultless Bride; The Love Token)" [Laws P31]. There are hints of such mixture in other versions of the two songs. Roud goes so far as to lump them.
Spaeth (_A History of Popular Music in America_,  pp. 83-84) has what is evidently a version of this song, from about 1840 -- in dialect! ("All round my hat, I vears a green villow.") It is credited to J. Ansell (John Hansell) and John Valentine. If this is the actual origin of the chorus, I have to think it merged with some separate love song. But I suspect the Ansell/Valentine piece of being a perversion of an actual folksong. - RBW
In view of the broadside parodies listed below I am surprised not to find (yet) any broadsides for "All Around My Hat."
Bodleian, Harding B 11(38), "All Around My Hat I'll Wear the Green Willow" ("All round my hat I vears a green villow ..."), J. Pitts (London), 1797-1834; also Firth b.27(536), "All Around My Hat I Wear a Green Willow"; Harding B 16(5a), Firth c.21(60), Firth c.21(62), Harding B 20(2), Harding B 11(40), "All Round My Hat"
LOCSinging, as200070, "All Round My Hat," J. Andrews (New York), 1853-1859; also cw100090, as100150, "All Round My Hat"
Broadside LOCSinging as200070: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: K145
===
NAME: All Around the Maypole
DESCRIPTION: A ring-skipping song. "All around the Maypole, And now Miss Sally, won't you shout for joy?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Botkin-SoFolklr, p. 706, "All around the Maypole" (1 text, 1 tune)
Scarborough-NegroFS, p. 142, ("The May Pole Song") (1 text)
NOTES: There are of course many maypole songs in existence, the oldest known to me being "About the may Pole" by Thomas Morley (1557-1603?; for text see Noah Greenberg, ed., _An Anthology of English Medieval and Renaissance Vocal Music_, pp. 127-132). This doesn't really sound like it's descended from an English original, though. - RBW
File: BSoF706
===
NAME: All Around the Mountain, Charming Betsy: see Coming Round the Mountain (II -- Charming Betsey) (File: R436)
===
NAME: All Bells in Paradise: see The Corpus Christi Carol (File: L691)
===
NAME: All Bound Round with a Woolen String
DESCRIPTION: "There was an old man and he wasn't very rich, And when he died, he didn't leave much But a great big hat with a great big rim All bound 'round with a woolen string. A woolen string (x2), All bound round... A great big hat with a... All bound round...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: death clothes
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 157-158, "All Bound 'Round with a Woolen String" (1 fragment, 1 tune)
Roud #3725
NOTES: Linscott believes the words to this to be related to "All Around My Hat." I don't see the resemblance; it made me think of "The Miller's Three Sons." The tune is said to be related to the Irish air "Old Rose Tree." - RBW
File: Lins157
===
NAME: All Bow Down: see The Twa Sisters [Child 10] (File: C010)
===
NAME: All For Me Grog: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: All for the Men
DESCRIPTION: "When I was a young girl... It was primp, primp, primp this way... All for the men." Typically the girl is courted, marries, (has a child), quarrels with her husband; he died, she weeps and/or laughs at his funeral; she lives happily/as a beggar/other
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
LONG_DESCRIPTION: "When I was a young girl... It was primp, primp, primp this way... All for the men." "The boys came courting.... It was kiss, kiss, kiss this way." "Then we quarrelled...." "Pretty soon we made it up...." "Then we married...."  Girl's biography marked by the chorus "This-a-way, ha-ha, that-a-way." Typically the girl is courted, marries, (has a child), quarrels with her husband; he died, she weeps and/or laughs at his funeral; she lives happily/as a beggar/other  
KEYWORDS: courting marriage beauty playparty death funeral
FOUND_IN: US(Ap,MW,SE) Britain(England) Canada(Ont)
REFERENCES: (2 citations)
Lomax-FSNA 260, "All for the Men" (1 text, 1 tune)
BrownIII 10, "When I Was a Young Girl" (1 text)
Roud #5040
File: LoF260
===
NAME: All Go Hungry Hash House, The: see Hungry Hash House (File: San207)
===
NAME: All God's Children Got Shoes
DESCRIPTION: "I got shoes, you got shoes, All got's children got shoes; When I get to heaven, gonna put on my shoes, Gonna (shout) all over God's heaven." Similarly with robes, crowns, wings, harps, etc.
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk University Jubilee Quartet)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 550, "All God's Chillun Got Shoes" (2 texts plus 2 fragments)
Courlander-NFM, p. 67, "(Goin' to Shout All over God's Heaven)" (1 text)
Silber-FSWB, p. 359, "All God's Children Got Shoes" (1 text)
Roud #11826
RECORDINGS:
Louis Armstrong, "Going to Shout All Over God's Heaven" (Decca 2085, 1938)
Big Bethel Choir #1 "Shout All Over God's Heaven" (Columbia 14157-D, 1926)
Commonwealth Quartet, "I'm Going to Shout All Over God's Heaven" (Domino 0173, 1927)
Cotton Belt Quartet, "I'm Gonna Shout All Over God's Heaven" (Vocalion 15263, 1926)
Cotton Pickers Quartet, "All God's Children Got Wings" (OKeh 8917, 1931)
Elkins Payne Jubilee Singers, "Gonna Shout All Over God's Heaven" (Paramount 12071, 1923)
Lt. Jim Europe's Singing Serenaders, "Ev'rybody Dat Talks 'Bout Heaven Ain't Goin' There" (Pathe 22105, 1919)
Fisk University Jubilee Quartet, "Shout All Over God's Heaven" (Victor 16448, 1909)
Fisk University Male Quartet, "Shout All Over God's Heaven" (Columbia A1883, 1915)
Mitchell's Christian Singers, "Gonna Shout All Over God's Heaven" (Melotone 6-04-64, 1936)
Dock Reed & Vera Hall Ward, "Everybody Talkin' About Heaven Ain't Goin' There" (on NFMAla5)
Southern Four: "Shout All Over God's Heaven" [medley w. "Standin' in the Need of Prayer"] (Edison 51364, 1924)
Edna Thomas, "I Got Shoes" (Columbia 1863-D, 1929; rec. 1928)
West Virginia Collegiate Institute Glee Club, "Shout All Over God's Heab'n" (Brunswick 3497, 1927)
NOTES: Courlander believes this song to be based on the Revelation to John. It appears to me that it is simply an exuberant expression of a poor, oppressed Christian hope in the afterlife. - RBW
File: CNFM067A
===
NAME: All God's Chillun Got Shoes: see All God's Children Got Shoes (File: CNFM067A)
===
NAME: All Gone for Grog: see Here's to the Grog (All Gone for Grog) (File: K274)
===
NAME: All Hail the Power of Jesus's Name
DESCRIPTION: "All hail the power of Jesus's name, Let angels prostrate fall, Bring for the royal diadem And crown him lord of all." The "chosen seed of Israel's race" and "sinners" are urged to "spread your trophies at his feet."
AUTHOR: Words: Edward Perronet (1726-1792), adapted by John Rippin (1751-1836)
EARLIEST_DATE: 1793 (published with a tune by Olver Holden)
KEYWORDS: religious Jesus nonballad
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 68-70, "All Hail The Power Of Jesus' Name" (1 text, 1 tune)
Roud #17726
NOTES: This is one of those hymns that ends up with a zillion tunes. Oliver Holden (1765-1844) wrote the first one, in the process making the song popular. Holden's tune seems usually to be published as "Coronation." This ws the only tune I found in a Lutheran hymnal I checked. A Methodist hymnal had two other tunes: Miles' Lane (listed as by William Shrubsole, 1760-1806) and Diadem (as by james Ellor, 1819-1899); the same three tunes appear in a Baptist hymnal, though without the detailed attributions. My 1871 _Original Sacred Harp_ has it to Coronation, Cleburne (as by S. M. Denson), and Green Street (as by J. J. Husband c. 1809). - RBW
File: Rd017726
===
NAME: All Hands Away Tomorrow: see Our Captain Calls All Hands (Fighting for Strangers) (File: Pea416)
===
NAME: All I've Got's Gone
DESCRIPTION: Singer describes hard times: People selling farms; automobiles repossessed; banks with no money to lend. Farmers should have stuck with mules, not tractors. Dandy young men now "plowin' and a-grubbin'." His partner has drunk up all the white lightning.
AUTHOR: Probably Uncle Dave Macon
EARLIEST_DATE: 1924 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Singer describes hard times; people have had to sell their farms and leave; their automobiles have been repossessed. He goes to the bank for a loan; they have no money left either. He reproaches other farmers for buying tractors, saying they should have stuck with mules; young men, who had been getting all duded up, are now, "plowin' and a-grubbin'"; women likewise, for, "All they've got's gone." To cap everything, his partner has drunk up all the white lightning.
KEYWORDS: farming hardtimes nonballad drink
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "All I've Got's Gone" (Vocalion 14904, 1924; Vocalion 5051, c. 1926)
Asa Martin, "All I've Got's Gone" (Champion 16539, 1932) 
Oddie McWinders, "All I've Got Is Gone" (Crown 3398, 1932)
New Lost City Ramblers, "All I've Got's Gone" (on NLCR09)
Ernest Stoneman, "All I've Got's Gone" (OKeh 45009, 1925; on HardTimes1); Ernest V. Stoneman and His Dixie Mountaineers, "All I've Got's Gone" (Edison 52489, 1929; rec. 1928); Ernest Stoneman [and Eddie Stoneman], "All I Got's Gone" (Vocalion 02901, rec. 1934); "All I Got's Gone" (on Autoharp01)
NOTES: The song was originally written after a disastrous flood in 1907, but was adapted for the circumstances of the Great Depression. It should be noted that conditions on the farms had already been bad for several years before the stock market crashed in 1929.
Despite the "nonballad" keyword, there's a disjointed narrative here, so I've indexed it. - PJS
File: RcAIGG
===
NAME: All In Down and Out Blues
DESCRIPTION: "Hippity-hop to the bucket shop...." Singer has lost all his money in the stock market. He says this "certainly exposes/Wall Street's proposition was not all roses." Cho: "It's hard times, ain't it poor boy...when you're down and out"
AUTHOR: Uncle Dave Macon
EARLIEST_DATE: 1937 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: "Hippity-hop to the bucket shop...." Singer has lost all his money in the stock market and is now down and out. He says this "certainly exposes/Wall Street's proposition was not all roses." He notes "If they catch you with whiskey in your car/You're handicapped, and there you are", and that if you have money you can get off but if you have none you'll go to jail. Chorus: "It's hard times, ain't it poor boy...when you're down and out"
KEYWORDS: poverty crime prison punishment commerce money hardtimes judge
HISTORICAL_REFERENCES: 1929 - Stock market crashes, then continues to sink
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "All In Down and Out Blues" (Bluebird B-7350, 1938, recorded 1937)
NOTES: "Bucket shops" were crooked brokerage firms; they fleeced many customers in the 1920s stock market bubble. They would delay executing a customer's trade if they thought they could buy at a lower price or sell at a higher price a day later, then pocket the difference.
Bert Williams & Arthur Collins both recorded a piece called "All In Down and Out" (Williams: Columbia A5031, 1908; rec.1906; Collins: Victor 5027, 1907; Victor 16211, 1909), with composer credits to R. C. McPherson & [?] Smith, Elmer Bowman & [?] Johnson; it would later be recorded by, among others, Richard Brooks & Riley Puckett, but I don't know its relationship to this song. My guess is that Uncle Dave used it as the basis of his topical parody. -PJS
File: RcAIDAOB
===
NAME: All Is Well
DESCRIPTION: "Oh, what is this that steals upon my frame? Is it death? is it death?... If this is death, I soon shall be From every pain and sorrow free... All is well, all is well." The singer bids his friends not to weep, and looks forward to salvation
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown, from a manuscript reportedly dated 1841)
KEYWORDS: death religious nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 78-79, "All Is Well" (1 text)
ST FlBr078 (Partial)
Roud #5455
NOTES: Arthur Hugh Clough (1816-1861) wrote a piece, "Whate'er You Dream With Doubt Possesst," subtitled "All Is Well," which sounds like it might be this, and the date makes it barely possible -- but I haven't seen the Clough poem, so I can't say. The whole piece sounds very familiar -- and it's not because it has so many Biblical references; the references in this poem are very free.
There is a Mormon hymn with the same "All is well, all is well" refrain and, of course, mentions of Saints and the like. It doesn't look like the same piece, but I wouldn't be surprised if that were adapted from this. - RBW.
File: FlBr078
===
NAME: All Jolly Fellows: see All Jolly Fellows That Handles the Plough (File: K241)
===
NAME: All Jolly Fellows That Handles the Plough
DESCRIPTION: Singer and fellow ploughmen finish their work; they will unyoke their horse and groom him, after which the (singer/master) promises them a jug of ale. At dawn they will begin again. Refrain: "You're all jolly fellows that follows (handles) the plough"
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 148)
KEYWORDS: farming work drink nonballad horse worker pride boss
FOUND_IN: Britain(England(All),Scotland(Aber))
REFERENCES: (4 citations)
Greig #158, p. 1, "The Jolly Fellows Who Follow the Plough" (1 text) 
GreigDuncan3 418, "We Are All Jolly Fellows that Follow the Plough" (2 texts, 1 tune)
Kennedy 241, "All Jolly Fellows" (1 text, 1 tune)
MacCollSeeger 102, "All Jolly Fellows That Handles the Plough" (1 text, 1 tune)
Roud #346
RECORDINGS:
Fred Jordan, "We're All Jolly Fellows as Follow the Plough" (on Voice05)
BROADSIDES:
Bodleian, Johnson Ballads 148, "All Jolly Fellows that Follow the Plough" ("When four o'clock comes then up we rise"), J. Catnach (London), 1813-1838; also Harding B 16(301a), Harding B 11(3226), Harding B 11(4369), Harding B 11(4370), Harding B 11(4371), "We Are All Jolly Fellows that Follow the Plough"
CROSS_REFERENCES:
cf. "The Ploughman (II)" (subject)
ALTERNATE_TITLES:
The Jolly Fellows Who Follow the Plough
We Are Jolly Fellows that Follow the Plough
File: K241
===
NAME: All My Sins Are Taken Away (I): see Hand Me Down My Walkin' Cane (File: FSWB053)
===
NAME: All My Sins Been Taken Away
DESCRIPTION: "I don't care what this world may say, The're all taken away... All my sins are taken away, taken away." Much of the rest of the song floats, e.g. "The devil is mad and I am glad."
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Kelly Harrell)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 551, "All My Sins Been Taken Away" (1 text)
Chappell-FSRA 85, "My Sins Are All Taken Away" (1 text, 1 tune)
Roud #4205
RECORDINGS:
Kelly Harrell, "All My Sins Are Taken Away" (Victor 40095, 1929; on KHarrell02)
CROSS_REFERENCES:
cf. "Hand Me Down My Walkin' Cane" (lyrics)
cf. "Free at Last" (lyrics)
NOTES: This song shares nearly every word of its contents with "Hand Me Down My Walkin' Cane," and I initially lumped them. But there are enough versions without the walkin' cane that I finally split them. This particular version seems best-known in North Carolina; perhaps it's a local sub-text? - RBW
File: Ch085
===
NAME: All My Trials
DESCRIPTION: "If religion were a thing that money could buy, The rich would live and the poor would die. All my trials, Lord, soon be over. Too late, my brothers, too late but never mind." The weary singer looks forward to victory after death
AUTHOR: unknown
EARLIEST_DATE: 1961 (recording, Pete Seeger)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 644, "Tree in Paradise" (3 short texts; the "A" version combines "Few Days" with a "Tree in Paradise" text; "B" is too short to classify easily; "C" seems to be mostly "All My Trials"; there may also be influence from "Is Your Lamps Gone Out" or the like)
Silber-FSWB, p. 359, "All My Trials" (1 text)
DT, ALLTRIAL*
Roud #11938
RECORDINGS:
Rev. Lewis Jackson & Charlotte Rucell, "Tallest Tree in Paradise" (on MuSouth07)
Pete Seeger, "All My Trials" (on PeteSeeger31)
CROSS_REFERENCES:
cf. "Little David, Play on Your Harp" (floating lyrics)
cf. "Michael, Row the Boat Ashore" (lyrics)
cf. "Noah's Ark" (lyrics)
cf. "Zek'l Weep" (floating lyrics)
cf. "Blow Your Trumpet, Gabriel (Paul and Silas)" (floating lyrics)
cf. "Is Your Lamps Gone Out?" (lyrics)
cf. "Tell All the World, John" (lyrics)
cf. "Wild Rover No More" (floating lyrics)
NOTES: The Jackson/Rucell recording, from 1954, is classified here in near-desperation; it consists primarily of the single floating verse "The tallest tree in Paradise/The Christians call it the Tree of Life" (also found in "Is Your Lamps Gone Out?"), plus the chorus "Hey brother with a hey/Hey, sister with a hey-ey-ey/Jes' take a little bottle and let's go home/Yes, my Lord."  - PJS
File: FSWB359B
===
NAME: All Night Long (I)
DESCRIPTION: "Paul and Silas bound in jail, All night long, One for to sing and the other for to pray... Do, Lord, deliver me." "Straight up to heaven... tain't but the one train on this track." "Never seen the like... People keep comin' and the train done gone"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Bible religious nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Sandburg, pp. 448-449, "All Night Long" (1 text, 1 tune)
Lomax-FSNA 257, "All Night Long" (1 text, 1 tune)
ST San448 (Full)
Roud #6703
CROSS_REFERENCES:
cf. "Baby, All Night Long" (words)
cf. "Mary Wore Three Links of Chain" (floating lyrics)
NOTES: This has so many floating lines that I'm not even going to try to untangle them.
Paul and Silas's stay in prison is related in Acts 16:19-40. - RBW
File: San448
===
NAME: All Night Long (II): see Baby, All Night Long (File: CSW172)
===
NAME: All Night Long (III): see Four Old Whores (File: EM006)
===
NAME: All Night Long Blues: see Baby, All Night Long (File: CSW172)
===
NAME: All Night, Jesus, All Night
DESCRIPTION: Jesus is taken from Gethsemane, brought before Pilate, told, "Here is your cross," then crucified. Refrain: "All night, Jesus, all night"
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: execution punishment trial ordeal Bible religious Jesus
FOUND_IN: Bahamas
REFERENCES: ()

Roud #15626
RECORDINGS:
Unidentified men from Andros Island, "All Night, Jesus, All Night" (AAFS 503 A1, 1935; on LomaxCD1822-2)
NOTES: As often happens, this is rather a mix of accounts from the gospels. The name "Gethsemane" occurs only in Matthew 26:36=Mark 14:32. But Jesus's only contact with Pilate, in Matthew and Mark, consists of two exchanges. Pilate first asks if Jesus is the King of the Jews. Jesus answers with the highly ambiguous "You say [so]." Then Pilate asks Jesus what his response is to the charges of the crowd and the priests; Jesus refuses to answer.
Nowhere is Jesus told "Here is your cross." In the Gospel of John, however, Jesus and Pilate have extended conversations, and only in John does Jesus carry his own cross (John 19:17; in Mark 15:21 and parallels, Simon of Cyrene carries the cross for him).
In a probably-irrelevant addendum, Jesus was on the cross only during the day; had he not died before nightfall, the soldiers, in fact, were ordered to hasten the prisoners' death to ensure that they were not around during the night (John 19:31-36). - RBW
File: RcANJAN
===
NAME: All on Account of a Bold Lover Gay: see Bold Lover Gay [Laws P23] (File: LP23)
===
NAME: All over Arkansas
DESCRIPTION: "Yonder goes my true love, he's gone far away, He's gone for to leave me, many and many a day... For the sake of my true love I'm sure I must die." When he returns, she tells him she has been sick for him. They are married, and "travel all over Arkansas."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: love courting separation marriage travel playparty
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 593, "All Over Arkansas" (1 text)
Roud #7678
NOTES: This is probably a rather worn-down remnant of one or another lost-love-returned ballads (even though Randolph lists it among the playparties). But with only two and a half stanzas of text, and some of that localized, I can't really tell which piece it derives from. - RBW
File: R593
===
NAME: All Over the Ridges
DESCRIPTION: "All over the ridges we lay the pine low. They break in the fall for want of more snow. Said Murphy to Burk, You're the worst out of jail For hauling up timber...." The singer is "put to chain" for refusing to work with Fred Miller. He praises the food
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger lumbering work food
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #15, "All Over the Ridges" (1 damaged text, tune referenced)
Roud #4561
File: FowL15
===
NAME: All Over Those Hills
DESCRIPTION: Singer's lover Henry, while travelling "all over those hills" gets "deluded" from her at a tavern; the singer spies him beside another woman. Singer vows she'll go home and destroy it; rather than part from him, she'd as soon see him die in a workhouse
AUTHOR: Unknown, but probably Caroline Hughes
EARLIEST_DATE: 1962 or 1966 (collected from Caroline Hughes)
LONG_DESCRIPTION: Singer's lover Henry, while travelling "all over those hills" gets "deluded" from her at a tavern called the Hop and Bottle; the singer spies him through the window beside another woman, Ellen. Singer vows she'll go home and smash doors and windows, and leave the roof in shadows, and that, rather than part from him, she'd as soon see him die in a workhouse
KEYWORDS: jealousy infidelity love seduction death lover
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
MacSeegTrav 80, "All Over Those Hills" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Locks and Bolts" [Laws M13] (theme)
NOTES: MacColl & Seeger note a resemblance of this song's gestalt to that of "Locks and Bolts," and I agree, but as the plots are quite different, I keep them apart. - PJS
File: McCST080
===
NAME: All Quiet Along the Potomac Tonight
DESCRIPTION: "All quiet along the Potomac tonight Except here and there a stray picket...." The picket dreams of his family as he stands guard. Suddenly a shot rings out; the guard falls wounded and bids farewell to his family; "The picket's off duty forever."
AUTHOR: Words: Ethel Lynn Beers/Music: Various
EARLIEST_DATE: 1863 (sheet music)
KEYWORDS: Civilwar death family separation
FOUND_IN: US
REFERENCES: (4 citations)
RJackson-19CPop, pp. 2-5, "All Quiet Along the Potomac" (1 text, 1 tune)
Silber-CivWar, pp. 66-67, "All Quiet Along the Potomac" (1 text, 1 tune)
Hill-CivWar, pp. 64-65, "The Picket-Guard" (1 text)
DT, ALLQUIET*
ST RJ19002 (Full)
Roud #6559
BROADSIDES:
LOCSinging, cw104620, "The Picket Guard", Johnson (Philadelphia), n.d.; also cw104610, cw104630, as110970, "[The] Picket Guard"; hc00006a, "Picket's Last Watch"
NOTES: In the early stages of the Civil War, when the southerners still held the south bank of the Potomac, the War Department issued regular bulletins on the status of the armies. The papers regularly printed these reports of "All quiet along the Potomac." One day, the report ran "All quiet along the Potomac. A picket shot." Hence this song.
Although several have claimed the authorship (the claim made by Lamar Fontaine was particularly well-known, and is quoted by H. M. Wharton in _War Songs and Poems of the Southern Confederacy_, p. 27), the poem is known to have been written by Mrs. Ethel Lynn Beers of New York in 1861. Several tunes have been offered, e.g. by John Hill Hewitt and W.H. Goodwin;  Ben Schwartz points out that broadside LOCSinging as110970 lists "Music Composed and Sung by D. A. Warren." Hewitt supplied the version for the 1863 sheet music (published with attribution of authorship), but Goodwin's tune appears to have survived best. - RBW
File: RJ19002
===
NAME: All Ragged and Dirty (Here I Stand All Ragged and Dirty)
DESCRIPTION: "Here I stand all ragged and dirty, If you don't come kiss me I'll run like a turkey." "Here I stand on two little chips, Pray, come kiss my sweet little lips." "Here I stand crooked like a horn, I ain't had no kiss since I've been born."
AUTHOR: unknown
EARLIEST_DATE: 1920 (Randolph)
KEYWORDS: courting playparty
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 573, "Here I Stand All Ragged and Dirty" (1 text)
Scarborough-NegroFS, p. 137, (no title) (1 fragment)
MHenry-Appalachians, p. 242, (no title) (1 fragment, beginning "Here I stand all black and dirty")
Roud #7663
File: R573
===
NAME: All Round My Hat: see All Around My Hat (File: K145)
===
NAME: All Round the Loney-O: see The Cruel Mother [Child 20] (File: C020)
===
NAME: All The Good Times Are Passed And Gone: see All The Good Times Are Past And Gone (File: R792)
===
NAME: All the Good Times Are Past and Gone
DESCRIPTION: "All the good times are past and gone, All the good times are o'er... Darling, don't you weep no more." Verses may concern almost any depressing topic, but often involve a lost love, and often the verse "I wish to the Lord I'd never been born...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Ted & Gertrude Gossett)
KEYWORDS: love separation hardtimes
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 792, "All the Good Times are Past and Gone" (1 text, 1 tune)
DT, ALLGDTYM
Roud #7421
RECORDINGS:
Ted & Gertrude Gossett, "All the Good Times Are Passed and Gone" (Columbia 15596-D, 1930)
Monroe Brothers, "All The Good Times Are Passed And Gone" (Bluebird B-7191, 1936)
File: R792
===
NAME: All the Pretty Little Horses
DESCRIPTION: "Hush-a-bye, don't you cry, Go to sleep you little baby. When you wake, you shall have All the pretty little horses." The horses are described. Another verse describes a baby (lamb) left in a meadow at the mercy of the birds
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: lullaby animal horse
FOUND_IN: US(Ap,SE,So)
REFERENCES: (15 citations)
Randolph 269, "Black Sheep Lullaby" (2 short texts, both rather far removed from the usual form; 1 tune)
BrownIII 115, "Hush-a-Bye, Don't You Cry" (3 text plus mention of 1 more); also 
"Poor Little Lamb Cries Mammy" (3 short texts, perhaps related to the Randolph version)
Scarborough-NegroFS, pp.145-148, "Lullaby," (no title), "Go to Sleepy, Little Baby," "Got to Sleep, Little Baby," (no title), (no title), "Ole Cow," (no title) (8 texts, most short, 2 tunes); also probably pp. 148-149, "Baa-Baa Black Sheep" (1 short text, one tune, which is much like this piece except for the first line)
Sandburg, pp. 454-455, "Go To Sleepy" (1 text, 1 tune, in which the child is promised rewards upon waking -- but seemingly also threatened with the "booger man" if it won't sleep)
SharpAp 233, "Mammy Loves" (1 text, 1 tune)
Scott-BoA, pp. 204-205, "Hushabye (All the Pretty Little Horses)" (1 text, 1 tune)
Lomax-FSUSA 2, "All the Pretty Little Horses" (1 text, 1 tune)
Lomax-ABFS, pp. 304-305, "All the Pretty Little Horses" (1 text, 1 tune)
Lomax-FSNA 265, "Black Sheep" (1 text, 1 tune)
Ritchie-SingFam, pp. 217-218, "[Horsey Song]" (1 text, 1 tune, partly repeated on page 223)
Botkin-SoFolklr, p. 704, "You Shall Have a Horse to Ride" (1 text, 1 tune)
Pankake-PHCFSB, p. 224, "All the Pretty Little Horses" (1 text); also probably p. 235, "Go to Sleepy, Little Baby" (very short fragment)
Silber-FSWB, p. 407, "All The Pretty Little Horses" (1 text)
DT, ALLHORSE
Roud #6705
RECORDINGS:
Texas Gladden, "Whole Heap a Little Horses" (on LomaxCD1702)
Pete Seeger, "All the Pretty Little Horses" (on GrowOn2)
CROSS_REFERENCES:
cf. "The Lost Babe" (theme of young one at the mercy of birds)
File: LxU002
===
NAME: All Things Are Quite Silent
DESCRIPTION: The singer's lover is taken from their bed by a pressgang; she begs them to spare him but they refuse. She laments, remembering the joys of their life together, but says she will not be downcast, as someday he may return.
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: love separation lament sailor pressgang
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Vaughan Williams/Lloyd, p. 13, "All Things Are Quite Silent" (1 text, 1 tune)
DT, THNGSLNT*
Roud #2532
CROSS_REFERENCES:
cf. "The Lowlands of Holland" (theme)
NOTES: "...by [1835] the system of impressment had almost faded out, although it was never actually abolished by Act of Parliament." -- A. L. Lloyd
Lloyd reports this as the only known version of the song. - PJS
File: VWL013
===
NAME: All Through the Night (Ar Hyd Y Nos)
DESCRIPTION: "Sleep, my child, and peace attend thee, All through the night. Guardian angels God will send thee, All through the night." The singer watches over the child while the world sleeps. (The (dying?) child/lover is wished to heaven)
AUTHOR: unknown
EARLIEST_DATE: 1784 (Edward Jones, "Musical and Poetical Relicks of the Welsh Bards")
KEYWORDS: lullaby death love
FOUND_IN: Wales
REFERENCES: (3 citations)
Silber-FSWB, p. 410, "All Through the Night" (1 text)
Fuld-WFM, p. 410, "All Through the Night"
DT, THRUNITE* THRUNIT2*
RECORDINGS:
Shannon Four, "All Through the Night" (Victor 19413, 1924)
NOTES: That this song is originally Welsh is not doubted. The English translation is sometimes credited to Sir Harold Boulton, but Fuld notes that there is no standard English translation. The 1784 version in Jones is not by Boulton. Also, at least one version seems to have been folk processed -- at least, I've seen a text which is about 95% identical to the one I knonw (too close to be an independent translation), but with some different words. - RBW
There seem to be several versions of the song with various plots. In one, the child -- or possibly a dead lover -- is mourned; another is a Christmas carol. - PJS
File: FDWB410B
===
NAME: All Together Like the Folks o' Shields
DESCRIPTION: "Tho' Tyneside coal an' furnace reek Hes made wor rive black eneuf, It's raised a breed o' men that's worth... mair than plack eneuf." The singer praises the people of Shields, who are firm and brave and true friends
AUTHOR: "Harry Haldane"
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: nonballad friend mining
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 174-176, "All Together Like the Folks o' Shields" (1 text, 1 tune)
Roud #3173
File: SoR174
===
NAME: All You That Are Unto Mirth Inclined (The Sinner's Redemption)
DESCRIPTION: "All you that are unto mirth inclined, Consider well and do bear in mind What our great God for us hath done In sending his beloved Son." The listeners are exhorted to praise God, live will, and imitate Jesus
AUTHOR: unknown
EARLIEST_DATE: 1822 (Gilbert)
KEYWORDS: Jesus religious carol
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBC 51, "The Sinner's Redemption" (1 text, 1 tune)
BBI, ZN112, "All you that are to mirth inclin'd"
Roud #2431
CROSS_REFERENCES:
cf. "Wexford Carol" (floating lyrics)
File: OBC051
===
NAME: All You That Love Good Fellows: see under The British Grenadiers (File: Log109)
===
NAME: Alla En El Rancho Grande (Down on the Big Ranch)
DESCRIPTION: Spanish: "Alla en el rancho grande, alla donda vivia, Habia una rancherita, que alegre me decia...." A rancherita on the singer's ranch tells him that she will make herself an outfit such as the ranchero wears
AUTHOR: Silvano R. Ramos
EARLIEST_DATE: 1927 (copyright)
KEYWORDS: foreignlanguage clothes nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 361-362, "Alla En El Rancho Grande" (1 text plus translation, 1 tune)
File: LxA361
===
NAME: Allan Water: see The Banks of Allan Water (File: DTalanwa)
===
NAME: Allanah Is Waiting for me: see Over the Mountain (I) (Allanah Is Waiting for Me) (File: R850A)
===
NAME: Allen, Larkin and O'Brien
DESCRIPTION: Irishmen John Allen, Gould, and Larkin are hanged November 23, at Manchester Gaol, for attacking a police van and shooting Constable Sergeant Brett. Their final farewells are described. The Marchioness of Queensbury sends 300 pounds to the families.
AUTHOR: unknown
EARLIEST_DATE: 1867 (Zimmermann)
KEYWORDS: execution murder England lament political police
HISTORICAL_REFERENCES: Sep 18, 1867 - a Fenian band attacks a police van transferring two prisoners in Manchester, and a police officer is shot dead
Nov 24, 1867 - Three of the assailants are hanged (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 73, "A Lamentation on Allen, Larkin and O'Brien" (1 text)
BROADSIDES:
Bodleian, 2806 c.8(73)[some words illegible], "A Lamentation on Allen Larkin & O'Brien Who Was Executed at Manchester, on the 23rd of Nov. '67," unknown, 1867; also 2806 b.10(130), "A Lamentation on Allen, Larkin, and Goold, Who Were Executed at Manchester, on 23rd November, 1867"
CROSS_REFERENCES:
cf. "The Smashing of the Van (I)" (subject: The Manchester Martyrs)
cf. "The Manchester Martyrs" (subject: The Manchester Martyrs)
cf. "God Save Ireland" (subject: The Manchester Martyrs)
NOTES: For additional information about this tragic event, see the notes to "The Smashing of the Van (I)." - RBW
File: Zimm073
===
NAME: Alley-Alley-O, The: see A Big Ship Sailing (File: FSWB386A)
===
NAME: Alligator Song: see The Dummy Line (II) (File: ScNS139A)
===
NAME: Alligator Song (Railroad Song): see The Dummy Line (II) (File: ScNS139A)
===
NAME: Allison Gross [Child 35]
DESCRIPTION: Allison Gross, a hideous witch, takes the singer prisoner and tries to induce him to love her. When he refuses, she turns him to a worm (with other sundry curses). He is at last freed by an elven queen
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: magic witch shape-changing seduction curse
FOUND_IN: 
REFERENCES: (7 citations)
Child 35, "Allison Gross" (1 text)
Leach, pp. 128-131, "Alison Gross" (1 text, with a Danish (?) text for comparison)
OBB 12, "Alison Gross" (1 text)
PBB 17, "Allison Gross" (1 text)
DBuchan 5, "Allison Gross" (1 text)
DT 35, ALIGROSS
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #419, "Allison Gross" (1 text)
Roud #3212
CROSS_REFERENCES:
cf. "The Laily Worm and the Machrel of the Sea" [Child 36] (theme)
File: C035
===
NAME: Almost Done
DESCRIPTION: "Take these stripes from, stripes from 'round my shoulder (huh!) Take these chains, chains from 'round my leg." The singer tells how a girl courted him then betrayed him. Now he is in jail with no one to go his bail
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: courting prison trial punishment betrayal
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-FSUSA 94, "Almost Done" (1 text, 1 tune)
Silber-FSWB, p. 68, "It's Almost Done (On a Monday)" (1 text)
Roud #10064
CROSS_REFERENCES:
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
ALTERNATE_TITLES:
On a Monday
NOTES: The Silber text begins "On a Monday I was arrested, on a Tuesday locked in jail." But it admits to being adapted by the Lomaxes, so this may be an added verse.
File: LxU094
===
NAME: Almost Over
DESCRIPTION: "Some seek the Lord and they don't seek him right, Pray all day and sleep all night. And I'll thank God, almost over...." "Sister, if your heart is warm, Snow and ice will do you no harm." "I been down and I been tried."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 74, "Almost Over" (1 text, 1 tune)
Roud #12035
File: AWG074B
===
NAME: Alone on the Shamrock Shore (Shamrock Shore III)
DESCRIPTION: The singer married a sailor/soldier and now wanders disowned by her parents, "Alone on the Shamrock shore" with her baby. Called to fight, her husband has a disagreement with his superior and is hanged/whipped.
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(158))
KEYWORDS: grief courting marriage warning war death baby wife sailor soldier  trial punishment abuse
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 418-419, "Alone on the Shamrock Shore" (1 text, 1 tune)
ST Pea418 (Partial)
Roud #9786
BROADSIDES:
Bodleian, Harding B 28(158), "Shamrock Shore" ("Come all you fair maidens draw nigh"), W. Armstrong (Liverpool), 1820-1824; also Harding B 28(154), "Shamrock Shore"; Harding B 11(2239), "New Shamrock Shore"; 2806 c.17(382), "Shamrack Shore"; Harding B 11(919), "Disdained Daughter of the Shamrock Shore"
ALTERNATE_TITLES:
Disdained Daughter of the Shamrock Shore
NOTES: The Bodleian broadsides "Shamrock Shore"/"Shamrack Shore"/"New Shamrock Shore" replaces the sailor by a soldier, the "trifle dispute with his captain" becomes a "small dispute with a serjeant" at Lifford and the war, if specified, is against "the bold rebels"; "Disdained Daughter..." retains the sailor, the war is with Spain and the incident is at Portsmouth [as in Peacock's version]; in all broadsides the hanging is a lashing, father's castle is a "snug neat little cottage...." Perhaps the "New" title indicates that the sailor version is the older. - BS
To add to the fun, the whole thing reminds me strongly of "The Gallant Hussar (A Damsel Possessed of Great Beauty)," though there don't seem to be many direct allusions. - RBW
File: Pea418
===
NAME: Along the Lowlands
DESCRIPTION: No plot; verses compare large and small ships, and sailing close and far from shore. Cho: "Now we sail along the lowlands, lowlands, lowlands. But soon we'll leave the peaceful shore and away from all the lowlands, we will roam the wondrous ocean o'er"
AUTHOR: unknown
EARLIEST_DATE: 1902 (S.B. Luce's _Naval Songs_)
KEYWORDS: sailor sea travel foc's'le nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 163-164, "Along the Lowlands" (1 text, 1 tune)
Roud #9142
File: Harl163
===
NAME: Along the Shores of Boularderie
DESCRIPTION: Those living here are named and described. For example, "Murdock Stewart ... Owns the wooden horse of Troy; It's the king of all the beasts, Sunny slios a'bhronachain"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: moniker nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 187, "Along the Shores of Boularderie" (1 text, 1 tune)
Roud #2715
NOTES: Boulardie is on Cape Breton. Creighton-Maritime: "Slios a'bhronachain is a little place opposite Bras d'Or where they were given this name because of their fondness for gruel. The name means Gruel Side. Bhrochain is the proper spelling." - BS
File: CrMa187
===
NAME: Alonzo the Brave and Fair Imogene
DESCRIPTION: Alonzo, leaving for the wars in Palestine, bids Imogene be faithful, but another wins her hand. At the wedding, Alonzo's spectre, a rotting skeleton in armor, appears and bears Imogene away. (Four) times a year, the couple will appear at a ball and dance
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders & Brown)
LONG_DESCRIPTION: Alonzo, leaving for the wars in Palestine, bids Imogene be faithful to him, but another wooer wins her hand. At the wedding, the spectre of Alonzo, a rotting skeleton clad in armor, appears and bears the false Imogene away, to the horror of all. It is said that three times a year the couple will appear at a ball and dance
KEYWORDS: love wedding promise war separation reunion betrayal corpse death supernatural lover soldier ghost marriage
FOUND_IN: US(MW) Canada(Newf)
REFERENCES: (2 citations)
Flanders/Brown, pp. 126-129, "Alonzo the Brave and The Fair Imogene" (1 text)
Peacock, pp. 380-381, "Alonzo the Brave and Fair Imogene" (1 text, 1 tune)
ST RcAtBaFI (Partial)
Roud #4433
RECORDINGS:
Warde Ford, "Alonzo the Brave and the Fair Imogene" (AFS 4195 B1, 1938; tr.; in AMMEM/Cowell)
Charles E. Walker(s), "Alonzo the Brave" [tr. only] (in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 5(45), "Alonzo the brave, and the fair Imogene," S. Carvalho (London), no date; also Harding B 11(43), "Alonzo the Brave and The Fair Imogine," unknown, no date; Harding B 11(44)=B 11(45), "Alonzo the Brave and The Fair Imogene," unknown, no date (a sort of a musical built around the poem, with various tunes suggested); Johnson Ballads 2876, "The Spectre Knight," unknown, no date (barely legible); Firth b.27 (530), "Alonzo the brave, and the fair Imogine," unknown, no date; 
CROSS_REFERENCES:
cf. "A Gentleman of Exeter (The Perjured Maid)" [Laws P32] (plot)
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "The Ghost's Bride" (plot)
cf. "The Worms Crawl In" (lyrics)
ALTERNATE_TITLES:
The Maggoty Ghost
Irish Ghost Song
NOTES: [A text was] sent to [Flanders and Brown] by Mary A. Towne of Omaha, Nebraska, from the singing of her mother and grandmother, and as written out by her aunt, Agnes Trumbell Somers, who was born in Greenboro, Vermont in 1849. All of her family was from Vermont, although her grandmother's parents both came from near Glasgow, Scotland. "My aunt [sings] the sixteen stanzas of this song from memory now, and that her mother sang it to a cousin who called it The Maggoty Ghost." - AF
Peacock considers this to be an Irish song, although Irish versions seem rare. He may have a case; references to the Virgin seem to imply Catholic origin. But it may be simply that the song is based on an old chronicle.
The Bodleian web site lists this as by Eliza Buttery, but doesn't explain the attribution. _Granger's Index to Poetry_ gives the source as Matthew Gregory Lewis's _The Monk_.  It certainly looks literary. But I don't think we can list an author. - RBW
File: RcAtBaFI
===
NAME: Alonzo the Brave and The Fair Imogene: see Alonzo the Brave and Fair Imogene (File: RcAtBaFI)
===
NAME: Alouette (Lark) (II)
DESCRIPTION: French. I have plucked the tail, a thigh, two thighs, a wing, two wings, the back, the belly, le ventre, the neck, the head and the beak" Chorus: "En en plumant les dents, l'alouette et tout du long"
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage cumulative nonballad bird
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 2-3, "Alouette" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Alouette! (I)" (theme and structure)
ALTERNATE_TITLES:
J'ai Plume li Bec de Mon Alouette
NOTES: Told from the canonical "Alouette" apparently by the different chorus. - RBW
File: Pea002
===
NAME: Alouette! (I)
DESCRIPTION: French: "Alouette, gentille Alouette, Alouette, je t'y plumerai." Cumulative: "Je t'y plumerai la tet, le bec, le nez, les yeux, le cou, les ail's, le dos, les patt's, la queue," meaning, "Skylark, I will pluck your head, beak, nose, eyes, neck, etc."
AUTHOR: unknown
EARLIEST_DATE: 1879 (McGill College songbook)
KEYWORDS: cumulative bird foreignlanguage
FOUND_IN: Canada(Que) France
REFERENCES: (4 citations)
Fowke/Johnston, pp. 118-119, "Alouette!" (1 text, 1 tune)
Fowke/MacMillan 39, "Alouette" (1 text, 1 tune)
Silber-FSWB, p. 389, "Alouette" (1 text)
Fuld-WFM, p. 95, "Alouette"
CROSS_REFERENCES:
cf. "The Red Herring" (theme)
cf. "Alouette (Lark) (II)" (theme and structure)
SAME_TUNE:
Suffocation (Pankake-PHCFSB, p. 125)
NOTES: Fuld reports a claim that this was a work song used while plucking birds. I'll believe it when I see evidence. - RBW
File: FJ118
===
NAME: Alphabet of the Ship: see The Sailor's Alphabet (File: RcTSAlp)
===
NAME: Alphabet Song (I)
DESCRIPTION: "'A' was an apple which growed on a tree ... And 'Z' was a zebra just come from the race" in rhyming couplets
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: nonballad animal bird
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 4-5, "Alphabet Song" (1 text, 2 tunes)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
File: Pea004
===
NAME: Alphabet Song (II), The: see The Bawdy Alphabet; also The Logger's Alphabet, The Sailor's Alphabet, etc. (File: RL616)
===
NAME: Alphabet Song (III), The: see The Logger's Alphabet (File: Doe207)
===
NAME: Alphabet Song (IV): see The Sailor's Alphabet (File: RcTSAlp)
===
NAME: Alphabet Songs
DESCRIPTION: A song listing the letters of the alphabet. It may have a chorus, but the letters are simply listed, with no mnemonics. Some distinguish vowels and consonants.
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: nonballad wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 873, "The Alphabet Song" (6 texts, 6 tunes, but the "E" and "F" texts are "The Vowels")
Roud #3303
RECORDINGS:
May Kennedy McCord, "The Singing Alphabet" (AFS; on LC12)
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
cf. "The Vowels"
cf. "Mother, May I Go to Swim" (floating lyrics)
NOTES: There are probably dozens of alphabet songs, and no attempt is made to distinguish them here. Note that these are not the same as the various interpreted alphabets (Logger's Alphabet, Sailor's Alphabet, Bawdy Alphabet, etc.)
Portions of these songs not containing the alphabet may be interesting; Randolph's "A" text begins with the floating lyric, "Mother, may I go out to swim? Yes, my darling daughter. Hang your clothes on a hickory limb But don't go near the water." - RBW
The Randolph "A" floating verse is the same as one of the Opie-Oxford2 360, "Mother may I go and bathe?" texts (earliest date in Opie-Oxford2 is 1951 with a reference to "Indiana in the 1890's"). - BS
The Baring-Goulds (for whom this item is #879, p. 327) quote Ditchfield to the effect that this goes back to the sixth century writer Hierocles. The joke may be the same, but I strongly doubt literary dependence. - RBW
The McCord recording is the one Randolph cited. - PJS
File: R873
===
NAME: Altimover Stream: see The Lurgy Stream (The Lurgan/Leargaidh Stream) (File: HHH229)
===
NAME: Altoona Freight Wreck, The: see The Wreck of the 1262 (The Freight Wreck at Altoona) (File: DTwrck12)
===
NAME: Always on the Spree
DESCRIPTION: "He's a fine man to me when he's sober And a better man to me could never be, But from Saturday nict till Monday mornin' He's always on the spree"
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: drink nonballad husband wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 598, "Always on the Spree" (1 fragment, 1 tune)
Roud #6048
ALTERNATE_TITLES:
He's a Fine Man
NOTES: The current description is all of the GreigDuncan3 entry. - BS
File: GrD3598
===
NAME: Am I Born to Die? (Idumea)
DESCRIPTION: "And am I born to die, To lay this body down, And must my trembling spirit fly Into a world unknown?" "Waked by the trumpet sound, I from my grave shall rise, To see the Judge with glory crowned..." "I must from God be driv'n, Or with my Savior dwell...."
AUTHOR: Words: Charles Wesley / Music: Ananias Davidson?
EARLIEST_DATE: 1753
KEYWORDS: religious death nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 125, "Am I Born to Die?" (1 text, 1 tune)
Roud #6678
RECORDINGS:
Singers from Stewart's Chapel, Houston, MS, "World Unknown"; "Iduimea" (on Fasola1)
CROSS_REFERENCES:
cf. "World Unknown" (tune)
SAME_TUNE:
When Sorrows Encompass Me 'Round (File: Wa094)
NOTES: Lomax compares the tune to "Lord Lovel." It appears in the shape note books as "Idumea" (the Sacred Harp has a second tune, "World Unknown," listed as by H. S. Reese, but this doesn't seem to be well known). That the tune "Idumea" is traditional cannot be denied. There is more doubt about the words.
In the Missouri Harmony, the tune Idumea has the lyric "My God, my life, my love, To thee, to thee I call; I cannot live, if thou remove, For thou art all in all." - RBW
File: LoF125
===
NAME: Am I the Doctor?: see A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.) [Laws P9]; also "The Brown Girl" [Child 295] (File: LP09)
===
NAME: Amasee
DESCRIPTION: Playparty: "Take your partner down the line, Amasee, Amasee, Take your partner down the line, Amasee, Amasee, Swing your partner, swing again, Amasee, Amasee...."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Brown's Chapel School)
KEYWORDS: playparty nonballad dancing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 155, "Amasee" (1 text, 1 tune)
Roud #11010
RECORDINGS:
Children of Brown's Chapel School, "Amasee" (on NFMAla6, RingGames, FMUSA)
NOTES: I suppose the chorus line "Amasee" could have been suggested by the Biblical character "Amasa" -- but I rather doubt it. - RBW
So do I. Courlander interprets the word as a shortened, "I must see," but my ears don't quite hear that. "I'm 'a see," maybe, short for "I'm gonna see"? - PJS
File: CNFM155A
===
NAME: Amazing Grace
DESCRIPTION: "Amazing grace, how sweet the sound That saved a wretch like me." The singer describes how Jesus's grace gives him/her the confidence to face all the dangers and troubles of life.
AUTHOR: Words: John Newton (1725-1807)
EARLIEST_DATE: 1789 (reportedly composed) or 1831 (printed in Virginia Harmony)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
Ritchie-Southern, p. 45, "Amazing Grace" (1 text, 1 tune)
Lomax-FSUSA 96, "Amazing Grace" (1 text, 1 tune)
Lomax-ABFS, pp. 573-574, "Amazing Grace" (1 text, 1 tune)
Darling-NAS, pp. 261-262, "Amazing Grace" (1 text)
Silber-FSWB, p. 369, "Amazing Grace" (1 text)
DT, AMAZGRAC*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 48-49, "Amazing Grace" (1 text, 1 tune)
Roud #5430
RECORDINGS:
Howard Adams & congregation, "Amazing Grace" (on LomaxCD1704)
Jesse Allison & group, "Amazing Grace" (AAFS 2684 A1)
Horton Barker, "Amazing Grace" (on Barker01)
Mr. & Mrs. N. V. Braley, "Amazing Grace" (AAFS 2638 A2)
Rev. J. C. Burnett, "Amazing Grace" (Decca 7494, 1938)
Congregation of the Little Zion Church, Jeff, KY "Amazing Grace" (on Ritchie03)
Congregation of the New Hope Baptist Church, "Amazing Grace" (AAFS 3042 A2)
Old Regular Baptist Church congregation, "Amazing Grace" (on MMOK, MMOKCD)
C. J. Evans Gospel Choir of Nicey Grove Baptist Church, "Amazing Grace" (on HandMeDown2)
Bill & Pauline Garland, Charlie Black & Marie Bennett, "Amazing Grace" (AAFS 3941 A1)
Mrs. Henry Garrett, "Amazing Grace" (AAFS 3175 A3)
Rev. J. M. Gates, "Amazing Grace" (Pathe Actuelle 7514/Perfect 114, 1926) (Victor 20216, 1926) (Herwin 92003, 1926; Gennett 6013/Champion 15199/Black Patti 8015/Silvertone 5021, 1927; Paramount 12782, 1929; all rec. 1926)
Rev. J. R. Gipson, "Amazing Grace" (AAFS 3981 A1)
Harmonizing Four, "Amazing Grace" (Gotham G779, rec. early 1950s)
Old Harp Singers of Eastern Tennessee, "Amazing Grace" (on OldHarp01)
Horace Helms & the Shady Grove Partners, "Amazing Grace" (on HandMeDown2)
Mahalia Jackson, "Amazing Grace" (Apollo 194, rec. 1947; on Babylon)
Aunt Molly Jackson, "Amazing Grace" (AAFS 821 B2, 1935)
Buell Kazee, "Amazing Grace" [fragment] (on Kazee01)
Vera Kilgore, "Amazing Grace" (AAFS 2939 B4)
Mrs. W. L. Martin, "Amazing Grace" (AAFS 2748 B1/2)
Lucy McKeever, Annie Harvey, Melinda Jones, Mary Davis & Elsi Martin, "Amazing Grace" (AAFS 917 B2)
Blind Willie McTell, "Amazing Grace" (AAFS 4071 B3)
Gilbert Pike, "Amazing Grace" (AAFS 3189 B6)
Pilgrim Travelers, "Amazing Grace" (Specialty 847, n.d. but probably post-World War II)
Jean Ritchie, Doc Watson & Roger Sprung, "Amazing Grace" (on RitchieWatson1, RitchiteWatsonCD1)
School group, "Amazing Grace" (AAFS 3109 B)
Pete Seeger, "Amazing Grace" (on PeteSeeger47)
Mary Shipp, "Amazing Grace" (AAFS 3005 A1)
Carl Smith w. Carter Sisters & Mother Maybelle, "Amazing Grace" (Columbia 20986, 1952)
Students at Pine Mt. Settlement School, "Amazing Grace" (AAFS 1383 B1)
Rev. H. R. Tomlin, "Amazing Grace" (OKeh 8378, 1926)
Mr. & Mrs. Richard Walker & Grover Bishop, "Amazing Grace" (AAFS 3104 A2)
Doc Watson, Clarence Ashley, Clint Howard, Fred Price & Jean Ritchie, "Amazing Grace" (on Ashley03, WatsonAshley01)
Wisdom Sisters, "Amazing Grace" (Columbia 15093-D, 1926)
Group of young and old people, "Amazing Grace" (on JThomas01)
SAME_TUNE:
The Frenchman's Cow (Pankake-PHCFSB, p. 59)
NOTES: As with many hymns, the threads [of this song's history] are a bit tangled. It's called "New Britain" in the "Original Sacred Harp" (1971 ed.), and this tune is the one commonly sung. No composer is listed for the tune, and a note states that the song was published in "Olney's Selections" as "Faith's Review and Expectation."
The lyrics also appear with a tune by R. F. Mann from 1869, under the title "Jewett," with the chorus "Shout, shout for glory/Shout, shout aloud for glory/Brother, sister, mourner/All shout glory hallelujah." - PJS
John Newton, according to Johnson, lost his mother at age seven and soon found himself serving his father on shipboard. Taken into the navy, he deserted, was recaptured, and finally ended up serving on a slaver. Then he read _The Imitation of Christ_, and gave up his career, eventually becoming an Anglican clergyman.
His major relic is the texts he contributed to _Olney Hymns_; there are nearly 300 of them, of which this one is by far the most popular. Other Newton sons in the Index are "Greenfields (How Tedious and Tasteless the Hours)" and "Glorious Thing of Thee are Spoken." - RBW
File: LxU096
===
NAME: Amber Tresses Tied in Blue
DESCRIPTION: "Far away in sunny meadows Where the merry sunbeams played... She was fairer than the fairest... And about her neck were hanging Amber tresses tied in blue." But "it was decreed that fate should part us"; now he sadly remembers her
AUTHOR: Words: Samuel M. Mitchell/Music: H.P. Banks
EARLIEST_DATE: 1874 (published by Cottier & Denton)
KEYWORDS: love separation
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
Randolph 804, "Amber Tresses Tied in Blue" (1 text)
Roud #4230
RECORDINGS:
Carter Family, "Amber Tresses"  (Victor 23701, 1932; Bluebird B-5185, 1933; Zonophone [Australia] 4379, n.d.)
Isabel Etheridge & Mary Basnight, "Amber Tresses" (on OBanks1)
File: R804
===
NAME: Ambletown
DESCRIPTION: A sailor receives a letter, telling him that his child has been born. He reports that it's "home I want to be" (to see the child and learn its gender), and intends to take ship there at the first opportunity
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: children family sailor separation home
FOUND_IN: 
REFERENCES: (4 citations)
Hugill, p. 499, "Home, Dearie, Home" (1 text, 1 tune, in which the sailor's wife, rather than sending a letter, comes to him in a dream) [AbrEd, pp. 366] 
Shay-SeaSongs, pp. 144-145, "Home, Dearie, Home" (1 text plus a stanza of Henley's adaption and an alternate chorus, plus a text of "Bell-Bottom Trousers," 1 tune)
Silber-FSWB, p. 91, "Home, Boys, Home" (1 text)
DT 319, AMBLTOWN
ST LK43A (Full)
Roud #269
RECORDINGS:
Jumbo Brightwell, "The Oak and the Ash" (on Voice02)
BROADSIDES:
NLScotland, RB.m.143(127), "Home, Dearie, Home," Poet's Box (Dundee), unknown (with this chorus, though the nearly-illegible text does not appear to match this song; it appears to be a rewrite of this piece)
CROSS_REFERENCES:
cf. "Rosemary Lane" [Laws K43]
cf. "A North Country Maid"
ALTERNATE_TITLES:
Home, Dearie, Home
Oak and the Ash, The
NOTES: For the complex relationship between this song, "A North Country Maid," and "Rosemary Lane" [Laws K43], see the notes to the latter song. - RBW
I put [the Silber text] in with Ambletown rather than Rosemary Lane because the only narrative verses describe the sailor's longing to be "sitting in my parlor and talking to my dear" and thinking of the "pretty little babe that has never seen its daddy." No explicit seduction -- which places it in the Ambletown ambit, so to speak. - PJS
File: LK43A
===
NAME: America (My Country 'Tis of Thee)
DESCRIPTION: A praise to the liberty and freedom offered in America. Throw in a brief description of the geography, a bit of praise for God, and a hint of ancestor worship, add the tune of "God Save the King," and you get America's other anthem
AUTHOR: Samuel Francis Smith
EARLIEST_DATE: 1831 (first recorded performance, though Smith later thought he wrote it in 1832, when it was first published)
KEYWORDS: patriotic America nonballad religious derivative
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 6-9, "America, My Country 'Tis of Thee" (1 text, 1 tune, from an 1861 edition)
Fuld-WFM, pp. 249-251, "God Save the King" (includes notes on "America")
Krythe 4, pp. 62-73, "America" (1 text, 1 tune)
DSB2, p. 53, "America" (1 text)
DT, AMERTIS*
CROSS_REFERENCES:
cf. "God Save the King" (tune) and references there
SAME_TUNE:
New National Anthem (Saffel-CowboyP, p. 221)
NOTES: According to Spaeth (_A History of Popular Music in America_, p. 69), S. F. Smith discovered the tune of "Heil Dir in Siegerkranz" in a book lent to him by Lowell Mason, and dashed off his words not knowing that "God Save the King" was to the same tune. Mason would direct the first public performance.
Smith would late write, "If I had anticipated the future of it, doubtless I would have taken more pains with it." - RBW
File: RJ19006
===
NAME: America, the Beautiful
DESCRIPTION: In praise of America, productive and fertile "from sea to shining sea." God is begged to care for and improve the nation.
AUTHOR: Words: Katherine Lee Bates/Music: Samuel A. Ward
EARLIEST_DATE: 1895 ("Congregationalist")
KEYWORDS: America patriotic religious nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Krythe 12, pp. 177-184, "America the Beautiful" (1 text, 1 tune)
Silber-FSWB, p. 46, "America the Beautiful" (1 text)
Fuld-WFM, pp. 96-97, "America the Beautiful"
RECORDINGS:
Pete Seeger, "America the Beautiful" (on PeteSeeger31)
Pete Seeger w. Robert DeCormier, "America the Beautiful" (on HootenannyTonight)
NOTES: An article in the October 2004 issue of _American History_ magazine reveals a complex history for this song, with, in a sense, both the words and music coming first.
Katherine Lee Bates (1859-1929) in 1893 was a professor of English heading for Colorado. She made several stops along the way: first at Niagara Falls, then at the World Columbian Exhibition in Chicago (where new shining-white buildings made her think of "alabaster cities"), then at Pikes Peak. She started on a rough draft then and there, and after polishing it a little, sent it to _The Congregationist_, which published the poem in its July 4, 1895 edition.
The result doesn't strike me as particularly good, even if you like the common version: "O beautiful for halcyon skies, For amber waves of grain, For purple mountain majesties Above the enameled plain! America! America! God shed his grace on thee Till souls wax fair as earth and air And music-hearted sea!"
Nonetheless, the poem was a hit, and reportedly inspired no fewer than 75 musical settings. But it wasn't until 1905 that Clarence A. Barbour managed to fit it to Samuel A. Ward's 1890 tune "Materna."
That process seemes to inspire Bates; she revised her poem once in 1904, and produced the final, quasi-canonical version in 1911. - RBW
File: Kry012
===
NAME: American Aginora, The
DESCRIPTION: A ship from Limerick to St John's is disabled. Two men drown. The food is lost. The captain has those without wives cast lots. The lot falls to O'Brien; the cook is forced to cut his throat. They drink O'Brien's blood. The next day they are rescued.
AUTHOR: unknown
EARLIEST_DATE: 1946 (Ranson); 19C (broadside, Bodleian Harding B 17(172a))
KEYWORDS: drowning sea ship storm wreck sailor rescue cannibalism starvation husband
HISTORICAL_REFERENCES: Dec 18, 1835 -  Patrick O'Brien is killed on Francis Spaight
Dec 23, 1835 - The crew is rescued by Agenora. (See Notes)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 38-39, "The American Aginora" (1 text, 1 tune)
Roud #7352
BROADSIDES:
Bodleian, Firth c.12(98), "Loss of the Ship Francis Spede, Dreadful Sufferings of the Crew ("You landsmen and you seamen bold "), J. Scott (Pittenweem), 19C; also Harding B 17(172a), "The Loss of the Francis Spaight"
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
cf. "The Banks of Newfoundland" (II) (plot)
NOTES: The plot is that of "The Banks of Newfoundland" (II) with the rescue too late to save the lottery loser. Note that the _Aginora_ is the rescue ship. As in "The Banks of Newfoundland," the ship planning/practicing human sacrifice is not named.
There are a number of references for the event:
Bourke in _Shipwrecks of the Irish Coast_ v3, p. 123, is writing about songs and ballads, including Ranson, as sources for his information: "The story of the Francis Spaight on 22 November, ... year unknown before 1836, describes cannibalism of the cabin boy Patrick O'Brien and eventual rescue of fourteen of the eighteen survivors by Captain Tillard.."
Northern Shipwrecks Database has the date as November 1836, has "Francis Spaight" sailing from Saint John, New Brunswick, bound to Limerick, Ireland, and the rescuer as "Angeronia." The Bodleian broadsides have the rescue ship as "The Agonary of America."
_Death of a Cabin Boy_ on the Askeaton Step Back in Time site: "Few Limerick people today will have heard of Patrick O'Brien. His name has not entered any of our major works of local history. There is not even a plaque or stone to his memory."
The story is told about O'Brien, about the disaster on December 3, and finally of the decision by the captain, Thomas Gorman, "that one of the crew should be killed to keep the rest alive." After O'Brien was killed "three other crew members were similarly put to death ... and they too were eaten by their ship mates.... The captain of the _Francis Spaight_ was engaged in eating the liver and brains of his cabin boy when rescued. After their return to Limerick, the captain and crew were tried for murder and acquitted... rendered [by their ordeal] ... unable to labour ... during the rest of their lives."
The Immigrant Ships Transcribers Guild site has an expurgated text of Captain Gorman's letter to the ship's owner, naming the rescue ship as _Agorona_ and its captain as Jillard. As to the storm, the site, quoting Limerick Times notes "On a reference to Lloyd's List we find that twenty vessels are reported as having foundered on the same night."
The Jack London Ranch Album site has the complete text of _The "Francis Spaight" A True Tale Retold_ by Jack London, a short story from "When God Laughs and Other Stories" (Macmillan, 1911). London's story is closer to the ballad than to the reports.
The facts: the _Francis Spaight_ sailed Nov 24 [,1835], was wrecked December 3, and the rescue ship was _Agenoria_ from America. ["The Wreck of the Francis Spaight," The Times of London, Wednesday, Jun 22, 1836; pg. 7; Issue 16136; Start column: C. (Copyright 2002 The Gale Group)] - BS
File: Ran038
===
NAME: American and Irish Privateer, The: see The French Privateer (File: HHH560)
===
NAME: American Boys: see The Dying British Sergeant (File: Wa010)
===
NAME: American Stranger (I): see The Green Mossy Banks of the Lea [Laws O15] (File: LO15)
===
NAME: American Stranger (II), The: see When First Into this Country (File: SWMS195)
===
NAME: American Volunteer, The
DESCRIPTION: "Hark, hark, hear that yell, tis the war whoop's dread sound." Indians attack and set a cottage on fire. Our Hero pursues, finds an Indian whose weapon was broken, kills him (?), attacks the Indian band, and rides away to the thanks of the community
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: Indians(Am.) revenge family fire
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 93, "The American Volunteer" (1 text)
ST GC093 (Partial)
Roud #3696
NOTES: This looks very much like a defective memory of a historical broadside (though one suspects the original of magnifying both the Indians' villainy and the hero's bravery). But the text as it stands contains neither a single proper name (of a person or a place) nor a single date, making it quite untraceable. - RBW
File: GC093
===
NAME: American Woods [Laws M36]
DESCRIPTION: William is forced into the army by the parents of his sweetheart. In America he is murdered by Indians. His ghost appears to his sweetheart in Scotland, saying he will wander until she joins him. Within a week she too is dead
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: Indians(Am.) army ghost death
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws M36, "American Woods"
Creighton-NovaScotia 99, "American Woods" (1 text, 1 tune)
DT 588, AMERWOOD
Roud #1809
File: LM36
===
NAME: Amhrainin Siodraimin
DESCRIPTION: Gaelic. Martin, a fuller from Bandon, owned a ship. The women "went wild all around him" but Molly and her mother kept after him until "they had poor Martin hooked." Now "he has his troubles; two women at his fireside and a cot in the corner"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: foreignlanguage courting humorous mother
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 58-59, "Amhrainin Siodraimin" (1 text, 1 tune)
NOTES: OCanainn: "The chorus [and title] is well nigh untranslatable ... just providing syllables for each beat of the jig rhythm.
The description is based on the OCanainn translation.
"Fulling ... produces a warm, resistant cloth, quality notwithstanding.... [F]ullers join the ranks of the wealthy artisans and guilds in the fourteenth century, by which time it can only signify someone responsible for, or with a controlling interest in, the mill itself." (source: Michael Gervers, _The textile industry in Essex in the late 12th and 13th centuries: A study based on occupational names in charter sources_ , University of Toronto site). 
Bandon is up the Bandon River from Cork.- BS
File: OCan058
===
NAME: Amnesty Meeting in Tipperary, The
DESCRIPTION: "Tipperary to give you your merit Your meeting exceeded them all." At noon on October 24 the towns and trades marched through the streets supporting amnesty for the Fenian exiles. Fathers Barry and O'Connell and a young man on a charger led the legions
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, LOCSinging as100270)
KEYWORDS: exile Ireland political clergy
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann, p. 70, "A New Song on the Amnesty Meeting in Tipperary" (1 fragment)
BROADSIDES:
Bodleian, 2806 b.9(50), "A New Song On The Amesty[sic] Meeting in Tipperary," P. Brereton (Dublin), c.1867
LOCSinging, as100270, "A New Song On The Amesty[sic] Meeting in Tipperary," P. Brereton (Dublin), 19C 
NOTES: Zimmermann p. 70 is a fragment; broadside LOCSinging as100270 is the basis for the description.
Broadsides LOCSinging as100270 and Bodleian 2806 b.9(50) are duplicates.
The broadside does not say what year this is. The Bodleian assignment of c.1867 is their standby for Brereton broadsides no matter how the internal evidence stacks up. It is probably a Sunday. It is certainly after 1867 since it cites the deaths of Allen, O'Brien and Larkin (see references for "The Smashing of the Van (I)"). P. Brereton was apparently a Dublin printer in the 1860s and 1870s (the address for this broadside is 1 Lower Exchange Street). The only Sunday, October 24ths in that period are in 1869 and 1875.
While 1869 is likely -- this is only two weeks after the amnesty meeting in Dublin (see references for "The Glorious Meeting of Dublin") and three weeks after earlier activity for amnesty in Youghal -- the emphasis and leaders seem different. Earlier in October 1869 the emphasis was for amnesty for the Fenian prisoners eventually exiled in 1871; here the amnesty requested is that unnamed exiles -- and there are exiles from long before 1869 (see, for example, references for "By the Hush") -- be allowed to return.
Fathers Barry and O'Connor seem local to the Galtees mountains, Glen of Aherlow, and southern Tipperary towns. The amnesty movement leaders are not named; on the other hand, the array of trades and towns repeats the Dublin 1869 approach. Unless someone can find a reference I would list the date on this as "uncertain." - BS
File: BrdAmnTi
===
NAME: Among the Blue Flowers and the Yellow: see Willie's Lyke-Wake [Child 25] (File: C025)
===
NAME: Among the Green Bushes in Sweet Tyrone
DESCRIPTION: The singer asks if there is anyone who does not thrill with memories of a childhood home. He declares, "Darling Tyrone, I will love you till death." He describes how he dreams of the old boreen. Even if he never returns, he will always think of Tyrone
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H708, p. 178, "Among the Green Bushes [in Sweet Tyrone]" (1 text, 1 tune)
Roud #13534
File: HHH708
===
NAME: Among the Heather: see Heather Down the Moor (Among the Heather; Down the Moor) (File: HHH177)
===
NAME: Among the Little White Daisies
DESCRIPTION: "(Gynna) is her first name, first name, first name, (Glynna) is her first name, Among the little white daisies." Ritchie version gives the first and second names of husband and wife, then tells of their marriage, children, and perhaps death
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ritchie-Southern)
KEYWORDS: playparty courting death
FOUND_IN: 
REFERENCES: (1 citation)
Ritchie-Southern, p. 34, "Among the Little White Daisies" (1 text, 1 tune)
Roud #7401
File: RitS034
===
NAME: Amsterdam: see A-Rovin' (File: EM064)
===
NAME: Amsterdam Maid, The: see A-Rovin' (File: EM064)
===
NAME: Amy and Edward: see Edwin (Edmund, Edward) in the Lowlands Low [Laws M34] (File: LM34)
===
NAME: An "Croppy Lie Down" (The "Croppy Lie Down")
DESCRIPTION: Gaelic. When Spain and France come the English will be defeated and we won't have to listen to the "Croppy Lie Down." Bonaparte has promised to drive out the enemy; then the women can sing the "Croppy Lie Down"
AUTHOR: unknown
EARLIEST_DATE: 1978 (Toibin's _Duanaire Deiseach_, according to Moylan)
KEYWORDS: foreignlanguage rebellion Ireland patriotic Napoleon
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 78, "An 'Croppy Lie Down'" (1 text, 1 tune)
NOTES: The description is from the summary in the Moylan's notes. 
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Eamon O Broithe, "An 'Croppy Lie Down'" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
File: Moyl078
===
NAME: An Binnsin Luchra (The Little Bench [or Bunch] of Rushes)
DESCRIPTION: Irish Gaelic: Singer, going to the water-meadow, meets a girl who has cut rushes. He bids her join him in the forest. She reproaches him; he'd promised a home and fine clothing, "all in payment for the bench of roses and the trouble I had over it"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 11(393))
KEYWORDS: courting sex promise betrayal foreignlanguage
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Fowke/MacMillan 64, "The Bonny Bunch of Rushes Green" (1 text, 1 tune)
Creighton-SNewBrunswick 22, "Bonny Bunch of Rushes Green" (1 fragment, 1 tune)
ST RcABLtlb (Full)
Roud #3380
RECORDINGS:
Philip McDermott, "The Reaping of the Rushes Green" (on Voice18, IRHardySons)
Maire O'Sullivan, "An Binnsin Luchra (The Little Bench [or Bunch] of Rushes)" [fragment] (on Lomax42, LomaxCD1742)
BROADSIDES:
Bodleian, Harding B 11(393), "Rushes Green," W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3369), 2806 c.17(371), "Rushes Green"
NOTES: Fowke/MacMillan notes to 64: "This is an English version of the widely known Irish Gaelic song ... In JFSS III 17 Lucy Broadwood gives a version from Waterford, Ireland, with alternate English and Gaelic stanzas." Fowke/MacMillan includes the "Arabian Queen" reference that ties it to Creighton-SNewBrunswick.
Broadside Bodleian Harding B 11(393), which is in English, is -- like Fowke/MacMillan -- just about seduction; it refers to "any queen" rather than "Arabian queen" and shares the reference to hunting dogs and singing birds with Fowke/MacMillan. -BS
File: RcABLtlb
===
NAME: An Bunnan Buidhe: see An Buinnean Bui (File: HHH830)
===
NAME: An Cailin Aerach (The Airy/Light-Hearted Girl)
DESCRIPTION: Irish Gaelic: Singer comes home with the airy girl "tired and weakened." He apologizes to her; woman of the house comes down in a fury and banishes the girl. He sings the girl's praises, and warns the girls of the neighborhood not to keep his company
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Maire O'Sullivan)
KEYWORDS: foreignlanguage jealousy infidelity accusation warning lover
FOUND_IN: Ireland
REFERENCES: (0 citations)
RECORDINGS:
Maire O'Sullivan, "An Cailin Aerach (The Airy [Light-Hearted] Girl)" [incomplete] (on Lomax42, LomaxCD1742)
NOTES: [Lomax's] plot descriptions are frustratingly vague; the "woman of the house" is described by Lomax as the man's sweetheart, but she sounds more like a wife. And what is he apologizing for, that left the girl "tired and weakened"? - PJS
File: RcACAtag
===
NAME: An Eos Whek: see Well Met, Pretty Maid (The Sweet Nightingale) (File: K089)
===
NAME: An Wedhen War An Vre (The Tree on the Hill): see The Rattling Bog (File: ShH98)
===
NAME: Ananias
DESCRIPTION: 'Ananias was a-laying in his bed (x3), When a knocking came at the door." Ananias asks who it is, "And he Lord he say, 'hit's me.'" The Lord asks the location of Ananias's religion, then tells Ananias to "lay down your rheumatism." He does
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: religious healing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 520, "Ananias" (2 texts, perhaps of the same original)
Roud #11815
NOTES: There are Biblical themes all over this piece, but as given it, it is not Biblical. There are two Ananiases (Hananiahs) in the New Testament: The husband of Sapphira, who dropped dead after cheating the Church (Acts 5:1-11) and the Damascene Christian who opened Paul's eyes (Acts 9:10-19). Neither of these is known to have been crippled.
(There is also a high priest Ananias in Acts 23:2, 24:1, but he's clearly not the one involved.)
There are, of course, Biblical accounts of cripples being made to walk (e.g. Mark 2:1-12); since they generally aren't named, it is possible that tradition assigned the name "Ananias" to one of them. But the details of this account don't match any Biblical healing I can recall. - RBW
File: Br3520
===
NAME: Anchor's Aweigh, The
DESCRIPTION: "Oh, the anchor's aweigh, the anchor's aweigh, Fare you well, fare you well, my own true love. At last we parted on the shore, As the tears rolled gently from her eyes. 'Must you go leave me now,' she did say, 'That I face this all alone?'"
AUTHOR: unknown
EARLIEST_DATE: before 1860 (NLScotland broadsides)
KEYWORDS: sailor parting
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Doerflinger, p. 166, "The Anchor's Aweigh" (1 text, 1 tune)
Roud #9445
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(056), "Annie Laurie," James Lindsay (Glasgow), 1852-1859; also L.C.Fol.178.A.2(062), "Annie Laurie," James Lindsay (Glasgow) [despite both being by Lindsay, and using the same woodcut, they are not the same broadside]
NOTES: This should not be confused with the popular piece "Anchors Aweigh" (usually credited to Alfred H. Miles and Charles H. Zimmerman).
According to A. M. Kramer, "Salty Sea Songs and Shantys," the words to this piece are by S. J. Arnold and the music by "Braham." Doerflinger's note seems to imply that he doubts this. - RBW
File: Doe166a
===
NAME: Anchors Aweigh, Love: see As I Roved Out (I) (Tarry Trousers II) (File: LoF014)
===
NAME: Ancient Riddle, An
DESCRIPTION: "Adam God made out of dust, But thought it best to make me fust...." "My body God did make complete But without arms or legs or feet...." "Now when these lines you slowly read, Go search your Bible with all speed, For that my name's recorded there."
AUTHOR: unknown
EARLIEST_DATE: 1853 (Journal from the Smyrna)
KEYWORDS: riddle nonballad whale
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 282-285, "An Ancient Riddle" (1 text, 1 tune)
Roud #2079
NOTES: Huntington's version of this riddle is ten stanzas long, although nearly all the useful information is quoted in the description above. (The one other useful fact is that "to fallen men I give great light," referring to the light given by burning oil.) The rest is theological discussion. The answer is a whale or whales.
Ironically, whales are not really mentioned in the Bible. The King James version uses the word "whale" three times in the Old Testament (Genesis 1:21, Job 7:12, Ezek. 32:2), but the modern versions translate this more correctly as "sea monster."
Thus the only correct instance of the word "whale" in the English Bible is in Matthew 12:40. The Greek word does refer to a whale, but it is an allusion to the Greek version of the Book of Jonah, which incorrectly translates the Hebrew word for "fish" as "whale" (Jonah 2:1, 2, 11; the same word is used in the Greek of Gen. 1:21, Job 3:8, 9:13, 26:12, Sirach 43:25, Daniel 3:79, 3 Macc. 6:8). And even this word means "sea monster" as well as "whale." - RBW
File: SWMS282
===
NAME: And a Begging We Will Go: see A-Begging I Will Go (File: K217)
===
NAME: And Must I Be to Judgment Brought?
DESCRIPTION: "And must I be to judgment brought, And answer in that day For every idle deed and thought And every word I say?" "We are passing away (x3) To the great judgment day." "Yes, every secret of my heart Shall shortly be made known...."
AUTHOR: Words: Charles Wesley
EARLIEST_DATE: 1763 (Words)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 613, "And Must I Be to Judgment Brought" (1 short text)
NOTES: In the Sacred Harp, this is given the tune-title "Passing Away," credited to John A. Watson in 1872. But Jackson reports it from the Christian Harmony of 1866. - RBW
File: Br3613
===
NAME: And Sae Will We Yet
DESCRIPTION: "Come sit down, me cronies, And gie us your crack, Let the win lift the cares o' this life from aff your back... For we've always been provided for, and sae will we yet." The singer and the nation have endured through troubles, "and sae will we yet."
AUTHOR: Walter Watson ? (died 1854)
EARLIEST_DATE: before 1824 (Broadside Bodleian, Harding B 28(42))
KEYWORDS: drink work party
FOUND_IN: Britain(Scotland)
REFERENCES: (6 citations)
Ford-Vagabond, pp. 256-258, "Sae Will We Yet" (1 text)
Greig #129, p. 1, "We've Aye Been Provided For and Sae Will We Yet" (1 text) 
GreigDuncan3 552, "Sae Will We Yet" (3 texts, 2 tunes)
Ord, p. 371-372, "Sae Will We Yet" (1 text)
DT, SAEWILL
ADDITIONAL: Alexander Whitelaw, A Book of Scottish Song (Glasgow, 1845), p. 267, "Sae Will We Yet"
Roud #5611
BROADSIDES:
Bodleian, Harding B 28(42), "And sae will we yet," W. Armstrong (Liverpool), 1820-1824 (barely legible); Firth b.26(389), "We've aye been Provided For" ("Sit ye down here my cronies, and gie us your crack"), J. Scott (Pittenweem), 19C; Harding B 11(61)=Firth c 13(296), "And so will we yet," Hoggett (?), n.d.; Harding B 25(55), "And so will we yet"; Firth n.26(389); Firth b.26(289), "We've Aye Been Provided For"
NLScotland, RB.m.143(154), "We've Aye been Provided For" ("Sit ye down here, my cronies, and gie us your crack"), Poet's Box (Glasgow), 1869
CROSS_REFERENCES:
cf. "Never lippen to chance" (tune, per broadside Bodleian Firth b.26(389))
NOTES: Greig quotes a version sent to him by Ord as Watson's original version. It does not include three verses included by Whitelaw. "This inclines one to think that the addenda may have been written by the author [Watson] himself; but, inasmuch as in the final edition of Watson's works the song appears without the addenda, they must have either been withdrawn by the author or discarded as spurious." Greig's version also includes a verse not in Whitelaw. - BS
Ord lists this as being sung to "The Wearing of the Green." I can't for the life of me make it fit; I suspect he derived that from a broadsheet which indicated an incorrect tune.
The broadsides list various tunes: Bodleian Firth b.26(289) lists "Never lippen to chance"; another Bodleian text claims an original tune. - RBW
File: FVS256
===
NAME: And She Skipped Across the Green: see Ball of Yarn (File: EM089)
===
NAME: And So Will We Yet: see And Sae Will We Yet (File: FVS256)
===
NAME: And So You Have Come Back to Me: see The Last Farewell (The Lover's Return) (File: R761)
===
NAME: And They Called It Ireland: see A Little Bit of Heaven (File: Dean006)
===
NAME: Andersonville Prison
DESCRIPTION: "On western Georgia's sandy soil, Within a lonesome prison pen, Lay many a thousand shattered forms Who once was brave and loyal men." The hellish conditions are described. One man, dying, remembers his widowed mother and sweetheart
AUTHOR: unknown
EARLIEST_DATE: 1929 (Randolph)
KEYWORDS: Civilwar death mother love prison war
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 237, "Andersonville Prison" (1 text)
Roud #4033
NOTES: Conditions for soldiers in Civil War armies were usually bad, and the fate of prisoners was worse. But there was no place in the world, before the concentration camps, that could compare with Andersonville prison. Never larger than 26 acres, it held, at times, more than 32,000 soldiers!
Although they were (theoretically) granted the same rations as Confederate field soldiers, the inadequate sanitation and health care led to immense death rates. Nearly 13,000 men are known to have been buried there, and it is generally conceded that many more died without having any monument.
Andersonville was opened in February of 1864, and was finally closed in April 1865. Its commander, Major Harry Wirz, was executed in November 1865. He was the only man in the entire Confederacy condemned for what we would now call "war crimes."
This song is item dA39 in Laws's Appendix II. - RBW
File: R237
===
NAME: Andrew Bardeen: see Sir Andrew Barton [Child 167] AND Henry Martyn [Child 250] (File: C167)
===
NAME: Andrew Batan: see Henry Martyn [Child 250] AND Sir Andrew Barton [Child 167] (File: C250)
===
NAME: Andrew Jackson's Raid
DESCRIPTION: "When forces were marched, four thousand brave men, On the fourteenth of March to Fort (Stratton) again...." Jackson reviews the men and has them attack Fort William. The singer toast congress and soldiers
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: war battle soldier patriotic
HISTORICAL_REFERENCES: Aug 30, 1813 - beginning of the "Creek War." Creek Indians attack Fort Mims and kill many of the inhabitants. Tennessee militia officer Andrew Jackson calls out the troops in response
Nov 3, 1813 - Tennessee forces under John Coffee destroy the Indian city of Tallishatchee
Nov 9, 1813 - Jackson destroys Indian forces at Talladega (Alabama)
Jan 22-27, 1814 - Series of small defeats for the Tennessee forces
March 27, 1814 - Battle of Horseshoe Bend. Jackson and Coffee decisively defeat the Creeks
FOUND_IN: 
REFERENCES: (1 citation)
Belden, p. 297, "Andrew Jackson's Raid"
Roud #7954
NOTES: Although Belden's (apparent) fragment does not say *which* Jackson was the general in this song, it seems evident that it was Andrew Jackson. The reference to the Tallapoosa River (in Alabama), at which the Battle of Horseshoe Bend was fought, seems to establish this.
Jackson, in the period before the Battle of New Orleans, had had a frustrating war. (Indeed, his entire military career had been pretty frustrating; according to John K. Mahon, _The War of 1812_, da Capo, 1972, pp. 199-200, "except as a boy during the Revolution, he had neither seen combat nor led troops in anything but frill. His practical experience as a soldier was negligible, and his theoretical knowledge even more so.")
Jackson, the major general commanding Tennessee militia since 1802, had raised troops in Tennessee (see Walter R. Borneman, _1812, The War that Forged a Nation_, p. 136), but for a long time had to just sit and not use them (Borneman, p. 137). Washington did not trust him, because he had had some involvement with the rebellion of Aaron Burr (Mahon, p. 198). Eventually the government tried to send the troops, but not Jackson, south; fortunately for him, a local politician managed to have Jackson given charge (Borneman, p. 138). So Jackson left Tennessee -- and at Natchez was given orders to disband his troops! (Borneman, p. 139). Rather than turn them loose on the spot, Jackson paid to bring the troops back to Nashville as a unit (Borneman, p. 140); somehow, he seems to have acquired the nickname "Old Hickory" in the process (Borneman, p. 141).
Back in Nashville, two of his subordinates ended up in a duel, which later led to a tavern brawn in which Jackson ended up with a bad shoulder wound (Borneman, pp. 141-143). He was still recovering when the Creek War broke out.
The Creeks had the usual complaints against the Americans: The settlers were encroaching on their lands. The causes are complex and hard to pin down, though it's clear that Tecumseh helped inspire his mother's people (Borneman, pp. 143-144). It's also clear that not every Creek leader wanted to be involved; it was a band of mostly young warriors called the Red Sticks who rebelled (see Donald R. Hickey, _The War of 1812_, p. 147), and many Creeks stayed loyal.
The war started with a running campaign between a force of American militia and a band of Creeks headed by Peter McQueen and allied loosely with the British and Spanish; this fight came to be called the Battle of Burnt Corn (Borneman, pp. 144-145; Hickey, p. 147). Americans in the area of the Alabama and Tombigbee rivers hastily built and moved into stockades. One such stockade was Fort Mims, not far north of Mobile, attacked by Creeks led by Red Eagle (William Weatherford); by the end, nearly everyone inside the stockade (at least 200 people, and most estimates seem to be around 300) had been killed (Borneman, pp. 145-146; Hickey, p. 147).
The Americans responded by raising several small armies to control the Indians. Jackson led one of these. And he was by far the most aggressive commander, so his forces saw most of the action. His first move after building Fort Strother to serve as a base was to send his subordinate John Coffee to the Indian settlement of Tallushatchee/Tallishatchee/Tallashatchee in northeastern Alabama.
Hickey, p. 138, describes what followed as a re-enactment of Hannibal's famous victory at Cannae, inducing the Indians to attack his center then cupping his flanks around them to encircle and slaughter the force. Coffee's troops killed every Indian who opposed them (Borneman, p. 147). This caused the Indians of Talladega, obviously frightened, to join the American side. Red Eagle promptly took his forces to attack the settlement, which was some distance south of Fort Strother. Jackson led about 2000 men south and defeated the thousand or so Indians -- though this time the larger part of the Indian force escaped (Borneman, pp. 147-148; Hickey, p. 148).
The other prongs of the American offensive finally got moving at about this time, though the accomplished very little. Jackson's troops, meanwhile, were leaving for home; they had signed up for only a few months of service, and their enlistments expired around this time. Plus he was finding it almost impossible to get supplies from his contractors (Hickey, p. 149). At one point, he had only about 130 men at Fort Strother, and when he did get more in January 1814, they were raw and barely able to fight; Jackson tried an offensive with them, but suffered small but irritating strategic defeats (Borneman, p. 149). Still, he was fighting, and not retreating; he finally was sent several additional regiments of somewhat better-trained troops.
On March 14, 1814, Jackson took almost his whole army out of Fort Strother. Borneman estimates his force at 4000 (p. 150), as in the song, though other estimates (e.g. Hickey, p. 149) put his army at 3000. The Creeks had chosen a strong defensive position at Horseshoe Bend on the Tallapoosa River, with the river on three sides and a stout stockade crossing the nexk of the bend.
The song mentions that Jackson failed to knock down the wall with his small artillery train; Borneman notes that he had only one field gun, too small to do any good. But a force of Cherokees swam the river, brought back canoes, and allowed Coffee to get a small force behind the stockade; Jackson then attacked in front. The Indians were slaughtered almost to the man (Borneman, pp. 150-151; Hickey, p. 151). Red Eagle, who was elsewhere, had had enough, and urged his people to give in (Borneman, p. 250).
The Creek War had the usual outcome of a war between whites and Indians: The Indians were induced to sign a treaty giving up most of their land (Hickey, p. 151).
Worse was to come. Jackson probably could not have won at Horseshoe Bend without the Cherokee. As President, Andrew Jacskon would order the Cherokee displaced and send them along the Trail of Tears. But, hey, who cares if you're truthful, reliable, law-abiding, or in favor of peace if you're President of the United States? - RBW
File: Beld297
===
NAME: Andrew Lammie [Child 233]
DESCRIPTION: Lord Fyvie's trumpeter Andrew Lammie, the fairest man in the county, and Tifty's Annie, are in love. When Annie's father hears of this, he complains to Fyvie; he wants his daughter to marry better. She is adamant; her brother kills her for her effrontery
AUTHOR: unknown
EARLIEST_DATE: 1806 (Jamieson)
KEYWORDS: love death family poverty
FOUND_IN: Britain(Scotland(Aber,Hebr)) Canada(Mar)
REFERENCES: (4 citations)
Child 233, "Andrew Lammie" (3 texts)
Bronson 233, "Andrew Lammie" (16 versions+3 in addenda)
Mackenzie 12, "Andrew Lammie" (1 text)
DT 233, MILTIFTY* MILTIFT2*
Roud #98
RECORDINGS:
Lucy Stewart, "Tifty's Annie" (on LStewart1)
CROSS_REFERENCES:
cf. "Pretty Betsey" [Laws M18] (plot)
cf. "Charlie Mackie" (lyrics, form, themes)
ALTERNATE_TITLES:
Mill o Tifty's Annie
NOTES: Ord and Grieg have a song, "Charlie Mackie," which looks like a by-blow of this song. The plot is different -- the wealthy girl's parents don't want her wed to Mackie, though he finds his way to her in the end. But not only is the scansion the same, but many of the lines of "Charlie Mackie" are obviously corrupt derivatives of those found in "Andrew Lammie."
There is, apparently, a certain amount of truth in this song: We know little with certainty of Agnes Smith (nicknamed Nannie, hence Annie), save that her grave gives her date of death as January 19, 1673 (or, in other authorities, 1631; the stone, according to Child, eventually became illegible). However, legend has it that she was courted by Andrew Lammie, Lord Fyvie's trumpeter. Fyvie, desiring the girl herself, had Lammie transported to the West Indies. He made it back, but by then she had died, and he himself died cursing Lord Fyvie.
Another legend, according to Peter Underwood's _Gazeteer of British, Irish, and Scottish Ghosts_, has it that Lammie's ghost still appears to trumpet the deaths of the Lords of Fyvie. Indeed, Underwood lists many ghosts found at Fyvie, perhaps related to a curse laid by Thomas the Rhymer. - RBW
I was not able to read broadside Bodleian, 2806 c.11(1), "Andrew Lammie" or "Mill of Tifty's Annie" ("At Mill of Tifty lived a man, in the neighbourhood of Fyvie"), Brander and Co. (Elgin), n.d. - BS
File: C233
===
NAME: Andrew Marteen: see Henry Martyn [Child 250] AND Sir Andrew Barton [Child 167] (File: C250)
===
NAME: Andrew Rose
DESCRIPTION: Captain Rogers of the Martha Jane has British sailor Andrew Rose whipped and tortured. "Then the captain trained his dog to bite him" and Rose dies. When he arrives at Liverpool Rogers is arrested, convicted, and sentenced to be hanged.
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan1)
KEYWORDS: murder execution sea ship ordeal sailor
HISTORICAL_REFERENCES: Sep 12, 1857 - Captain Rogers was executed for the murder of Andrew Rose (source: Times of London).
FOUND_IN: Canada(Newf) US Britain(Scotland(Aber))
REFERENCES: (4 citations)
Peacock, pp. 825-826, "The Ordeal of Andrew Rose" (1 text, 1 tune)
Colcord, pp. 156-157, "Andrew Rose" (1 text, 1 tune)
GreigDuncan1 6, "Andrew Ross" (1 text, 1 tune)
DT, ANDRROSS* ANDRROS2*
Roud #623
ALTERNATE_TITLES:
Captain Rodger's Cruelty
NOTES: According to the Mariners site, regarding the sleeve notes of "Farewell to the Days of Sail", an LP by Mike Stanley, "Andrew died of his injuries. The master, mate, and bo'sun were tried for the murder in Liverpool. The master, Captain Rodgers was found guilty and hung at 'Joe Gurk's' (Walton Prison)."
GreigDuncan1: "The trial of Captain Rodgers took place at Liverpool in 1857."
Captain Rogers was executed Saturday, September 12, 1857. ["Execution of Captain Rogers," The Times of London, Monday, Sep 14, 18576; pg. 9; Issue 22785; Start column: E. (Copyright 2002 The Gale Group)] - BS
File: Pea825
===
NAME: Andy McElroe
DESCRIPTION: Brother Andy writes home about his deeds with the relief expedition, leading charges for Wolseley and frightening the Mahdi. Newspapers and government despatches tell a different story, but "we won't believe a word against brave Andy McElroe."
AUTHOR: William Percy Finch (1854-1920)
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: bragging army war Africa humorous soldier
HISTORICAL_REFERENCES: 1885 - The Relief Expedition under General Garnet Joseph Wolseley fails to rescue Chinese Gordon from the siege of Khartoum (Mar 13, 1884-Jan 26, 1885) by the Dervishes led by the Mahdi, Mohammed Ahmed.
FOUND_IN: Ireland
REFERENCES: (1 citation)
O'Conor, p. 85, "Andy M'Elroe" (1 text)
NOTES: Sources: Re author--Oldpoetry site. Re historical references--_The River War_ by Winston S Churchill, ch. 1-3, and "The Mahdist Jihad 1881-1885" at the OnWar site. - BS
Charles George "Chinese" Gordon (1833-1885) actually began his military career in the Crimea, but went to China in 1860, where he was instrumental in suppressing the Taiping rebellion. This gained him a high military reputation, though it's not clear how well he earned it; his one clear skill was in military engineering.
Gordon went to Egypt in 1873, working there at surveying and establishing control of the Nile until 1880. He performed various jobs over the next four years, spending part of the time rebuilding his health. Then came the Sudan Rebellion.
The Sudan, at that time, was theoretically a province of Egypt, which meant that it was part of a British client-state -- though the British pretended they didn't run Egypt, and Egypt had never really managed the Sudan, except for a few spots along the Nile. The British made no real efforts to control the Sudan, simply sending William Hicks (1830-1883) to try to control problems.
Mohammed Ahmed (1840?-1885), El Mahdi (the local name for the Messiah -- properly pronounced with a fricative, i.e. Makhdi) had meanwhile started a rebellion (1882). Hicks set out to suppress him, but his troops -- many of them convicts and with few trained officers -- were annihilated by the dervishes in 1883.
El Mahdi now had control of almost the entire Sudan; even those who did not consider him the Messiah could hardly oppose him.
The British gathered another local army, under Valentine Baker; it was slaughtered at El Tib on February 6, 1884. Soon after, the fortified post of Sinkat was captured. Britain finally was forced to send European troops. Gerald Graham brought 3000 soldiers, and though he was too late to save the garrison of Tokar, he did win an easy victory at El Tib.  He then won a much harder battle against the "Fuzzy-wuzzies" (so named for their frizzy hair. And, yes, this is the battle about which Kipling wrote his poem; the regiment whose square they broke was none other than the Black Watch, but Graham was able to retrieve the situation -- barely).
There was, however, no coordination between this force and the rest. Graham had a limited mission, fulfilled it as best he could, and then was forced to sit tight near the coast. The Gladstone government meanwhile decided to evacuate central Sudan, and chosen Gordon, not Graham, to do it.
It was a poor choice. As James L. Stokesbury writes (in _Navy & Empire_, Morrow, 1983, pp. 264-265), "He was deeply religious and more than a little eccentric, he certainly had a martyr fixation, and he was the worst possible choice for a mission involving, in effect, capitulation.
Gordon didn't understand the Mahdi cult, and in his ignorance thought he could put it down. Instead, he ended up besieged in Khartoum. He might still have escaped -- a path out via Berber was still open. But on May 28, 1884, that post fell, and Gordon was well and truly trapped. And Britain had a problem. It had wanted out. Instead, it had more troops in harm's way than before the campaign began, and one of them a hero.
Unfortunately, the British public was divided. Gladstone opposed a relief expedition; the Conservatives and seemingly the people favored it. It took months to reach a decision; General Wolseley, Britain's best colonial general, didn't get his orders until September 19.
And Khartoum was 1200 miles from the mouth of the Nile, and the river itself was the only source of water for almost all that length. And the cataracts meant that boats couldn't just sail up and down the river. And communications were terrible. It's hard to fault anything Wolseley did in particular, but he didn't manage to get troops to Khartoum until January 28, 1885 -- and the city had fallen a mere two days before.
After that, the British withdrew for real. Gordon was dead, Wolseley never again given an important command. Even though the Mahdi died in 1885, it was not until 1898, after a three-year campaign, that Lord Kitchener regained control of Sudan for the British by winning the battle of Omdurman.
(In that regard, it's interesting to note that the British are long gone from Sudan. But, as of 2009, the great-great-grandchildren of the Mahdi are still significant in Sudanese politics.)
There is at least one broadside specifically about the death of Gordon: NLScotland, L.C.Fol.70(100b), "Death of Gen. Gordon" ("Across the vast Soudan was borne"), unknown, n.d. - RBW
File: OCon085
===
NAME: Andy's Gone with Cattle
DESCRIPTION: "Our Andy's gone with cattle now, our hearts are out of order." Faced with a drought, Andy takes the herds away; the people left behind are lonely for the cheerful, clever drover. The singer hopes that it rains soon so that Andy may return
AUTHOR: Henry Lawson
EARLIEST_DATE: 1964
KEYWORDS: separation loneliness hardtimes
FOUND_IN: Australia
REFERENCES: (2 citations)
Manifold-PASB, p. 174, "Andy's Gone with Cattle" (1 text, 1 tune)
DT, ANDYCATL
NOTES: This is one of those semi-folk songs. Obviously it is composed. But it has been sung by many people in Australia. Some of those people learned it in school, where it is the "standard" Lawson piece. But however it attained popularity, it is probably widespread enough to deserve inclusion here. - RBW
File: PASB174
===
NAME: Ane Madam
DESCRIPTION: Norwegian halyard or capstan shanty. Brief storyline of sailors going ashore and finding that the proprietor of the inn they last visited has barred the door against them. Other verses describe hoisting sails, etc. Sung to the tune of "Blow the Man Down."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brochmann's _Opsang Fra Seilskibstiden_)
KEYWORDS: shanty sailor foreignlanguage
FOUND_IN: Scandinavia
REFERENCES: (1 citation)
Hugill, pp. 215-216, "Ane Madam" (2 texts, both in Norwegian and English)
CROSS_REFERENCES:
cf. "Blow the Man Down" (tune)
cf. "Rosabella Fredolin" (tune)
cf. "Dar Gingo Tre Flickor" (lyrics)
ALTERNATE_TITLES:
Annie Madam
NOTES: Hugill says this was the most popular of all of Scandinavia halyard shanties. Two versions are given -- the first was a halyard shanty and the second was used at the capstan. - SL
File: Hugi215
===
NAME: Aneath My Apron
DESCRIPTION: The singer's cows go astray on a may morning; she follows and finds a "burr stack to my apron." Now her apron rides high; "there's a braw lad below my apron." Father, mother, friends all ask what she has beneath her apron
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: pregnancy clothes animal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Kinloch-BBook XXI, pp. 71-72, (no title) (1 text)
ST KinBB21 (Full)
Roud #899
NOTES: This is another of Kinloch's songs with no source listed and no background information. But it looks traditional. - RBW
File: KinBB21
===
NAME: Anford-Wright, The: see The Loss of the Amphitrite [Laws K4] (File: LK04)
===
NAME: Angel Band
DESCRIPTION: Singer's life is nearly over; his trials are done, his triumph has begun. His spirit sings; he hears the noise of wings. Chorus: "Oh come, angel band, Come and around me stand, Bear me away on your snowy (snow-white) wings, To my eternal home"
AUTHOR: Lyrics: Rev. Jefferson Hascall [occasionally spelled "Haskell"]; Tune: William B. Bradbury 
EARLIEST_DATE: 1860 (lyrics in "Melodeon"), 1862 (tune, in "Golden Shower")
KEYWORDS: age farewell death dying nonballad religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, ANGLBAND
Roud #4268
RECORDINGS:
Carl Butler & the Webster Brothers, "Angel Band" (Columbia 21353, 1955)
Fiddlin' John Carson, "Bear Me Away On Your Snowy Wings" (Bluebird B-5560, 1934; Montgomery Ward M-4851, 1935)
Uncle Dave Macon, "O Bear Me Away On Your Snowy Wings" (Vocalion 5160, 1927)
Smith's Sacred Singers, "My Latest Sun Is Sinking Fast" (Columbia 15281-D, 1928)
Stanley Bros. "Angel Band" (Mercury, 1955)
ALTERNATE_TITLES:
Bear Me Away On Your Snowy Wings
File: DTanglba
===
NAME: Angel Gabriel, The
DESCRIPTION: Gabriel is sent to Mary to announce that she will bear God's son. Mary is surprised at these tidings, but is assured they are true. Things come true as forecast. Listeners are enjoined to behave well as a result
AUTHOR: unknown
EARLIEST_DATE: 1639 (broadside)
KEYWORDS: prophecy religious Bible childbirth
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBB 106, "The Angel Gabriel" (1 text)
OBC 37, "The Angel Gabriel" (1 text, 1 tune)
ST OBB106 (Partial)
Roud #815
NOTES: This ballad gives a brief, but accurate, account of the events in Luke 1:26-2:20. The only unscriptural detail is Mary's betrothal by lot to "an old man," Joseph, a detail found only in the apocryphal Gospels.
This should not be confused with another "Angel Gabriel" carol. This one begins with these lines:
The angel Gabriel from God
Was sent to Galilee
Unto a virgin fair and free
Whose name was called Mary.
The other Gabriel carol, which I have heard sung (by Maddy Prior I think) but which does not seem to be traditional, begins
The angel Gabriel from heaven came,
His wings as srifted snow, his eyes as flame. - RBW
File: OBB106
===
NAME: Angel of Death, The: see There's A Man Going Round Taking Names (File: San447)
===
NAME: Angel's Whisper, The
DESCRIPTION: "A baby was sleeping, its mother was weeping." Her husband, Dermot, is fishing in a storm. She prays that the angels always watching over her baby would now watch over her husband. He returns safely in the morning.
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: fishing sea storm religious baby husband wife return reunion
FOUND_IN: 
REFERENCES: (4 citations)
Huntington-Whalemen, pp. 239-240, "Angels Whisper" (1 text, 1 tune)
O'Conor, p. 34, "The Angel's Whisper" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II, p. 115, "The Angel's Whisper"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 408-409, "The Angel's Whisper" (1 text)
ST OCon034 (Partial)
Roud #2061
BROADSIDES:
Bodleian, Johnson Ballads 151, "The Angel's Whisper", J. Catnach (London), 1813-1838; also Harding B 11(3366), Firth c.26(36), Firth b.34(99), Johnson Ballads 1407, Firth c.26(288), Firth b.26(369), Harding B 11(1427), Firth b.25(68), Harding B 11(442), 2806 c.13(104), Firth b.28(38), Harding B 11(64), "[The] Angel's Whisper"
LOCSheet, sm1883 09445, "The Angels' Whisper", Carl Prufer (Boston), 1883 (tune) 
LOCSinging, sb10009a, "The Angel's Whisper", J. Andrews (New York), 1853-1859; also as100320, "Angel's Whisper" 
NOTES: O'Conor and some web sites make the author Thomas Moore (1779-1852). Other sites make the author Samuel Lover (1797-1868); Hoagland also lists Lover as the author. The PoemHunter site, for example, lists 145 poems by Moore and does not include this one. The broadsides have no attribution.
How reliable are O'Conor attributions? See also "Barney Brallaghan."
Broadside LOCSheet sm1883 09445:sheet claims the words are by Samuel Lover.
[Granger's Index to Poetry also lists it as by Lover, but with no original publication; the only citation is Hoagland. - RBW]
Broadside LOCSinging sb10009a: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: OCon034
===
NAME: Angels Roll Dem Stones Away
DESCRIPTION: "Sister Mary she come weepin', Just about de break o' day, Lookin' for my Lord, And he's not there, say!" "He's gone away to Galilee, Angels rolled dem stones away It was on one Sunday mornin', Angels rolled dem stones away."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Bible religious Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 552, "Angels Roll Dem Stones Away" (1 short text)
Roud #11877
NOTES: Although the general outline of the resurrection story is the same in all four Gospels (one of the few parts of the life of Jesus they do agree on), this song appears to be derived primarily from Matthew:
In Matthew 28:1, Mary Magdalene and the "other Mary" seek Jesus; in 28:2, the angel rolls the stone away; in 28:7, he is said to have gone to Galilee.
In Mark 16:1, Mary Magdalene, Mary the mother of James, and Salome come to the tomb. In this account, the stone is already rolled back, and they speak to a "young man," not an angel, in 16:5; he tells them (16:6) that Jesus is on his way to Galilee.
In Luke 24:1, the women are unnamed (but cf. 24:10), the tomb is already open, two "men" (not angels) greet the women, and there is no mention of Jesus going to Galilee; indeed, the apostles stay in Jerusalem until driven out in Acts.
In John 20:1, Mary Magdalene alone visits the tomb, and the stone is already moved, but she doesn't talk to anyone (human or angelic) there; it is only after Peter and the Beloved Disciple arrive (and leave -- John 20:2-10) that two angels speaks to Mary. The disciples seemingly return to Galilee in Chapter 20, but only after meeting the disciples in Jerusalem. - RBW
File: Br3552
===
NAME: Angels We Have Heard on High
DESCRIPTION: "Angels we have heard on high Sweetly singing o'er the plains...." The shepherds are asked why they rejoice. They say to come to Bethlehem to find out
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Christmas religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 378, "Angels We Have Heard On High" (1 text)
DT, ANGONHI*
File: FSWB378C
===
NAME: Animal Fair
DESCRIPTION: "I went to the animal fair, the birds and the beasts were there.... The monkey he got drunk and sat on the elephant's trunk; The elephant sneezed and fell on his knees And what became of the monk, the monk, the monk...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: animal nonsense
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
Randolph 451, "The Hamburger Fair" (1 fragment)
BrownIII 180, "The Animal Fair" (1 text)
MHenry-Appalachians, p. 241, "Animal Fair" (1 short text)
Sandburg, pp. 348-349, "Animal Fair" (1 short text, 1 tune)
Spaeth-ReadWeep, p. 69, "(Animal Fair)" (1 partial text)
ST San348 (Full)
Roud #4582
File: San348
===
NAME: Animal Song
DESCRIPTION: "Alligator, hedgehog, anteater, bear, Rattlesnake, buffalo, anaconda, hare." Similar stanzas list additional animals, with absolutely no commentary; it just lists species, often quite improbable (South Guinea hen, dodo, ibex, glowworm, snail)
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: animal nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 198, "Animal Song" (1 text, 1 tune)
Roud #3710
NOTES: Songs of this type typically are used for teaching, but given the strange and disorganized list of creatures, I doubt that is the case here. - RBW
File: GC198
===
NAME: Ann o' Drumcroon
DESCRIPTION: The singer says that the girls around him are no match for the beauty of Ann, pure, artless, shy, true, sweet, and otherwise sickeningly likeable. But he must go over the sea and bid her farewell; he sighs for Ireland and for Ann
AUTHOR: Andrew Orr
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting beauty separation emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H26a+246, pp. 248-249, "Ann o' Drumcroon" (1 text, 1 tune)
Roud #13338
NOTES: In this particular instance, the song's author Andrew Orr did emigrate (to Australia). Whether the rest of the song is historical is not clear; it's interesting that he wrote at least one other song (Mary, the Pride of Killowen) with the same plot but a different heroine. - RBW
File: HHH026a
===
NAME: Anna: see The Banks of Banna (File: SWMS236)
===
NAME: Anna Lee (The Finished Letter)
DESCRIPTION: "I have written him a letter Telling him that he is free"; she wrote it when she heard that he had been "out riding With that saucy Anna Lee." But the girl regrets her words; she concludes "I'll tell him I still love him If he'll court Miss Lee no more."
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden; Randolph reports that this copy was written in 1873)
KEYWORDS: love courting betrayal separation rejection
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Belden, p. 213, "The Finished Letter" (2 texts)
Randolph 775, "Anna Lee" (2 texts, 2 tunes)
BrownII 143, "Annie Lee" (1 text plus an excerpt from 1 more)
Rorrer, p. 82, "Jealous Mary" (1 text)
Roud #474
RECORDINGS:
Charlie Poole and the North Carolina Ramblers, "Jealous Mary" (Columbia15342-D, 1928; on CPoole04)
CROSS_REFERENCES:
cf. "Ella Lea" (lyrics)
ALTERNATE_TITLES:
I Have Finished Him a Letter
File: R775
===
NAME: Annachie [Gordon]: see Lord Salton and Auchanachie [Child 239] (File: C239)
===
NAME: Annan Water
DESCRIPTION: Our hero is off to Annan Water; he must "cross the drumlie stream the night, or never mair I see my honey." But his horse grows tired, and the ferryman will not take him; at last he tries to swim Annan, and drowns
AUTHOR: unknown
EARLIEST_DATE: 1802 (Scott)
KEYWORDS: separation flood death
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Child 215, "Rare Willie Drowned in Yarrow, or, The Water o Gamrie" (1 text as an appendix to that song)
Leach, pp. 695-697, "Annan Water" (1 text)
OBB 92, "Annan Water" (1 text)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #336, "Annan Water" (1 text)
Roud #6562
CROSS_REFERENCES:
cf. "The Mother's Malison, or, Clyde's Water" [Child 216]
NOTES: This is printed by Child as an appendix to Child #215, "Rare Willie Drowned in Yarrow, Or, The Water O Gamrie." To me, though, it appears closer to Child #216 -- though by no means the same song. And there are enough reports of it that it perhaps deserves a separate entry. - RBW
File: L695
===
NAME: Annie
DESCRIPTION: The singer grieves for the loss of Annie. "My friends and relations they do all they can For to part me and Annie, that's more than they can." Annie hears him and promises, since she loves him, to go with him to Lincolnham shores.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: courting elopement love family
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 15, "Annie" (1 text, 1 tune)
ST CrNS015 (Full)
Roud #1791
NOTES: This has so many floating lines ("The thoughts of you, Annie, still run through my head"; "I rise in the morning, my heart full of woe"; "My friends and my relatives they do all they can For to part me and Annie, that's more than they can") that it's hard to think of this as an independent song. But as an assembly, it seems to be unique.
The tune doesn't seem to match any of the parallels, either; it reminds me a little bit of "Farewell to Tarwathie" -- but only a little. - RBW
File: CrNS015
===
NAME: Annie Dear, Good-Bye
DESCRIPTION: A soldier dying on the Sudan battlefield sends a message to Annie. He recalls the battle led by General Steward and Barney Bey. He tells her to comfort his mother, blesses Annie, dies and is buried in "a soldier's grave in a foreign land"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan1)
KEYWORDS: love battle death burial Africa soldier
HISTORICAL_REFERENCES: Jan 17, 1885 - The Battle of Abu Klea, Sudan (source: "Egypt 1882-1885, Sudan 1896-97" at the Gloucester Regiment site [The Glorious Glosters])
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #104, p. 2, "Annie Dear, Good-Bye" (1 text)
GreigDuncan1 109, "Annie Dear, Good-Bye" (4 texts, 2 tunes)
Roud #5770
ALTERNATE_TITLES:
A Soldier on the Battlefield
NOTES: Churchill describes Abu Klea as "the most savage and bloody action ever fought in the Soudan by British troops." (Winston Churchill, _The River War_ (London, 1997), pp. 42-43).
Greig #106 refering to the lines in Greig #104 "By General Stewart we were led, Who was wounded on that day; Brave Barney Bey who fought and died In the thickest of the fray": "[John Ord] writes 'Re song "Annie dear, good-bye": this is another music hall song. The "Barney Bey," and "Brave Barney Boy" are simply corruptions of 'Burnaby' -- the gallant Colonel Fred Burnaby, who fell in the Soudan. Such is fame when his very name is already forgotten."' - BS
Abu Klea was part of the campaign to rescue "Chinese" Gordon in Khartoum (for background on that, see "Andy McElroe"). The British General Wolseley was leading a force down the Nile -- but, in Sudan, the Nile makes a great bend, and Wolseley thought to cut off the bend (see Byron Farwell, _Queen Victoria's Little Wars_, 1972 [I use the 1985 Norton edition], p. 288).
General Stewart was given the larger part of Wolseley's force to make this desert mark. According to Farwell, p. 289, "On 17 January 1885 ten thousand Dervishes led by one of the Mahdi's best generals struck Stewart's column near some wells at a place called Abu Klea, forty-five miles from Korti.... Stewart's men were in the traditional square when the Dervishes crashed into them. At one point the square broke, but the lines closed again and all the Dervishes who had penetrated the square were killed. The Dervishes lost about 1,100 men; British casualties were nine officers and sixty-five other ranks killed and nine officers and eighty-five other ranks wounded. Among the killed was the dashing Colonel Burnaby."
Stewart pressed on, but was attacked again seven miles from the Nile. This time, it was Stewart who was mortally wounded (Farwell, pp. 289-290). This was to prove a disaster for the British; they made it to the Nile, but the inexperienced officer now in command hesitated for three days, and those three days doomed Gordon and Khartoum. - RBW
File: GrD1108
===
NAME: Annie Franklin: see Bad Girl's Lament, The (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26] (File: LQ26)
===
NAME: Annie Girl: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42]; also The Drowsy Sleeper [Laws M4] and Wheel of Fortune (Dublin City, Spanish Lady) (File: LN42)
===
NAME: Annie Laurie
DESCRIPTION: "Maxwelton's braes are bonnie Where early fa's the dew, And it's there that Annie Laurie Gied me her promise true." The singer describes all of Annie's beautiful and wondrous traits, concluding, "And for bonny Annie Laurie I wad lay me doon and dee."
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sharpe's "Ballad Book")
KEYWORDS: love courting beauty nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 150, "Annie Laurie" (1 text)
Fuld-WFM, p. 101, "Annie Laurie"
DT, ANNLAURI*
Roud #8179
RECORDINGS:
Edison Quartet, "Annie Laurie" (CYL: Edison 2201, c. 1897)
Corinne Morgan, "Annie Laurie" (Victor Monarch 4039, c. 1902)
Marie Narelle, "Annie Laurie" (CYL: Edison 9422, 1906)
Standard Quartette, "Annie Laurie" (CYL: Columbia 2236, rec. 1895)
Nevada Vanderveer, "Annie Laurie" (Bell S-77, c. 1923)
BROADSIDES:
LOCSheet, sm1857 631330, "Amie Laurie," J. F. Browne (New York), 1857 (tune); also sm1883 06654, 1883 (tune)
Murray, Mu23-y1:121, "Annie Laurie," unknown, unknown
NLScotland, L.C.Fol. 178.A.2(056), "Annie Laurie," James Lindsay (Glasgow), c. 1855; also L.C.Fol. 178.A.2(062),
NOTES: Legends about this song are much more common than verifiable facts. The story is that William Douglas (who allegedly wrote the poem) fell in love with Annie Laurie, a member of a rival clan some time between 1685 and 1705. The poem is said to have been published at the time, but (according to Fuld) no printing prior to Sharpe's has been found.
The tune is almost certainly the work of Lady John Scott, and was published in 1835. Spaeth thinks she wrote the words as well, but Scott was born in 1810, and admitted herself that the first verse was older, and the second also based on ancient materials. At most, Scott deserves credit for the third verse. 
Dr. William Mahar claims this is one of the six most popular songs of the Civil War era. I've no idea what his evidence for this was; I've never seen it mentioned in any Civil War history. - RBW
Murray Shoolbraid lists various sources for the song, broken out by the tune-types, the "old" tune and the Scott tune. Shoolbraid lists the following as versions of the "old" tune:
? Wm. Douglas of Fingland, c. 1700.
Sharpe _ Ballad Book_ (1824), no. xxxvii (reprint, p. 108).
Ford _Song Histories_ (1900), 24.
SSCA (1870), 45; BSS (1875), 438.
Chambers _SSPB_ 309 (+ music); Ross _CSS_ (1887), 369; Crockett _Minstrelsy of the Merse_ (1893), 213.
Shoolbraid adds, "How old this 'old' version is is a good question. Lady John Scott told Moffat that it was written (i.e. forged) by Allan Cunningham, who imposed other fabrications on poor Cromek. The 2nd stanza derives from the old version of 'John Anderson,' in the Merry Muses, and A.C. certainly had access to a copy. Sharpe's first printing (1823) is pretty late for a song of 1700.
For the Scott tune, Shoolbraid lists
Ford _Song Histories_ (1900), 28.
SS I.4 (+ m.); BSS (1875), 439; Wood's _Songs of Scotland_ III.24 (+ m.); Gleadhill 80 (+ m.); Crockett _Minstrelsy of the Merse_ (1893), 213 (tune [by Lady John Scott] previously used by her for the ballad of "Kempy Kaye"). Ross CSS (1887), 369. B&F 20 (+ m.); Allan's Sc. Songs, 11 (+ m.), anonymous (merely subtitled "The Favourite Scotch Ballad, as sung by Jenny Lind"). Dun & Thomson VMS III.89 (+ m.) (anon.).
The tune [by the authoress] is in Manson (1846), II.151.
Other words include Crawford's "My Mary Dear."
Shoolbraid summarizes the data thus:
"There are two texts to consider, that of the 'original,' and that of Lady John Scott. The first seems to appear for the first time in Sharpe's Ballad Book of 1824, though it has been asserted that it appeared in an Edinburgh newspaper in the early 18th century. That original was reprinted in Allan Cunningham's collection of Scottish songs [The Songs of Scotland, Ancient and Modern (1825), vol. III p.256], where he tells us he found it in Sharpe. 
Lady JS found it in Cunningham, and noticed that a tune of hers previously intended to suit the old ballad of Kempy Kaye would fit this very nicely - with a little polishing. She altered the first stanza, altered the second some more, and made a completely new third; sang it to her hosts, and it was approved. This was in 1834 or 1835. Later she published it along with others of her composition to raise money for widows and orphans of soldiers killed in the Crimea. It became very popular, being sung by Jenny Lind, among others, but she withheld acknowledgement of the authorship until February 1890, when she confessed in a letter to the Dumfries Standard. 
"Lady John Scott's version is the familiar one referred to by Spaeth et al. The original, credited to Douglas, cannot be traced any farther back than Sharpe. It is not impossible that it lurks in a corner of some obscure paper [and we must remember that not every issue is extant]; but the authoress herself is said to have told Moffat that it was a forgery by Allan Cunningham. If this is true, we can see where AC got it: the second verse derives from an old version of 'John Anderson, My Jo,' to be found in The Merry Muses of Caledonia (1799-1800), and Cunningham certainly has access to a copy. AC was quite a practised forger: he gulled Cromek into publishing the Remains of Nithsdale and Galloway Song (1810), most of which seems to be by AC himself.
"Robert Ford (Song Histories, 1900, 23-31) goes into some detail on all this, reproducing a letter written by a descendant of the Anna Laurie of the song, by which the story of its original composition is made clear; it is to be assumed that the writer got her facts right, at least in regard to family tradition. One way out of the impasse is to say that Moffat misunderstood Lady John Scott's reference to Cunningham, and that the tradition about Douglas is true; notwithstanding the problems about Cunningham's unreliability and the long interval between composition and publication by Sharpe. Lady John, after all, did not find the Sharpe copy; the only other alternative, that Cunningham planted it on Sharpe, is very unlikely. On the whole, therefore, I give the palm to Douglas, though I admit the story is still a bit mirky." - MS, (RBW)
File: FSWB150A
===
NAME: Annie Lee: see Anna Lee (The Finished Letter) (File: R775)
===
NAME: Annie Moore
DESCRIPTION: The singer hears a young man, distracted, lamenting his slain Annie Moore. He tells how the Protestants were marching. Soldiers were dispatched and fired on the marchers. Annie was slain. The Protestants and her family lament and treat her as a hero
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: death soldier religious love burial funeral mourning
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H191, pp. 142-143, "Annie Moore" (1 text, 1 tune)
Leyden 40, "Annie Moore" (1 text, 1 tune)
Morton-Ulster 39, "Annie Moore" (1 text, 1 tune)
OrangeLark 16, "Annie Moore" (1 text, 1 tune)
Roud #2881
BROADSIDES:
Bodleian, 2806 b.11(174), "Ann Moore" ("As I walked out one evening in the month of sweet July"), unknown, n.d.
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Morton-Ulster's text and quotations from news accounts have the year as 1835. Bodleian broadside 2806 b.11(174) has 1836. - BS
Whereas Sam Henry's text has the date "forty-five."
Of course, there was frequently trouble on July 12 in Ulster. Is it possible that the story originated in 1835 and was updated to describe more recent events?
The 1820s-1840s were a period of significant gains for Catholic rights in Ireland. 1829 saw Catholic "emancipation," allowing them every political right open to Protestants of equivalent position. The 1830s saw reforms in education and taxation. In 1840, Daniel O'Connell formed the National Repeal Association, to press for the repeal of the Anglo-Irish Union.
By 1843, though, things were getting out of hand. In 1843, the government foolishly banned a Repeal rally. Soon after, O'Connell was arrested, and convicted by an all-Protestant jury.
Pressures were building up; they would result in a rebellion in 1848. (The famines, of course, added to the pressure.) Toss in the famines of 1845, and riots would be a natural consequence. . - RBW
File: HHH191
===
NAME: Annie of the Vale
DESCRIPTION: "I'm lonely and weary, Without thee I'm dreary, Sighing for thy sweet melting voice." The singer begs, "Come, come, come, love, come... Dear Anna, sweet Anna of the vale." He will go to be a soldier; if he dies, he hope to meet her in heaven
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: love separation soldier rejection
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 222-223, "Annie of the Vale" (1 text)
Roud #7950
CROSS_REFERENCES:
cf. "The Reason Why" (tune, per broadsides Bodleian Harding B 11(3238), 2806 c.15(284) and Firth b.28(13) -- assuming that's the same "Annie of the Vale")
File: Beld222
===
NAME: Annie Young, The
DESCRIPTION: Annie Young and Man Alone are in a storm at night "bound on the Labrador" on August 24, 1935. Annie Young is last seen about 11. Five of the eight men lost are named.
AUTHOR: Walter Hayman, brother of the lost cook
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 24, 1935 - wreck of the Annie Young en route from Fox Island to Labrador
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 2, "The Annie Young" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (I)" (subject)
cf. "The August Gale (II)" (subject)
NOTES: [For background on this storm, see the notes to "The August Gale (I)" - BS, RBW]
File: LeBe002
===
NAME: Anniversary of the Shutting of the Gates of Derry
DESCRIPTION: The closing of Derry's gates, the seige and its relief are recounted with the names of the Protestant leaders who fought "till James was knocked up and their foemen were gone." They "gained for the nation ... a free constitution and Protestant laws"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: battle rescue death Ireland moniker patriotic religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 7, "Anniversary of the Shutting of the Gates of Derry" (1 text)
CROSS_REFERENCES:
cf. "The Shutting of the Gates of Derry" (subject: the siege of Derry) and references there
File: OrLa007
===
NAME: Another Fall of Rain (Waiting for the Rain)
DESCRIPTION: "The weather had been sultry for a fortnight's time or more; The shearers had been driving might and main...." After so much work the shearers are tired and desperate for a break. At last the rain came, allowing them to relax and rest up
AUTHOR: a literary version is credited to John Shaw-Neilson
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: sheep work
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 154-155, "Another Fall of Rain" (1 text, 1 tune)
Fahey-Eureka, pp. 134-135, "Another Fall of Rain" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 174-177, "Another Fall of Rain" (1 text)
DT, FALLRAIN*
NOTES: The original Shaw-Neilson poem, "Waiting for the Rain" (the probable but not quite certain original) was rather long and involved, and even the version printed by Paterson has generally been severely shortened by tradition. The basic plot, however, survives. That the song is relatively recent is shown by the fact that the shearers were paid during the rain. Shearers were paid by the piece, and until the Shearers' Union gained the concession that they be paid when they could not shear, rain meant only hardship. - RBW
File: MA154
===
NAME: Another Man Done Gone
DESCRIPTION: "Another man done gone... from the county farm.... I didn't know his name.... He had a long chain on.... He killed another man.... I don't know where he's gone."
AUTHOR: unknown
EARLIEST_DATE: 1940 (recording, Vera Hall)
KEYWORDS: prison escape murder
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Scott-BoA, pp. 307-309, "Another Man Done Gone" (1 text, 1 tune)
Lomax-FSUSA 95, "Another Man Done Gone" (1 text, 1 tune)
Lomax- FSNA 288, Another Man Done Gone" (1 text, 1 tune)
Silber-FSWB, p. 67, "Another Man Done Gone" (1 text)
Roud #10065
RECORDINGS:
Vera Hall, "Another Man Done Gone" (AFS 4049 A4, 4049 B, 1940; on LCTreas, LC04)
Pete Seeger, "Another Man Done Gone" (on PeteSeeger05) (on PeteSeeger27)
Willie Turner, "Now Your Man Done Gone" (on NFMAla1)
File: LxU095
===
NAME: Another Man's Wedding: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: Anson Best
DESCRIPTION: "As I sit by the fireside a-thinking Of my brother who's far, far away...." Anson Best is offered a paper and threatened with death if he doesn't sign. It is a confession to the murder of Vera Snyder. He is sentenced to death. His family mourns
AUTHOR: Ben Best?
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: murder trick lie trial prison punishment accusation
HISTORICAL_REFERENCES: 1920 - Conviction of Anson Best for the murder of Vera Schneider
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 145, "Anson Best" (1 text)
ST GC145 (Partial)
Roud #3669
CROSS_REFERENCES:
cf. "Red River Valley" (tune)
NOTES: This appears to be a family song: The author is listed as the Reverend Ben Best, brother of Anson Best, and the only known version is from Mrs. Clyde Best (whose relationship with Anson and Ben Best is not listed by Gardner and Chickering, but note the name).
The family maintained that Anson Best was innocent of the murder of Vera Schneider, and coerced into signing a confession he had not read. I know of no evidence either way. - RBW
File: GC145
===
NAME: Anstruther Camp
DESCRIPTION: The singer describes the winter he spent in Anstruther, working under Archie Patterson, who "could see daylight coming almost any hour at night." The crews work very long hours and enjoy the food. The singer urges women to marry shanty boys
AUTHOR: unknown
EARLIEST_DATE: 1964 (Fowke)
KEYWORDS: lumbering work travel
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #13, "Anstruther Camp" (1 text, 1 tune)
ST FowL13 (Partial)
Roud #4370
File: FowL13
===
NAME: Answer to the Gypsy's Warning: see The Gypsy's Warning (File: R743)
===
NAME: Answer to Youghal Harbour
DESCRIPTION: Near Yougal Harbour the singer meets Mary of Cappoquin again. She tells him that she had his baby. He reminds her that her parents had rejected him. He leaves her again "in grief bewailing" to return to his girl "in sweet Rathangan, near to Kildare"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(20))
KEYWORDS: love infidelity rejection separation baby lover
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 8, "Youghal Harbour" (1 text, 1 tune)
Roud #2734
BROADSIDES:
Bodleian, Harding B 28(20), "Answer to Youghall Harbour," W. Armstrong (Liverpool), 1820-1824; also Harding B 11(2180), 2806 b.9(227), 2806 b.11(205), Harding B 25(2128), Firth b.27(11/12) View 1 of 2 [partly illegible], 2806 c.15(163), 2806 c.15(17), 2806 b.11(204), Harding B 19(3), "Youghal Harbour" ("As I roved out on a summer's morning")
CROSS_REFERENCES:
cf. "Youghall Harbour"
NOTES: Yougal, County Cork, is on the Celtic Sea coast. Cappoquin is in County Waterford, about 15 miles north of Yougal. Rathangan is in County Kildare, about 100 miles north-east of Yougal as the crow flies. - BS
File: OLoc008
===
NAME: Antelope, The: see The Loss of the Antelope (File: RcLoOTAn)
===
NAME: Anti-Confederation Song
DESCRIPTION: Newfoundland defiantly rejects union with the "Canadian Wolf." The promises made by the confederation are listed and rejected. "Would you barter the rights that your fathers have won... For a few thousand dollars of Canadian gold."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: Canada patriotic political
HISTORICAL_REFERENCES: 1867 - Canadian Act of Confederation
1869 - Newfoundland electors refuse to join the Canadian Confederation
1949 - Newfoundland unites with Canada
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Fowke/Johnston, pp. 28-29, "Anti-Confederation Song" (1 text, 1 tune)
Fowke/MacMillan 7, "An Anti-Confederation Song" (1 text, 1 tune)
Doyle2, p. 69, "Anti-Confederation Song" (1 text, 1 tune)
Blondahl, p. 42, "The Anti-Confederation Song" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 105-107, "An Anti-Confederation Song" (1 text, 1 tune)
ST FJ028 (Partial)
Roud #4518
RECORDINGS:
Omar Blondahl, "An 1861 Anti Confederation Song" (on NFOBlondahl04)
CROSS_REFERENCES:
cf. "The 'Antis' of Plate Cove" (subject)
File: FJ028
===
NAME: Anti-Fenian Song, An
DESCRIPTION: "In the morning by my side Sat the darling of my pride... When the news spread through the land That the Fenians were at hand...." The singer and his fellows -- "English, Irish, Scot, Canuck" -- "will drive the Fenians back"
AUTHOR: unknown (Music by George F. Root)
EARLIEST_DATE: 1932
KEYWORDS: patriotic Canada battle political
HISTORICAL_REFERENCES: May 31, 1866 - Some 1200 Fenians under General O'Neill invade the Niagara area
June 2, 1866 - The Fenians victory at Lime Ridge near Ridgeway
June 3, 1866 - Canadian forces under Colonel Peacock assemble to deal with the Fenians. The Fenians opt to flee Canada
FOUND_IN: Canada(Not)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 102-105, "An Anti-Fenian Song" (1 text, 1 tune)
Roud #4519
CROSS_REFERENCES:
cf. "A Fenian Song (I)"
cf. "The Fenian Song (II)" (subject)
cf. "Tramp! Tramp! Tramp!" (tune) and references there
NOTES: For the historical background to this silly idea (the Fenians wanted to hold Canada hostage to make England free Ireland), see the notes to "A Fenian Song (I)."
The only real result of the Fenian invasion was to cause the Canadians to realize the need for greater organization. This gave greater impetus to the drive for Confederation, which was enacted -- not without significant opposition! -- in 1867. - RBW
File: FMB102
===
NAME: Anti-Gallican, The
DESCRIPTION: "The Anti-Gallican's safe arrived, On board of her with speed we'll hie." They will "sail the ocean o'er"; "No ships from us shall run away," even though "The Spaniards... We'll take their ships and make them slaves." The men hasten to their duty
AUTHOR: unknown
EARLIEST_DATE: 1882 (Bruce/Stokoe)
KEYWORDS: ship war sailor pirate
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 158-159, "The Anti-Gallican" (1 text, 1 tune)
ST StoR158 (Partial)
Roud #3169
NOTES: According to Stokoe, the _Anti-Gallican_ was fitted out as a privateer, sailing from Newcastle in 1779 but returning without a prize.
Although apparently written about a ship, I find references on the web to a pub (probably several) with the same name. Given that the chorus is "To the Anti-Gallican haste away," could said pubs have encouraged the continued singing of the song? - RBW
File: StoR158
===
NAME: Anti-Rebel Song, An
DESCRIPTION: "Oh, now the rebellion's o'er, Let each true Briton sing: 'Long live the Queen in health and peace, And may each rebel swing." Sir Francis Head is blessed, as is Canada; it is hoped that "Mac" (Mackenzie) will be hanged
AUTHOR: unknown
EARLIEST_DATE: 1838 (Cobourg "Star" newspaper)
KEYWORDS: rebellion patriotic Canada nonballad crime
HISTORICAL_REFERENCES: Nov 1837 - Rebellion breaks out in Canada
Dec 7, 1837 - Loyalist forces begin the march which results in the utter defeat of Mackenzie's forces
FOUND_IN: 
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 74-75, "An Anti-Rebel Song" (1 text)
CROSS_REFERENCES:
cf. "Un Canadien Errant" (subject)
cf. "Farewell to Mackenzie" (subject)
cf. "The Battle of the Windmill" (theme)
NOTES: In 1828, William Lyon Mackenzie was elected to the British parliament on a platform of better, less oligarchic government for Canada. Parliament expelled him. He was re-elected in 1832, and expelled again.
By 1837 the Canadians were so desperate that they rose in rebellion. But they had no organization and few weapons, and Governor Sir Francis Bond Head had little trouble suppressing the rebellion.
Passions among the victorious patriots were high, as pieces like this one (published in a Tory newspaper on February 8, 1838) shows. Mackenzie and others fled to the United States; several of their followers were executed. Mackenzie himself remarked that they were "not hung for treason, but because [I was] not forthcoming." - RBW
File: FMB074
===
NAME: "Antis" of Plate Cove, The
DESCRIPTION: A fight breaks out during an election to confederate Newfoundland with Canada. Details of the clash between "cons" and "antis" are told by the singer, who is against confederation.
AUTHOR: Mark Walker
EARLIEST_DATE: 1940
KEYWORDS: political patriotic Canada
HISTORICAL_REFERENCES: 1867 - Canadian Act of Confederation
1869 - Newfoundland electors refuse to join the Canadian Confederation
1949 - Newfoundland unites with Canada
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Doyle2, pp. 44-45, "The 'Antis' of Plate Cove" (1 text, 1 tune)
Blondahl, pp. 43-44, "The Antis of Plate Cove" (1 text, 1 tune)
Roud #4554
CROSS_REFERENCES:
cf. "Anti-Confederation Song" (subject)
NOTES: Mainland Canada achieved "Confederation," and self-government, in 1867. Many of the provinces, especially in the Maritimes, were against Confederation (it was, after all, largely the result of internal politics in "Canada" -- Ontario plus Quebec), but most joined by 1870. Newfoundland, however, rejected confederation in 1869, and did not finally join Canada until 1949. - RBW
Doyle [refers this piece to the election of] 1869. "Cons" were for confederation and "antis" where those against. He also mentions that Plate Cove is in Bonavista Bay. Confederacy was not achieved until 1949 with a very slim margin at the polls. - SH
File: Doy44
===
NAME: Anything (I)
DESCRIPTION: "One day while walking down the street A fine young man I chanced to meet... And as he walked he swung his cane And our subject was just anything." The singer explains that she was asked to sing a song, and when she asked which, she was told "Anything"
AUTHOR: unknown
EARLIEST_DATE: 1933 (Randolph)
KEYWORDS: courting music humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Randolph 449, "Anything" (1 text)
Roud #4648
NOTES: The lyrics of this sound very much like a parlor song, but no one seems to have recovered the original. The other possibility, of course, is that it is a chastened version of "Anything (II)." - RBW
File: R449
===
NAME: Anything (II)
DESCRIPTION: A teamster meets Susan Jane. She asks his trade. He says "tonight I could drive anything." She invites him to "come hitch your horse to my machine." She says "I see your horse is good and keen, But look he's stuck on my machine."
AUTHOR: unknown
EARLIEST_DATE: 1963 (Ives-NewBrunswick)
KEYWORDS: sex horse bawdy
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 94-97, "Anything" (1 text, 1 tune)
Roud #1952
NOTES: Could this possibly be a bawdy by-blow -- or even the original -- of "Anything (I)"? I don't know; if so, it has been mixed up with the "When first to this country" fragment. - RBW
File: IvNB094
===
NAME: Apple Sauce and Butter
DESCRIPTION: "Apple sauce and butter spread out on the floor, I am going to marry dat pretty yellow gal that came from Baltimore, For she is sweeter than 'lasses, she's sweet as any pie; I am going to marry that pretty yellow gal that is coming bye and bye."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love courting marriage food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 488, "Apple Sauce and Butter" (1 short text, said to have been collected in similar form from two different singers)
Roud #11867
File: Br3488
===
NAME: Appleby Fair
DESCRIPTION: Every year the Travellers are at the horse fair in Appleby Top. Some horses have "seen better days" and take knacker prices. A few sold "good stuff" and Dan Mannion "kept trotting horses which have brought him great fame" and his daughter "a posh car"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: commerce nonballad horse
FOUND_IN: Britain(England(North))
REFERENCES: ()

Roud #16699
RECORDINGS:
"Rich" Johnny Connors, "Appleby Fair" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "The small town of Appleby in Cumbria has held an annual fair every June since ... 1684 .... Nowadays it is solely for horses."
"Rich" Johnny Connors's version relies heavily on Traveller slang which is translated in the notes. "Knacker prices" may be Traveller slang for slaughter-house prices but it's an expression I've heard many times before. - BS
File: RcAppFair
===
NAME: Apprentice Boy (II), The: see The Bramble Briar (The Merchant's Daughter; In Bruton Town) [Laws M32] (File: LM32)
===
NAME: Apprentice Boy (III), The: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: Apprentice Boy, The [Laws M12]
DESCRIPTION: The apprentice loves a noble lady. When her parents learn, they send him away. But he prospers in a foreign land and returns to England to claim his bride. At first she rejects him, thinking him a nobleman, but he reveals his identity and the two are wed.
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 17(156a))
KEYWORDS: courting separation reunion marriage apprentice
FOUND_IN: US(Ap,So,SE) Canada(Mar,Newf) Britain(England) Ireland
REFERENCES: (11 citations)
Laws M12, "The Apprentice Boy"
Randolph 121, "The Apprentice Boy" (1 text)
SHenry H729, pp. 446-447, "The Apprentice Boy/Covent Garden" (1 text, 1 tune)
Creighton-SNewBrunswick 26, "Cupid's Garden" (1 text, 1 tune)
LPound-ABS, 31, pp. 74-76, "The Prentice Boy" (1 text)
BrownII 104, "The Sailor Boy" (5 texts, mostly short, plus excerpts from 4 more and mention of 2 more and 1 very short fragment; of which "L" appears to mix this song with Laws K12)
Leach-Labrador 22, "The Apprentice Boy" (1 text, 1 tune)
Mackenzie 25, "The Prentice Boy" (1 text)
Creighton-NovaScotia 45, "Prentice Boy" (1 text, 1 tune)
Manny/Wilson 87, "The Prentice Boy" (1 text, 1 tune)
Chappell-FSRA 70, "Cupid's Garden" (1 text)
Roud #903
BROADSIDES:
Bodleian, Harding B 17(156a), "The Lady Who Fell in Love with a Prentice Boy", J. Evans (London), 1780-1812; also Firth c.18(119), "The Lady Who Fell in Love with a Prentice Boy"; Harding B 21(35), "The Lady and 'Prentice Boy"; Harding B 28(137), 2806 c.17(85), "Cupid's Garden" ("As down in Cupid's garden with pleasure I did walk, I heard two loyal lovers so sweetly for to talk"); Harding B 28(40), "Cupid's Garden" or "The 'Prentice Boy" 
CROSS_REFERENCES:
cf. "Castle Gardens" (theme)
NOTES: In Leach-Labrador and the Bodleian broadside the sailor wins a lottery.
Do not confuse this with another set of broadsides "The Lovers Meeting"/"Convent Garden"/"The Convent Garden Rambler"/"Cupid's Garden" which begins "As down in [Cupid's/Convent] garden with pleasure I did go, All for to view the flowers that in the garden grew" at Bodleian. This one has a sailor and Nancy, no apprentice, no lady, no lottery, and he sails away promising to return: see "Cupid's Garden (I) (Covent Garden I; Lovely Nancy III)"- BS
File: LM12
===
NAME: Apprentice Sailor, The: see The Sea Apprentice (File: HHH739)
===
NAME: Apron of Flowers, The: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)
DESCRIPTION: Singer's intended lives with her rich parents by the Avonmore river. She would marry him "without riches or no earthly store." They meet in Glandore. He dreams of their marriage. They would sail away, if necessary. Until then he won't reveal her name.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Munnelly/Deasy-Lenihan)
KEYWORDS: courting Ireland nonballad travel river
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 14, "Ar Eirinn Ni Neosfainn Ce hi" (1 text, 1 tune)
Roud #5240
RECORDINGS:
Tom Lenihan, "Ar Eirinn Ni Neosfainn Ce hi" (on IRTLenihan01)
CROSS_REFERENCES:
cf. "The Pride of Kilkee" (tune; motif: hiding a sweetheart's name)
cf. "Eileen McMahon" (aisling format)
cf. "Granuaile" (aisling format) and references there
cf. "Tons of Bright Gold" (motif: hiding a sweetheart's name)
NOTES: Munnelly/Deasy-Lenihan translates the title, which is also the last line of all but the last verse, as "For Ireland I will not tell whom she is." "... some versions of the song carried intimations of carnality." The song is classified as a reverdie. "The classification refers to the greenwood setting in which the poet encounters the beautiful maiden much as in an aisling" [except that this is not a vision song]. See the notes to "Eileen McMahon" and references there for a discussion of aisling. [Also the notes to "Granuaile." - RBW]
The Avonmore River flows through County Wicklow. Glandore is in County Cork. Maybe that's part of the code.
There is a Gaelic version with translation at "An Eirinn Ni Neosainn Ce Hi" at the Makem site. The story is less detailed than Munnelly/Deasy-Lenihan 14. 
Munnelly/Deasy-Lenihan: "The Clare Gaelic scholar Eugene O'Curry stated that this song was written originally about 1810 .... The song in English which Tom sings has been about for a good many years likewise, as is witnessed by the similar version which Freeman noted down in London in 1915...."
Reverdie: "a song-type in which the poet is approached, in pastoral surroundings, by a beautiful otherworldly woman who symbolizes spring and Love....[It is] an old French poetic form pre-dating the political aisling form used in 18th century Irish poetry. French influence on Irish poetry took place during the Middles Ages when Norman-French families were granted estates in Ireland by the English crown." (source: Michael Robinson, "Danny Boy -- The Mystery Returns! , or, The Young Man's Dream" at The Standing Stones site. The article gives a clear example of the form with a reference to "A Young Man's Dream" and information on the form from Bruce Olson). While there are countless non-political Irish songs in which a young man meets a beautiful woman, the essential element of a reverdie is that the meeting must take place in a dream. - BS
File: RcAENNCH
===
NAME: Ar Hyd Y Nos: see All Through the Night (Ar Hyd Y Nos) (File: FDWB410B)
===
NAME: Araby Maid, The
DESCRIPTION: "Away on the wings of the wind she flies...." "'Tis an Araby maid who hath left her home To fly with her Christian knight." The song tells how she leaves her home and her faith for love, and notes "None can sever them now but the grave."
AUTHOR: Rev. T. G. Torry Anderson (1805-1856) (Source: (Charles Rogers, _The Modern Scottish Minstrel_, volume IV)
EARLIEST_DATE: 1857 (Rogers); reportedly composed 1833
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 312, "The Araby Maid" (1 text)
Roud #6725
CROSS_REFERENCES:
cf. "The Turkish Lady" [Laws O26]
cf. "Young Beichan" [Child 53]
NOTES: The absence of dialect in this song makes me think it is composed. So does the abject stupidity
[Later: This would appear to be confirmed by the inclusion of the song in "The Modern Scottish Minstrel." Thanks to Jim Dixon for finding this.]  - RBW
File: Ord312
===
NAME: Aran's Lovely Home: see Erin's Lovely Home [Laws M6] (File: LM06)
===
NAME: Aranmore Disaster, The
DESCRIPTION: The boat carrying "lads ... coming from the Scottish harvest fields" lands at Burton Port. Passengers reembark "for the Island but they never reach the shore ... The little boat ... did sail but only one of the score survived to tell the tale"
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Nov 9, 1935 - "... a ferry carrying passengers from Burtonport to Aranmore struck the rock near the pier on Aranmore.... Their boat struck in darkness and 19 of the 20 aboard were lost." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 209)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 125-126, "The Aranmore Disaster" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Bold Jack Donahoe" (tune) and references there
NOTES: Ranson: Tune is "The Wreck of the Eliza" on p. 56.
Burtonport is on the northwest Donegal coast. Aranmore is a nearby island. - BS
File: Ran125
===
NAME: Arbour Hill
DESCRIPTION: "No rising column marks the spot Where many a victim lies." The blood shed there makes claims for justice. We will be satisfied with freedom without retribution. The ground is unconsecrated but the dead are consecrated by patriot tears.
AUTHOR: Robert Emmet (1778-1803) (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion execution Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 154, "Arbour Hill" (1 text, 1 tune)
NOTES: Moylan: "Many rebels were executed and buried at Arbour Hill in Dublin after the rebellion had been suppressed. Robert Emmet wrote this piece after a visit to the site of the croppy graves." - BS
For Emmet see of course the notes to "Bold Robert Emmet" and the various other Emmet songs. - RBW
File: Moyl154
===
NAME: Arch and Gordon
DESCRIPTION: "When Archie went to Louisville (x3), Not thinking that he would be killed." "When Gordon made his first shot, O'er behind the bed Arch did drop." "Hush now Guv'nor, don't you cry, You know your son Arch has to die."
AUTHOR: unknown
EARLIEST_DATE: 1956
KEYWORDS: death murder father children
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Abrahams/Foss, pp. 84-85, "Arch and Gordon" (1 text, 1 tune)
Roud #4130
NOTES: This may be based on a historical incident, but there is so little detail left in the song that there is little hope of recovering it; it is hardly possible to look up every Governor Brown in American history.
The final stanza, "Now you see what a sporting life has done, It has killed Guv'nor Brown's only son," gives a clue to what is going on: Archie Brown presumably seduced Gordon's wife/sister/girlfriend/X (somehow the song makes me think of homosexuality, though I can't even guess why), and Gordon killed him in revenge.
This piece is item dF61 in Laws's Appendix II. - RBW
File: AF084
===
NAME: Archangel Open the Door
DESCRIPTION: "I ax all them brothers round, Brother, why can't you pray for me, I ax... why can't you pray for me? I'm gwine to my heaven, I'm gwine hone. Archangel open de door." "Brother, take off your knapsack, I'm gwine home...."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 32, "Archangel Open the Door" (1 text, 1 tune)
Roud #11987
NOTES: The New Testament nowhere says that an archangel will open the door to heaven; indeed, it says that Peter has the keys of heaven (Matt. 16:19). This song may perhaps be inspired by 1 Thessalonians 4:16, where it says that an archangel's call will accompany the last judgment, when "the dead in Christ will rise first." Elsewhere, though, we read that Jesus himself is the door (well, the gate) of the sheep (John 10:1-9) and has the keys of "death and Hades" (Rev. 1:18).
It is worth noting that the word "archangel" (meaning chief or first angel or messenger) occurs only twice in the Bible, both in the New Testament: 1 Thes. 4:16, Jude 9. - RBW
File: AWG032A
===
NAME: Archie o Cawfield [Child 188]
DESCRIPTION: Archie is in prison for raiding. His brothers wish they could rescue him, and at last set out with ten men. Archie laments to his brothers that he is to die. The brothers break down the doors and escape the pursuing forces
AUTHOR: unknown
EARLIEST_DATE: 1780 (Percy papers)
KEYWORDS: borderballad prisoner escape rescue family brother punishment
FOUND_IN: Britain(Scotland) US(NE)
REFERENCES: (11 citations)
Child 188, "Archie o Cawfield" (6 texts)
Bronson 188, "Archie o Cawfield" (7 versions)
Greig #75, pp. 2-3, "Johnnie Ha" (1 text)
GreigDuncan2 244, "Johnnie Ha" (1 text)
Leach, pp. 509-516, "Archie o Cawfield" (2 texts)
OBB 140, "Archie of Cawfield" (1 text)
Gardner/Chickering 84, "Archie o' Cawfield" (1 text)
Warner 191, "Bold Dickie and Bold Archie" (1 text, 1 tune)
Linscott, pp. 172-175, "Bold Dickie" (1 text, 1 tune) {Bronson's #4}
DBuchan 34, "Archie o Cawfield" (1 text)
DT (187/188), (JOCKSIDE) JOHNWEBB*? BOLDARCH* BOLDARC2*
Roud #83
CROSS_REFERENCES:
cf. "Billy Broke Locks (The Escape of Old John Webb)" (tune & meter, theme)
cf. "Jock o the Side" [Child 187] (plot)
NOTES: Child notes, "This ballad is in all the salient features a repetition of 'Jock o the Side' [Child #187], Halls playing the parts of Armstrongs."
Many American versions of this (Linscott's "Bold Dickie," Warner's "Bold Dickie and Bold Archie," and perhaps the variant printed by Barry in BFSSNE; the Gardner/Chickering text is still fairly Scottish) have taken on some American color, and it is possible that they are actually American inventions which have mixed with the British song. Or they may have seen influence from "Billy Broke Locks." The whole family is rather a mess.
Linscott claims that "It is known that the song was *not* sung by women." - RBW
File: C188
===
NAME: Arctic Ice and Flippers
DESCRIPTION: "There's a  halo round the margin of the sea, And 'tis there, if I correctly guess, will be The Arctic Ice..." where the seals are found. "We'll get the flippers yet old-timers say." The singer looks confidently at the Terra Nova and expects a good haul
AUTHOR: A. C. Wornell
EARLIEST_DATE: 1951 (Wornell, Rhymes of a Newfoundlander); reportedly written 1937
KEYWORDS: hunting ship nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 137, "Arctic Ice and Flippers" (1 text, 1 tune)
File: RySm137
===
NAME: Ard Tack
DESCRIPTION: "I'm a shearer, yes I am, and I've shorn them sheep and lamb," but the singer gets in trouble on a station that is also a vineyard. As he shears, he sips the "pinkie" between sheep -- and eventually passes out while holding a sheep
AUTHOR: unknown
EARLIEST_DATE: 1965 (Lahey)
KEYWORDS: sheep work drink humorous
FOUND_IN: Australia
REFERENCES: (2 citations)
Paterson/Fahey/Seal, pp. 266-268, "The Hardest Bloody Job I Ever Had" (1 text)
DT, ARDTACK*
File: PFS266
===
NAME: 'Ard Tack: see Ard Tack (File: PFS266)
===
NAME: Ardlaw Crew, The
DESCRIPTION: In 1880 the singer joins the Ardlaw crew. The crew are described by name, task, and characteristics. At term end it's "fare-ye-well to Ardlaw, Nae langer we maun stay, We will tak' our budgets on our back On the twenty-sixth o' May"
AUTHOR: Gordon M'Queen (source: Greig)
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: farming work moniker nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #92, pp. 1, "The Ardlaw Crew" (1 text) 
GreigDuncan3 411, "The Ardlaw Crew" (1 text)
Roud #5651
CROSS_REFERENCES:
cf. "Jack Munro" (tune, per Greig)
cf. "The Hairst o' Rettie" (subject: harvest crew moniker song) and references there
cf. "The Boghead Crew" (subject: harvest crew moniker song)
cf. "The Kiethen Hairst" (subject: harvest crew moniker song)
cf. "The Northessie Crew" (subject: harvest crew moniker song)
NOTES: Notes to IRClare01: "A budget is a bag or knapsack used for carrying tools."
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Mid Ardlaw (411) is at coordinate (h6-7,v9-0) on that map [roughly 37 miles N of Aberdeen]. - BS
File: GrD3411
===
NAME: Are You Happy or Lonesome: see Happy or Lonesome (File: RcHOL)
===
NAME: Are You There, Moriarity?
DESCRIPTION: "I'm a policeman sheikh or a pip or a peak, And the girls around my beat, So nice and clean they say, That's him... I'm a handy fellow at a custard, I take it into 'custardy,' And the kids all cry as I go by, 'Are you there, Moriarity?'"
AUTHOR: Words: Edward Harrigan / Music: David Braham (1838-1905)
EARLIEST_DATE: 1876 (sheer music, LOCSheet, sm1876 07624)
KEYWORDS: police humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 149, "Are You There, Moriarity" (1 text, 1 tune)
BROADSIDES:
LOCSheet, sm1876 07624, "Are You There Moriarty!," Wm. A. Pond (New York), 1876(tune)
CROSS_REFERENCES:
cf. "Good Old Mountain Dew" (tune, per OLochlainn)
NOTES: For background on Harrigan and Braham, see the notes to "Babies on Our Block." - RBW
File: MA149
===
NAME: Are You Tired of Me, My Darling?: see Will You Love Me When I'm Old? (File: R824)
===
NAME: Arise and Bar the Door-O: see Get Up and Bar the Door [Child 275] (File: C275)
===
NAME: Arise, Arise: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Arizona
DESCRIPTION: "The Devil was given permission one day To select him a land in his own special way." After a long, difficult search, he settles on Arizona, and sets out to make some "improvements": cacti, skunks, heat. He then leaves, thinking that is beats Hell
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: Devil Hell humorous
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-ABFS, pp. 401-402, "Arizona" (1 text)
Fife-Cowboy/West 27, "Hell in Texas" (3 texts -- one each for Texas (a version of "Hell in Texas"), Arizona , and Alaska, 1 tune)
Roud #5104
CROSS_REFERENCES:
cf. "Hell in Texas" (theme)
NOTES: This song and "Hell in Texas" clearly are related; one probably suggested and influenced the other. But there is no way to clearly demonstrate which came earlier, so I list them separately. Roud, unsurprisingly, lumps them. - RBW
File: LxA401
===
NAME: Arizona Home: see Home on the Range (File: R193)
===
NAME: Arkansas Boys: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Arkansas Navvy, The: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arkansas Sheik, The: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Arkansas Traveler (II), The: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arkansas Traveler, The (fiddle recitation)
DESCRIPTION: A series of remarks between a traveller and an Arkansas farmer, interspersed with fiddle playing. The traveller will ask a question (e.g. "Say, farmer, where does this road lead?"), the farmer will answer unhelpfully ("to the end") and fiddle
AUTHOR: unknown
EARLIEST_DATE: 1847
KEYWORDS: fiddle recitation nonsense humorous
FOUND_IN: US(Ap,MA,MW,SE,So)
REFERENCES: (12 citations)
Randolph 346, "The Arkansas Traveler" (1 text, 1 tune)
Randolph/Cohen, pp. 284-287, "The Arkansas Traveler" (1 text, 1 tune -- Randolph's 346)
BrownIII 330, "Arkansas Traveler (I)" (1 fragment)
FSCatskills 90, "The Arkansas Traveller" (2 texts, 2 tunes)
JHCox 179, "The Arkansaw Traveller" (1 text)
JHCoxIIB, #34, p. 210, "The Arkansaw Traveler" (1 tune with a description of the conversation between fiddler and traveler but no actual text)
RJackson-19CPop, pp. 10-13, "The Arkansas Traveller" (1 text, 1 tune)
Lomax-ABFS, pp. 267-271, "The Arkansas Traveller" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 216-219, "Arkansas Traveler" (1 text, 1 tune)
Silber-FSWB, p. 33, "The Arkansas Traveller" (1 text)
Fuld-WFM, pp. 107-108, "Arkansas Traveler"
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 46-53, texts of both "The Arkansas Traveler" and "The State of Arkansas," with folktale variants, a reproduction of a painting of the fiddler and traveler, and background information
Roud #3756
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink] & his Square Dance Band, "Arkansas Traveler" (OKeh 06296, 1941)
The Blue Ridge Duo [possibly a pseudonym for George Reneau?], "Arkansas Traveler" (Edison 51422, 1924)
Boone County Entertainers [Red Fox Chasers], "Arkansas Traveller" (Supertone 9163, 1928)
Fiddlin' John Carson, "Arkansas Traveler" (OKeh 40108, 1924)
H. N. Dickens, "The Arkansas Traveller" (on Stonemans01)
Jess Hillard, "Arkansas Traveller" (Champion 16333, 1931)
Earl Johnson & his Dixie Entertainers, "Earl Johnson's Arkansas Traveller" (OKeh 45156, 1927)
Uncle Dave Macon, "Arkansas Travellers" (Vocalion 15192, 1926)
Clayton McMichen & his Georgia Wildcats, "Arkansas Traveler" (Melotone [Canada] 93031, 1933)
Clayton McMichen & Dan Hornsby [or McMichen's Melody Men], "The Original Arkansas Traveler, pts. 1 & 2" (Columbia 15253-D, 1928)
New Lost City Ramblers, "The Arkansas Traveller" (on NLCR16)
Steve Porter, "Arkansas Traveller" (Pathe 20670, 1921)
[Steve] Porter & [Ernest] Hare, "Arkansas Traveler" (Edison 51010, 1922) (Grey Gull 4112, 1927)
George Reneau, "Arkansas Traveler" (Vocalion 14813, 1924)
Pete Seeger, "Arkansas Traveller" (on PeteSeeger07, PeteSeeger07b)
Jilson Setters [pseud. for James W. "Blind Bill" Day], "Arkansaw Traveler" (Victor 21635, 1928)
Hobart Smith, "Arkansas Traveler" (Disc 6079, 1940s)
Harry Spencer, "The Arkansaw Traveler" (Columbia 21, 1901; Harvard 21, c. 1903; Columbia A406, 1909 [anonymous]; Oxford 21, c. 1911)
Len Spencer, "The Arkansaw Traveler" (Victor 1101, 1902; Victor 16199-A, c. 1909) (CYL: Edison 8202 [as "The Arkansas Traveler"], 1902) (CYL: Edison [BA] 3745 [as "The Arkansas Traveler"], n.d.)
John Stone, "Arkansas Traveler" (AFS 3372 B2, 1939; in AMMEM/Cowell)
Gid Tanner & Riley Puckett, "Arkansas Traveller" (Columbia 15017-D, 1925; rec. 1924.)
Gordon Tanner, Arthur Tanner, Art Rosenbaum & Larry Nash, "Arkansas Traveler" (on DownYonder)
Tennessee Ramblers, "Arkansas Traveller" (Brunswick 225, 1928; Supertone S-2083, 1930)
Unidentified artists, "The Arkansaw Traveller" (Silvertone 21, c. 1915) (possibly Len Spencer, but a different recording from his 1902 Victor)
Unidentified artists (possibly Len Spencer) "Arkansaw Traveler" (CYL: Everlasting 1399, n.d.)
J. D. Weaver "Arkansas Traveler" (OKeh 45016, 1925)
SAME_TUNE:
[Len] Spencer & [Billy] Jones, "Return of the Arkansaw Traveler" (CYL: Albany Indestructable/Columbia 3108, c. 1910)
Len Spencer, "Return of the Arkansas Traveler" (CYL: Edison 10356, 1910)
Gid Tanner & his Skillet Lickers, "New Arkansas [Arkansaw?] Traveller" (Columbia 15623-D, c. 1931)
NOTES: Randolph says "Both words and music are usually credited to Colonel Sandford C. Faulkner [d. 1875]"; Allsop mentions Faulkner's name but also mentions other possibilites. The sheet music in Jackson is credited to one Mose Case, but we know how reliable such claims are. - RBW
Usually the fiddler only plays the "A" part of the tune; at the end of a few versions the traveller plays the "B" part, and the two become friends. 
This was a popular minstrel-show sketch in the 1900s, pitting the smart country man against the city slicker.
The [Folksinger's Wordbook] text turns one of the classic jokes from the spoken skit into sung verses. Frustratingly, they give no sources, so the origins of this version are unknown. The chords given are not the usual chords played with the tune. - PJS
File: FSC090
===
NAME: Arkansaw Traveller, An: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Arlin's Fine Braes
DESCRIPTION: "I've travelled this country both early and late, And among the lasses I've had mony a lang sit." The singer recalls his wild ways as a young ploughman. Having had various misadventures, he warns listeners to settle down and work rather than rambling
AUTHOR: unknown
EARLIEST_DATE: 1877 ("The Carse of Pommaize," broadside from Poet's Box, Glasgow, according to GreigDuncan3)
KEYWORDS: work farming rambling warning
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #118, p. 2, "The Carse o' Pommaize" (1 text) 
GreigDuncan3 415, "The Carse o' Pommaize" (7 texts, 3 tunes)
Ord, p. 250, "Arlin's Fine Braes" (1 text)
Roud #517
RECORDINGS:
Jimmy McBeath, "Arlin's Fine Braes" (on Voice20)
CROSS_REFERENCES:
cf. "Erin-go-bragh" (tune, per GreigDuncan3)
ALTERNATE_TITLES:
The Carse o' Braemese
The Carse o' Brindese
Earth of Braemese
Ireland's Fine Braes
NOTES: Broadside Bodleian, 2806 c.11(131), "The Carse of Pommaize" ("I have rambled this country both early and late"), The Poet's box (Glasgow), 1860 or 1865 could not be downloaded and verified. From the blurry small image I can see it seems to be this ballad. - BS
File: Ord250
===
NAME: Arm Chair, The: see Grandmother's Chair (File: R467)
===
NAME: Armoured Car, The
DESCRIPTION: "You must appreciate a hound so great to the sport." Doyley's Armoured Car "never yet lost a hunt." In '21 "he sent a sworn declaration to the Harriers Association" that he would win. His victories are recounted. Black and Tans could not stop him
AUTHOR: Sean O'Callaghan (source: OCanainn)
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: hunting dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 46-47,121, "The Armoured Car" (1 text, 1 tune)
NOTES: OCanainn: "The Armoured Car is ... the nickname given to the original Ringwood, the dog bred by the famous Conny Doyle of Fair Hill." - BS
File: OCan046
===
NAME: Army Song, The
DESCRIPTION: "A is for the Army that's not afraid to die ... C is for Christ ... Z is for ... A and stands for something, whatever it may be But the name of this peculiar song is the Army A B C"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: nonballad religious wordplay
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 68, "The Army Song" (1 text, 1 tune)
Roud #159
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: Leach-Labrador: "It is the Salvation Army Alphabet.... The music director of the Salvation Army has no record of this song." - BS
File: LLab068
===
NAME: Around a Western Water Tank: see The Dying Hobo [Laws H3] (File: LH03)
===
NAME: Around Cape Horn (I): see Rounding the Horn (File: VWL090)
===
NAME: Around Cape Horn (II): see A Long Time Ago (File: Doe037)
===
NAME: Around Her Neck She Wore a Yellow Ribbon
DESCRIPTION: The girl wears a yellow ribbon around her neck "For her lover who was far, far away." In May and December she scatters yellow flowers on a grave "for her soldier who was far, far away." (In other versions she may be pregnant and face abandonment)
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: love separation death burial pregnancy abandonment
FOUND_IN: US
REFERENCES: (4 citations)
Arnett, p. 149-150, "Around Her Neck She Wore a Yellow Ribbon" (1 text, 1 tune)
JHJohnson, p. 115, "Yaller Ribbon" (1 text)
Silber-FSWB, p. 145, "Round Her Neck She Wore A Yellow Ribbon" (1 text)
DT, (YLLORBBN)
Roud #10642, etc.
CROSS_REFERENCES:
cf. "All Around My Hat"
SAME_TUNE:
The Scarlet Bonnet (Pankake-PHCFSB, p. 159)
NOTES: The versions of this song I know run the gamut. Arnett's is a lament for a lost soldier. In Johnson's text, she has had a child by the missing man. In the Digital Tradition version, the song is angry, and the child is clearly illegitimate, and her father is prepared to guard her with a shotgun. The latter version is considered by the DT editors to be an "All around My Hat" variant -- but it seems to be simply a stronger version of the Johnson text.  - RBW
I think this one and "All Around My Hat" are, at the least, siblings, and more likely fraternal twins. - PJS
That they share genetic material is clear. But they have also evolved independently, and this one exists in far more diverse forms. - RBW
File: Arn149
===
NAME: Around the Corner
DESCRIPTION: "Around the corner behind the tree A sergeant Major said to me, 'Oh, how'd you like to (marry) me? I would like to know, For every time I look into your eyes, I feel I'd like to go Around the corner....'"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: humorous wordplay
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 241, "Around the Corner" (1 text)
NOTES: Clearly the infinite recursion was not invented by inept computer programmers. - RBW
File: FSWB241B
===
NAME: Around the Hills of Clare
DESCRIPTION: In the past the singer had thought the Saxon bands could be driven from his home, but now "these days are past." He is leaving home, parents, sister, and girls. He looks forward to the day when "home we'll all repair" to "the hills of Clare"
AUTHOR: unknown
EARLIEST_DATE: 1981 (IRClare01)
KEYWORDS: grief emigration farewell Ireland nonballad family home
FOUND_IN: Ireland
REFERENCES: ()

Roud #18467
RECORDINGS:
Tom Lenihan, "Around the Hills of Clare" (on IRClare01)
CROSS_REFERENCES:
cf. "The Magpie's Nest" (tune)
File: RcAtHoC
===
NAME: Around the Horn: see Rounding the Horn (File: VWL090)
===
NAME: Around the World and Home Again: see The Sailor's Way (File: Doe109)
===
NAME: Arrival of "Aurora," "Diana," "Virginia Lake," and "Vanguard," Loaded
DESCRIPTION: "All welcome to the northern fleet That just arrived today, Pounds filled up with prime harp seals." The accomplishments of Captain Kean, Captain Barbour of the Diana, Captain Knee of the Virginia Lake, and of the Vanguard are listed
AUTHOR: possibly Johnny Burke
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 731, "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (1 text)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships, theme)
cf. "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (theme, ships)
cf. "The Sealer's Song (II)" (ships)
File: RySm073
===
NAME: Arrival of the "Grand Banks" and "Virginia Lake" With Bumper Trips
DESCRIPTION: "The Grand Lake, boys, is coming in, With bunting grand, Manned by a crew of hardy lads Who belong to Newfoundland." The Grand Lake and the Virginia both return to port with large hauls of seal pelts and fat
AUTHOR: unknown
EARLIEST_DATE: 1904 (Old Home Week Songster)
KEYWORDS: hunting ship
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 71, "Arrival of the 'Grand Banks' and 'Virginia Lake' With Bumper Trips" (1 text)
CROSS_REFERENCES:
cf. "First Arrival -- 'Aurora' and 'Walrus' Full" (ships, theme)
cf. "Arrival of 'Aurora,' Diana,' 'Virginia Lake' and 'Vanguard,' Loaded" (theme, ships)
cf. "The Sealer's Song (II)" (ships)
File: RySm071
===
NAME: Arriving Back at Liverpool: see Whip Jamboree (Whup Jamboree) (File: Br3230)
===
NAME: Arsenic Tragedy, The: see Henry Green (The Murdered Wife) [Laws F14] (File: LF14)
===
NAME: Arthur
DESCRIPTION: French. Arthur, a poor boatman, loves a Black girl who lives in a castle. Her mother locks her in a tower far away. When a knight came to ask for her hand she sobs and takes out a handkerchief with Arthur's name. She makes her last sigh.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Lehr/Best)
KEYWORDS: foreignlanguage grief courting abduction mother Black(s)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 3, "Arthur" (1 text, 1 tune)
File: LeBe003
===
NAME: Arthur a Bland: see Robin Hood and the Tanner [Child 126] (File: C126)
===
NAME: Arthur Bond
DESCRIPTION: The singer tells the "praises of young Arthur Bond." He comes to Armagh for a race. Many horses stumble on the course, but Bond, riding Kate Kearney, succeeds easily. He drinks a toast to his mare
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: racing horse
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H783, p. 34, "Arthur Bond" (1 text, 1 tune)
Roud #9219
File: HHH783
===
NAME: Arthur Clyde
DESCRIPTION: Singer, dying, confesses to his sister that he murdered and buried her former lover, Arthur Clyde, because he could not bear to see Clyde with her
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording, Loman D. Cansler)
KEYWORDS: murder death dying sister lover
FOUND_IN: US(So)
REFERENCES: ()

Roud #15752
RECORDINGS:
Loman D. Cansler, "Arthur Clyde" (on Cansler1)
NOTES: Cansler states he learned this from his family, and has not heard it elsewhere. - PJS
File: RcAClyde
===
NAME: Arthur Curtis's Horse
DESCRIPTION: "Arthur Curtis lost his horse; I'm sorry that they parted. But people say for the want of hay To the other world he started." A few of the men help Arthur get rid of the dead horse and he vows to "get another one just as good" and finish hauling wood.
AUTHOR: Frank O'Hara
EARLIEST_DATE: 1961 (Ives-NewBrunswick)
KEYWORDS:  death lumbering recitation horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 76-77, "Arthur Curtis's Horse" (1 text)
Roud #1949
File: IvNB076
===
NAME: Arthur McBride
DESCRIPTION: The singer and his cousin Arthur McBride meet a recruiting party (on Christmas). The young men do not wish to join the army; they aren't interested in going overseas to be shot. The sergeant blusters; the Irish boys beat up the soldiers
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(2131))
KEYWORDS: army fight recruiting humorous
FOUND_IN: Ireland Britain(Scotland,England)
REFERENCES: (5 citations)
Greig #176, p. 1, "Arthur M'Bride" (1 text) 
GreigDuncan1 78, "Arthur McBride" (4 texts, 2 tunes)
Ord, pp. 306-307, "The Recruiting Sergeant" (1 text)
PBB 93, "Arthur McBride" (1 text)
DT, ARTMCBRD* ARTMCBR2
Roud #2355
BROADSIDES:
Bodleian, Harding B 11(2131), "Arthur Mc. Bride" ("I had a cousin one Arthur Mc. Bride"), J. Harkness (Preston), 1840-1866; also Firth c.14(112), "Arthur M'Bride"; Harding B 25(82), "Arthur Macbride"
ALTERNATE_TITLES:
Arthur McBride and the Sergeant
Teddy O'Brown
File: PBB093
===
NAME: Arthur Nolan: see Alec Robertson (I) (File: MA065)
===
NAME: As Broad as I was Walking
DESCRIPTION: The singer sees a pretty maid "lamenting for her love." He courts her "in a rude and rakish way." She bids him stop, "crying out, Young man, for shame."  Her lover is gone; she vows that if she can't enjoy him, "I will rejoice in a sweet and single life."
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian Harding B 17(196a))
KEYWORDS: courting loneliness separation oldmaid
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 230-231, "As Broad as I was Walking" (1 text, 1 tune)
Roud #1198
BROADSIDES:
Bodleian, Harding B 17(196a), "Modest Maid," J. Pitts (London), 1802-1819; also Johnson Ballads 915[last verse illegible], "Modest Maid"; Harding B 25(1310), "Nancy's Love for her Sailor"
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
NOTES: This really, REALLY reminds me of a Riley/Broken Token ballad. But since the stanza form does not match the more common Riley ballads, and since there is no reunion at the end, I have to classify it on its own.
The title, I imagine, is a corruption of "Abroad as I was Walking." - RBW
File: CoSB230
===
NAME: As I Gaed ower a Whinny Knowe: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: As I Go Sing
DESCRIPTION: "As I walk the hills my heart is light, and as I go I sing." Her brothers urge the singer to seek wealth; her mother warns her of dying an old maid. She says she will never wed -- but allows she might if a certain man comes courting
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: love family oldmaid
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H661, p. 259, "As I Go I Sing" (1 text, 1 tune)
Roud #6899
File: HHH661
===
NAME: As I Rode Down Through Irishtown: see The Crimean War [Laws J9] (File: LJ09)
===
NAME: As I Rode Out: see The Banks of Sweet Primroses (File: ShH51)
===
NAME: As I Roved Out (I) (Tarry Trousers II)
DESCRIPTION: The singer overhears a girl talking to her mother. The mother wants her daughter to marry a farmer, but the girl prefers a sailor. (The girl and the sailor are happily wed; she tries to persuade him to go to sea no more.)
AUTHOR: unknown
EARLIEST_DATE: 1848 (Journal from the Nauticon)
KEYWORDS: lover courting mother sailor
FOUND_IN: Britain(England(South)) Canada(Mar,Newf) US
REFERENCES: (8 citations)
SharpAp 133, "Tarry Trousers" (1 text, 1 tune)
Huntington-Whalemen, pp. 96-99, "The Tarry Trousers" (2 texts, 1 tune)
Creighton/Senior, pp. 212-214, "Tarry Trousers" (2 texts, 2 tunes)
Greenleaf/Mansfield 31, "As I Roved Out" (1 text, 1 tune)
Peacock, pp. 495-496, "Anchors Aweigh, Love" (1 text, 1 tune)
Lomax-FSNA 14, "As I Roved Out" (1 text, 1 tune)
OBoyle 1, "As I Roved Out" (1 text, 1 tune)
DT 414, TARYTROU* TARYTRU2*
Roud #427
ALTERNATE_TITLES:
The Mother's Admonition
File: LoF014
===
NAME: As I Roved Out (II): see Trooper and Maid [Child 299] (File: C299)
===
NAME: As I Roved Out (III): see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: As I Roved Out (V): see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Roved Out One Evening
DESCRIPTION: A son, against his parents' wishes, plans to cross the sea "in search of gold." He is afraid, if he stays, King George will be defeated. His love has wed another leaving him under oath not to wed any girl in Ireland. He leaves for the East Indies
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 25(345))
KEYWORDS: infidelity separation Ireland
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 41, "As I Roved Out One Evening" (1 text, 1 tune)
Roud #2752
BROADSIDES:
Bodleian, Harding B 25(345), "The Carrick Lovers ("As I roved out one morning I heard a mournful cry"), W. Armstrong (Liverpool), 1820-1824
NOTES: Carrick on Shannon is in County Leitrim, Ireland. - BS
File: CrSNB041
===
NAME: As I Sat on a Sunny Bank: see I Saw Three Ships (File: OBB104)
===
NAME: As I Sit Here Alone
DESCRIPTION: "As I sit here alone in the old shearer's hut...I wonder, is it worth goin' on." The shearer describes the hard work, the injuries, the poor pay, the lack of respect for inferior workers. He concludes , "I KNOW it's not worth goin' on."
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: work hardtimes sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 146-147, "As I Sit Here Alone" (1 text)
File: MCB146B
===
NAME: As I Staggered From Home Yesterday Morning
DESCRIPTION: As singer staggers out, his wife (counting up his meager cash) tells him their life would be better if he quit drinking -- they'd soon be "rich as a Jew." He tells her that drink does him a world of good, and he intends to continue
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Pat Ford)
KEYWORDS: drink wife
FOUND_IN: US(MW)
REFERENCES: ()

Roud #15472
RECORDINGS:
Pat Ford, "As I staggered from home yesterday morning" [fragment] (AFS 4210 B3 & 4211 B3, 1939; in AMMEM/Cowell)
NOTES: Both [Pat Ford] recordings contain the same fragment, but are different takes. - PJS
File: RcAISFHY
===
NAME: As I Strolled Out One Evening: see Down By Blackwaterside (File: K151)
===
NAME: As I Walked Forth in the Pride of the Season
DESCRIPTION: A man promises to marry a maid he meets. He says he is poor and her "low degree" is no cause for concern. They kiss and fall asleep. When he wakes he finds her not a virgin and says they'll never marry.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: grief courting sex virginity warning floatingverses
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 422-423, "As I Walked Forth in the Pride of the Season" (1 text, 1 tune)
ST Pea422 (Partial)
Roud #9785
ALTERNATE_TITLES:
The False Young Man
NOTES: [Despite Peacock's subtitle "The False Young Man," this is] not "The False Young Man (The Rose in the Garden, As I Walked Out)." - BS
Peacock's final stanza is the floating "ripest of apples" lyric; it's not clear which of the several songs which include the verse is the source. - RBW
File: Pea422
===
NAME: As I Walked Out (I) (A New Broom Sweeps Clean)
DESCRIPTION: A young man tells a girl, "Alas, I'm tormented, for love I must die." He begs her to come away with him. She tells him, "Were I to say yes, I would say 'gainst my mind." He curses her unkindness; he will marry a girl who loves him if he marries at all
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting rejection
FOUND_IN: Ireland  Canada(Mar)
REFERENCES: (2 citations)
SHenry H109, p. 357, "As I Walked Out" (1 text, 1 tune)
Creighton-SNewBrunswick 40, "A New Broom Sweeps Clean" (1 text, 1 tune)
ST HHH109 (Partial)
Roud #2751
CROSS_REFERENCES:
cf. "If I Were a Fisher" (floating lyrics)
NOTES: Bodleian, Harding B 25(1325), "A New Broom Sweeps Clean" ("Why talk you of marriage, I have little wit"), Angus (Newcastle), 1774-1825; also Harding B 17(209a), "A New Broom Sweeps Clean" shares only its title, one similar verse, and dialog theme with this song. The similar verse -- with potential for floating -- is "I think it no wonder maids are fickle in their minds, Young men will deceive them be they ever so kind; They will court with strange sweethearts, be they ever so mean, It is an old saying that a new broom sweeps clean." - BS
File: HHH109
===
NAME: As I Walked Out (II): see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Walked Out in the Streets of Laredo: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: As I Walked Out One May Morning: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: As I Walked Through the Meadows
DESCRIPTION: Singer meets a young woman. She says she has come to gather may. He asks to go with her; she refuses, for fear of being led astray. He kisses her; they wander through the meadows as he picks may. Next morning he marries her to preserve her reputation.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting sex wedding
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Sharp-100E 53, "As I Walked Through the Meadows" (1 text, 2 tunes)
Roud #594
ALTERNATE_TITLES:
The Handful of May
NOTES: Although it's never made explicit, especially in Cecil Sharp, I know a line of asterisks when I see one! -PJS
File: ShH53
===
NAME: As I Wandered by the Brookside: see I Wandered by the Brookside (File: CrMa035)
===
NAME: As I Was A-Walking (I): see The Mantle So Green [Laws N38] (File: LN38)
===
NAME: As I Was A-Walking Down Ratcliffe Highway: see Ratcliffe Highway (File: Doe114)
===
NAME: As I Was Going into the Fair of Athy: see The Old Petticoat (File: RcOldPet)
===
NAME: As I Was Going to Banbury: see A Leg of Mutton Went Over to France (File: Pea014)
===
NAME: As I Was Going to Darby: see The Derby Ram (File: R106)
===
NAME: As I Was Walkin' Down Wexford Street: see The Croppy Boy (I) [Laws J14] (File: LJ14)
===
NAME: As I Was Walking o'er Little Moorfields: see A Leg of Mutton Went Over to France (File: Pea014)
===
NAME: As I Went by the Luckenbooths
DESCRIPTION: "As I went by the Luckenbooths I saw a lady fair... 'Oh, have you seen my lost love, With his braw Highland men?" "But when the minister came out Her mare began to prance, Then rode into the sunset Beyond the coast of France."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: beauty love nonballad Jacobite
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 114, "(As I went by the Luckenbooths)" (1 text)
DT, LUCKBOTH
NOTES: This is an odd little piece, since half of it is just the description of the beautiful girl ("The smile about her bonnie cheek Was sweeter than the bee; Her voice was like the bird's song Upon the birken tree"). But the other half looks strongly Jacobite. On that basis, after much hesitation, I decided to include it.
Murray Shoolbraid, in his Digital Tradition notes, observes, "M[offat] says this is a spectral or 'ghostie' ballad, a great favourite of children in the 17th and 18th centuries [which I greatly doubt]." I doubt it too. (That is, I doubt the supernatural element, barring the discovery of a more explicit version). - RBW
File: MSNR114
===
NAME: As I Went Down in the Valley to Pray: see Down in the Valley to Pray (File: Br3553)
===
NAME: As I Went Down to Newbern
DESCRIPTION: "As I went down to Newbern, I went there on the tide, I just got there in time To be taken by Old Burnside." The singer complains of his treatment and bets that the Yankees will run every time they fight the Confederates
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: Civilwar prisoner
HISTORICAL_REFERENCES: Feb. 7, 1862 - Burnside's North Carolina expedition approaches Roanoke Island
Feb. 8, 1862 - Burnside defeats Henry Wise's local troops to capture Roanoke Island
Mar. 14, 1862 - Burnside takes New Bern
Apr. 26, 1862 - Burnside captures Beaufort
July 3, 1862 - Burnside and some 7500 of his troops are transferred to the Army of the Potomac
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 282, "As I Went Down to Newbern" (1 text)
Roud #6641
NOTES: This short little item looks both fragmentary and composite; the first part is about the Union occupation of northeastern North Carolina, but the second is a boast against the Yankees. They might belong together, but I suspect the final stanza was grafted in after the New Bern song lost most of its verses. - RBW
File: BrII282
===
NAME: As I Went Down to Port Jervis
DESCRIPTION: The singer sees a mother with her two soldier sons who are bound for battle. She wishes they were not leaving, and tells how she tried to keep them out of the army. The son(s) tell of their hard service, but say not to worry until they are dead!
AUTHOR: unknown
EARLIEST_DATE: 1982 (Cazden et al)
KEYWORDS: war battle mother children farewell
FOUND_IN: US(MA)
REFERENCES: (2 citations)
FSCatskills 12, "As I Went Down to Port Jervis" (2 texts, 2 tunes)
DT, PRTJRVS*
Roud #1924
CROSS_REFERENCES:
cf. "The Crimean War" [Laws J9] (tune, lyrics, plot, theme)
NOTES: The singers from whom Cazden et al collected this song generally felt it was a Civil War song. It can, however, be directly linked to "The Crimean War" [Laws J9]. Roud lumps the two, and I'm tempted to do the same -- but Cazden et al consider it separate, and they have heard the actual performances of the Catskills singers.
Still, you'd probably better see both songs. The Ives-New Brunswick version of "The Crimean War," e.g., is described by Cazden et al as being the same as that of "As I Went Down to Port Jervis."
This may mean less than it says, however; the Gardner/Chickering tune of "The Crimean War" is not the same as "Port Jervis" -- but similar; both are 6/8, both follow similar rhythms, both avoid the use of the fourth (causing Cazden et al to show it with no flats even though it's in F -- a confusing bit of notation). The primary difference is that the Cazden versions are true pentatonic; Gardner/Chickering do have one instance of a (major) seventh. - RBW
File: FSC012
===
NAME: As I Went Out One Summer's Day: see Bonny Wee Lass (As I Went Out One Summer's Day) (File: HHH763)
===
NAME: As I Went Up the Silver Lake
DESCRIPTION: "As I went up the silver lake, There I met a rattlesnake, He did eat so much cake That he had the tummy ache."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: animal food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 188, "As I Went Up the Silver Lake" (1 text)
Roud #15769
File: Br3188
===
NAME: As Now We Are Sailing
DESCRIPTION: "As now we are sailing out of Sheet Harbour Bay And ... Scaterie." When the singer leaves the Labrador factory "I pray ... I'll come back here no more" and have "a chance for a wife"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: factory worker ship
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 100, "As Now We Are Sailing" (1 fragment, 1 tune)
Roud #1810
CROSS_REFERENCES:
cf. "Captain Conrod" (tune)
NOTES: Sheet Harbour is on the Atlantic coast of Nova Scotia and Scaterie Island is off Cape Breton. Creighton-Nova Scotia: "[The singer] tells me it was written about a schooner that took men to Labrador to work in a lobster factory." - BS
File: CrNS100
===
NAME: As Off to the South'ard We Go: see Heave Away Cheerily (File: Hugi310)
===
NAME: As Susan Strayed the Briny Beach: see Susan Strayed on the Briny Beach [Laws K19] (File: LK19)
===
NAME: As Sylvie Was Walking
DESCRIPTION: Sylvie, walking by the river, weeps for her lover. A young man asks the matter; she tells him that she's been deserted. She says her love will weep for her (after she dies). Astonishingly, the young man is not the departed lover, and nothing else happens.
AUTHOR: unknown
EARLIEST_DATE: 1911
KEYWORDS: loneliness love abandonment lament lover dream
FOUND_IN: Britain(England (South)) Australia
REFERENCES: (2 citations)
Vaughan Williams/Lloyd, p. 14, "As Sylvie Was Walking" (1 text, 1 tune)
DT, SYLVWALK* GRENGRO3
Roud #170
ALTERNATE_TITLES:
Once I Had a Sweetheart
A Maiden Sat a-Weeping
NOTES: The song was collected from an 80-year old woman in Australia in 1911. She had emigrated in 1855, and had learned the song in her native Gloucestershire, so [it must have been in existence by 1855]. - PJS
I'm inclined to think that this is a conflate ballad: The opening comes from a Riley ballad, the rest from a lost love song of some kind, with perhaps a little of "Green Grow the Laurel" in the mix to provide floating lyrics. (The Digital Tradition editors file their "Once I Had a Sweetheart" text with "Green Grow," but this is more than a stretch, as is the attribution to D. Adams, since Cynthia Gooding recorded it in 1953!) - RBW
File: VWL014
===
NAME: As the King Went A-Hunting: see Jolly Thresher, The (Poor Man, Poor Man) (File: R127)
===
NAME: As We Were A-Sailing: see The Female Warrior (Pretty Polly) [Laws N4] (File: LN04)
===
NAME: As Welcome as the Flowers in May
DESCRIPTION: "Last night I dreamed a sweet, sweet dream, I thought I saw my home, sweet home." The singer dreams of seeing his parents and his sweetheart Bess, who tell him they've been waiting and that he's "as welcome as the flowers in May."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, McFarland & Gardner)
KEYWORDS: home separation dream father mother family
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 856, "As Welcome as the Flowers in May" (1 text)
Cambiaire, p. 101, "You're As Welcome as the Flowers in May" (1 text)
Roud #4347
RECORDINGS:
Bud & Joe Billings (pseuds. for Frank Luther & Carson Robison) "You're as Welcome as the Flowers in May" (Victor V-40039, 1929)
Mr. & Mrs. Hugh Cross, "You're as Welcome as the Flowers in May" (Columbia 15259-D, 1928)
Lester McFarland & Robert Gardner, "You're as Welcome as the Flowers in May" (Brunswick 108/Vocalion 5128, 1927; Supertone S-2037, 1930)
John McGhee, "You're As Welcome As The Flowers In May" (Supertone 9674, 1930)
Connie Sides, "You're as Welcome as the Flowers in May" (Columbia 15008-D, rec. 1924)
Frank C. Stanley, "You're As Welcome as the Flowers in May" (Imperial [UK] 44923, c. 1906)
Frank Welling & John McGhee, "You Are As Welcome as Flowers in May" (Perfect 5-12-59, 1935)
NOTES: Despite the similarity in titles (perhaps inspired by a common saying), this appears to have no relationship at all with the Sam Henry song "You're Welcome as the Flowers in May."
Dan J. Sullivan in 1902 published a song "You're As Welcome As the Flowers In May"; I don't know which of the two traditional songs of that title, if either, it represents. - RBW
Perhaps one of the recordings is responsible for the Randolph entry? It wouldn't be the first time. - PJS
File: R856
===
NAME: Ash Grove, The (Llwyn On)
DESCRIPTION: Welsh/English. The singer describes the beauty of the ash grove, which "alone is my home." The singer broods on dead friends, but rejoices to see them in the ash grove.
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: foreignlanguage home friend
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 336, "The Ash Grove" (1 English text text)
DT, ASHGROV1* ASHGROV2*
File: FSWB336B
===
NAME: Ashland Strike, The
DESCRIPTION: "I had a job; was well content And pleased in every way." "...The men, like me, I know, were satisfied with their own jobs, Then came the C.I.O." The singer describes the misery of the Ashland Strike, and hopes never again to hear of the C.I.O.
AUTHOR: Billie Menshouse?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: strike labor-movement
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 240-241, (no title) (1 text)
CROSS_REFERENCES:
cf. "The Picket Line Blues" (subject)
NOTES: We tend to think of "folk" songs as pro-union, but of course most unions find some employees opposed to their tactics. This is the song of such a man -- and, like many songs in Thomas, there is no evidence that it is actually traditional. - RBW
File: ThBa240
===
NAME: Ashland Tragedy (I), The [Laws F25]
DESCRIPTION: Three robbers break into the Gibbons house. Fanny Gibbons, a friend, and Bobby Gibbons are killed. The robbers (fail in an) attempt to burn the house. One is lynched, the others sentenced to hang. Three locals are killed by soldiers guarding the robbers
AUTHOR: Elijah Adams wrote either this or "Ashland Tragedy I" (Thomas lists "Ashland Tragedy II"; Cox seems to prefer "Ashland Tragedy I")
EARLIEST_DATE: 1918
KEYWORDS: murder robbery execution revenge children
HISTORICAL_REFERENCES: 1884 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap,So)
REFERENCES: (4 citations)
Laws F25, "The Ashland Tragedy I"
JHCox 36, "The Ashland Tragedy" (1 text)
Burt, pp. 58-59, "The Ashland Tragedy" (1 text)
DT 737, ASHLANDM
Roud #2263
CROSS_REFERENCES:
cf. "The Ashland Tragedy (II)" [Laws F26]
cf. "The Ashland Tragedy (III)" [Laws F27]
NOTES: Cox offers details on this crime, and notes that his informant learned it from a printed sheet some five years after the event. It is likely that this (or perhaps "The Ashland Tragedy II") was a broadsheet distributed at the execution of the two murderers.
Cox's text of this piece begins,
Dear father, mother, sister, come listen while I tell
All about the Ashland tragedy, of which you know full well,
'Twas in the town of Ashland, all on that deadly night,
A horrible crime was committed, but soon was brought to light.
There seem to be no extant tunes for this item, but I suspect it belongs to the "Charles Guiteau" tune family. - RBW
File: LF25
===
NAME: Ashland Tragedy (II), The [Laws F26]
DESCRIPTION: Three robbers break into the Gibbons house. Fanny Gibbons, a friend, and Bobby Gibbons are killed. The robbers (fail in an) attempt to burn the house. One is lynched, the others sentenced to hang. Three locals are killed by soldiers guarding the robbers
AUTHOR: Elijah Adams wrote either this or "Ashland Tragedy I" (Thomas lists "Ashland Tragedy II"; Cox seems to prefer "Ashland Tragedy I")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: murder robbery execution revenge children
HISTORICAL_REFERENCES: 1881 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F26, "The Ashland Tragedy II"
Thomas-Makin', pp. 156-158, "The Ashland Tragedy" (1 text)
DT 806, ASHLAND2
CROSS_REFERENCES:
cf. "The Ashland Tragedy (I)" [Laws F25]
cf. "The Ashland Tragedy (III)" [Laws F27]
NOTES: It's not clear to me why Laws accords this full status as a traditional ballad; as with The Ashland Tragedy (III), the only source is Thomas. Her text begins,
Come dear people from far and wide
And lend a willing ear to me
While I relate the cruel facts
Of Ashland's greatest tragedy. - RBW
File: LF26
===
NAME: Ashland Tragedy (III), The [Laws F27]
DESCRIPTION: A loose account of the murder of three children (Fanny and Bobby Gibbons and Emma Carico) in the Gibbons home in Ashland. It describes the crime at some distance and with some inaccuracies and generalities
AUTHOR: Bill Terrell?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: murder children
HISTORICAL_REFERENCES: 1881 - Ellis Craft and William Neal hung for their part on the "Ashland Tragedy" (the third robber, George Ellis, had earlier been lynched)
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F27, "The Ashland Tragedy III"
Thomas-Makin', pp. 160-162, ("The Murder of the Gibbons Children") (1 text, 1 tune)
DT 802, ASHLAND3
Roud #2265
CROSS_REFERENCES:
cf. "The Ashland Tragedy (I)" [Laws F25]
cf. "The Ashland Tragedy (II)" [Laws F26]
NOTES: It's not clear to me why Laws accords this full status as a traditional ballad; as with The Ashland Tragedy (II), the only source is Thomas. Her text begins,
Oh have you heard the story,
It happened long ago,
Of the Gibbons's children murder
And Emma Carico. - RBW
File: LF27
===
NAME: Asleep at the Switch
DESCRIPTION: Tom the switchman has to work though his boy is dying at home. In his grief he falls asleep at the switch. A disaster is barely averted when daughter Nell, bringing good news, throws the switch. Tom is found dead of grief, but Nell is rewarded
AUTHOR: Words: Charles Shackford; several tunes, including Shackford's, are used
EARLIEST_DATE: 1897 (sheet music)
KEYWORDS: train death family disease rescue grief
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 686, "Asleep at the Switch" (1 text)
Cohen-LSRail, pp. 276-281, "Asleep at the Switch" (1 text plus excerpts from other poems with the same title as well as a copy of the sheet music cover, 1 tune)
Roud #7370
RECORDINGS:
Lester McFarland & Robert Gardner, "Asleep at the Switch" (Brunswick 461, 1930)
Ernest V. Stoneman, "Asleep at the Switch" (OKeh 45044, 1926)
NOTES: Cohen notes that (at least) two other poems were written with the title "Asleep at the Switch" before Shackford published his piece in 1897. The earliest was by George Hoey, and that poem appears to have been the most popular in the wider world; it is the only one of the three cited in _Granger's Index to Poetry_.  - RBW
File: R686
===
NAME: Aspell and Carter
DESCRIPTION: John Aspell drowns trying to save young Carter from drowning in a lake near St John's
AUTHOR: John Burke (1851-1930)
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: rescue drowning death
HISTORICAL_REFERENCES: July 1902 - drowning at Quidi Vidi (per Lehr/Best)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 4, "Aspell and Carter" (1 text, 1 tune)
NOTES: Dates for John Burke are from GEST Songs of Newfoundland and Labrador site. - BS
File: LeBe04
===
NAME: Ass and the Orangeman's Daughter, The
DESCRIPTION: Thomas Gready's ass is auctioned to an Orangeman to pay the tithe. The ass is confined and starved. Orangeman's daughter tries to have him "relinquish Popery." The cross-marked ass refuses. She threatens to whip the ass. "A multitude of asses" frees him.
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Firth b.34(4))
KEYWORDS: Ireland political talltale animal
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann 46B, "The Ass and the Orangeman's Daughter" (1 text)
Hayward-Ulster, pp. 114-115, "The Ass and the Orangeman's Daughter" (1 text)
Roud #6543
BROADSIDES:
Bodleian, Firth b.34(4), "The Ass and the Orangeman's Daughter," J. Harkness (Preston), 1840-1866; also 2806 c.15(253), 2806 b.10(150), "The Ass and the Orangeman's Daughter"; 2806 b.9(169), 2806 b.9(222)[some words illegible], "The Tipperary Ass"
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
NOTES: The last verse raises a number of points.
Now to conclude and finish, long life to every ass,
May they live to be united, likewise to bear the cross.
We will toast a health to all our friends, likewise our gracious Queen,
May the asses meet in multitude once more in College Green.
Professor Thomas Bartlett in _The 1798 Irish Rebellion_ quoted on the BBC site: "The Society of United Irishmen, founded in 1791, embraced Catholics, Protestants and Dissenters in its aim to remove English control from Irish affairs."
Donkeys have a cross-shaped patch of dark hair on their back. In political ballads this mark is taken as a sign that donkeys are Roman Catholic.
The toast to Queen Victoria makes 1837 an earliest possible date for this broadside.
Zimmermann, commenting on the last line: "The Irish Parliament House ... stood on the N. side of College Green, Dublin." - BS
Despite the mention of the Queen, I suspect the song dates from a few years before 1837. That was indeed the year Queen Victoria came to the throne, but the Tithe War was nearly over by then. The election of Daniel O'Connell and his followers to parliament, followed by tithe riots in 1830-1831, led the British government in 1833 to cease taking the tithe by force; in 1838, the Tithe Rentcharge Act took the tithe off the backs of the (mostly Catholic) peasants and put it on the back of the (mostly Protestant) landlords, though it wasn't until 1869 that Gladstone disestablished the Anglican church in Ireland.
Thus I suspect the song dates from 1830-1832; perhaps it was modified for publication. Alternately, it might refer to the Queens of George IV (reigned 1820-1830, and regent before that) or William IV (reigned 1830-1837). Adelaide, the wife of William IV, was popular enough but hardly notable.
If the reference is to the wife of George IV, though, things become really interesting. George's first wife was the widow Maria Fitzherbert -- a Catholic! Since George had married her in secret, the marriage was held illegal and she never sat on the throne, but she was George's wife in Catholic eyes.
George's slightly more official wife was Charlotte of Caroline of Brunswick, whom he married in 1795. It is said that he was drunk at their wedding, and they were rumoured to have slept together only once.
This is all very speculative, to be sure, but a reference to "The Queen" during the reign of George IV could thus be a highly charged political statement. - RBW
File: Zimm046B
===
NAME: Ass's Complaint, The
DESCRIPTION: Singer meets a Catholic ass with the mark of the cross on his back complaining about having been sold to a Brunswicker. His MP master has turned on the ass for supporting Repeal. The singer wishes the ass may soon be stabled in College Green
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: Ireland political talltale animal
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 46A, "The Ass's Complaint of the Union" (2 texts)
BROADSIDES:
LOCSinging, as110720[some words are illegible], "The Papist Ass," unknown, 19C
Bodleian, Harding B 26(495)[some words are illegible], "The Papist Ass," P. Brereton (Dublin), n.d.
NOTES: Zimmermann, commenting on the last lines, "May he shortly be able in comfort to be seen, Placed in that splendid stable at home in College Green": "The Irish Parliament House ... stood on the N. side of College Green, Dublin."
Zimmermann 35: "'Brunswicker' was then more or less synonymous with 'Orangeman' or simply 'Protestant'." 
Donkeys have a cross-shaped patch of dark hair on their back. In this broadside the ass claims it as a sign bestowed at the birth of Jesus that can not be claimed by any "Brunswicker."
Broadsides LOCSinging as110720 and Bodleian Harding B 26(495) are duplicates. - BS
Zimmermann's dating for this piece seems to be based on the internal evidence: It clearly reflects the conditions in the years from about 1828 to 1832, as Daniel O'Connell (whose basic issue was "Repeal" of the Uninon between Britain and Ireland) and his supporters worked their way into parliament.
For more on this situation, see the notes to "Fergus O'Connor and Independence." - RBW
File: Zimm046A
===
NAME: Astrologer, The
DESCRIPTION: A servant girl comes to consult an astrologer; he bids her come upstairs. She says she will not go upstairs with any man. He points out that she lay with her master not long before. (She flounces out -- but only after displaying the coin her master paid)
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: sex commerce prophecy
FOUND_IN: Britain(England(South),Scotland)
REFERENCES: (2 citations)
Kinloch-BBook X, pp. 37-39, "The Astrologer" (1 text)
DT, ASTROLGR*
Roud #1598
File: KinBB10
===
NAME: At a Cowboy Dance
DESCRIPTION: "Get yo' little sage hens ready, Trot 'em out upon the floor -- Line 'em up there, you cusses! Steady!" The caller coaxes and cajoles the cowboys through the motions of a square dance.
AUTHOR: unknown
EARLIEST_DATE: 1889 (James Barton Anderson's "Breezy Western Verse")
KEYWORDS: dancing cowboy nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 105, "At a Cowboy Dance" (1 text)
Lomax-ABFS, p. 415, "An Idaho Cowboy Dance" (1 text)
Roud #11095
File: FCW105
===
NAME: At Barnum's Show
DESCRIPTION: Concerning the odd events and strange animal behaviors seen at Barnum's circus. Chorus: "If you want to have some fun, I'll tell you where to go, Go see the lion stuffed with straw At P. T. Barnum's show."
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: animal humorous
FOUND_IN: US(MW,So)
REFERENCES: (2 citations)
Randolph 450, "At Barnum's Show" (1 text)
Spaeth-ReadWeep, pp. 67-68, "P. T. Barnum's Show" (1 text)
Roud #7600
NOTES: Many of the lyrics to this song are the sort of thing you would expect to find in "Animal Fair," but there are enough references to Barnum that the piece must be considered, at the very least, a rewrite. - RBW
File: R450
===
NAME: At Brighton
DESCRIPTION: A teasing song with the omitted or hinted word occurring only once every four lines, rather than the more usual two. This begins with an old gent at Brighton swimming around the government pier, suggesting an English origin.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy
FOUND_IN: 
REFERENCES: (1 citation)
Randolph-Legman II, p. 649, "The Handsome Young Farmer" (1 text)
CROSS_REFERENCES:
cf. "Teasing Songs"
File: RL649
===
NAME: At Sullivan's Isle
DESCRIPTION: "I'll tell you, George, in meter, If you will attend the while, How we forced out Saint Peter At Sullivan's fair isle."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: battle
HISTORICAL_REFERENCES: June 28, 1776 - Clinton and Parker's failed assault on Charleston
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 196, "At Sullivan's Isle" (1 fragment, sixth of seven "Quatrains on the War")
ST Fus19gB (Full)
CROSS_REFERENCES:
cf. "Sir Peter Parker" (subject)
NOTES: There isn't much here to serve as a basis for dating the song, but the reference to Sullivan's Isle clearly takes us to Charleston Harbor. Revolutionary War or Civil War? We simply cannot tell. I'm guessing the Revolutionary War, because of the reference to "Saint Peter." There was no "Saint Peter" that I know of involved in the Union assaults on Fort Moultrie and Fort Sumter, but the name might refer to Peter Parker, co-commander of the Revolutionary battle.
For details on that fiasco, see "Sir Peter Parker." - RBW
File: Fus19gB
===
NAME: At the Boarding House: see I Know a Boarding-House (File: R479)
===
NAME: At the Boarding House Where I Live: see I Know a Boarding-House (File: R479)
===
NAME: At the Foot of the Mountain Brow: see The Foot of the Mountain Brow (The Maid of the Mountain Brow) [Laws P7] (File: LP07)
===
NAME: At the Foot of Yonder Mountain: see Pretty Saro (File: R744)
===
NAME: At the Gate Each Shearer Stood: see The Lachlann Tigers (File: FaE136)
===
NAME: At the Jail: see Logan County Jail (Dallas County Jail) [Laws E17] (File: LE17)
===
NAME: At the Sign of the Apple (The Twig So Tender; The Tavern)
DESCRIPTION: "Once upon a time I visited A hostess neat and slender, A golden apple was her sign, Hung by a twig so tender, Do did-dle de la, la la la la, Hung by a twig so tender...." When the singer asks for a bill, (s)he is told there is none
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: whore
FOUND_IN: US(So)
REFERENCES: (2 citations)
Belden, p. 258, "At the Sign of the Apple" (1 text)
Randolph 669, "The Twig So Tender" (1 fragment, 1 tune)
Roud #7365
NOTES: Randolph had but a single verse of this, and Belden only two, and neither is very revealing. Based on Randolph, I guessed it was about a visit to a whorehouse. Belden's additional verse just adds to the mystery; note the genders in the second line:
I asked my host to name my bill,
He smiled, and then said, "Nay, sir."
That house I'll always patronize
Whene'er I go that way, sir. - RBW
File: R669
===
NAME: At Twenty-One: see Twenty-One (File: HHH033)
===
NAME: Atching Tan Song (I), The
DESCRIPTION: Travellers' cant. Travellers arrive at an illicit camp, but awake in the morning to find their old pony impounded by the farmer. They ransom it and move on, finding water for the children
AUTHOR: unknown
EARLIEST_DATE: 1960 (recorded from Frank Copper)
KEYWORDS: hardheartedness travel farming foreignlanguage horse children Gypsy migrant
FOUND_IN: 
REFERENCES: (1 citation)
Kennedy 337, "The Atching Tan Song" (1 main text plus 1 in the notes, 1 tune)
CROSS_REFERENCES:
cf. "The Atching Tan Song (II)"
NOTES: The song is macaronic, combining Travellers' cant with English. This shares some lyrics (references to "tent-rods, ridge-poles, and kittles") in the first verse with "The Atching Tan Song (II)", but they seem otherwise separate.
An "atching tan" was a stopping place; it was common practice for Travellers to camp in an unauthorized place, then let their horses into a farmer's field after dark with the intention of retrieving them before dawn. Often as not, they were caught and the horses impounded. - PJS
File: K337
===
NAME: Atching Tan Song (II), The
DESCRIPTION: Travellers arrive at a likely camping spot; a policeman arrives and tells them to move on. Although it's the middle of the night, they do
AUTHOR: unknown
EARLIEST_DATE: 1962 or 1966 (collected from Caroline Hughes)
KEYWORDS: hardheartedness travel police Gypsy migrant
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
MacSeegTrav 130, "The Atching Tan Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Atching Tan Song (I)"
NOTES: his shares some lyrics (references to "tent-rods, ridge-poles, and kittles") in the first verse with "The Atching Tan Song (I)", but they seem otherwise separate.
An "atching tan" was a stopping place; it was common practice for Travellers to camp in an unauthorized place, then let their horses into a farmer's field after dark with the intention of retrieving them before dawn. Often as not, they were caught and the horses impounded. - PJS
File: McCST130
===
NAME: Atisket, Atasket (I Sent a Letter to My Love)
DESCRIPTION: "Atisket, Atasket (or: I tisket, I tasket"), A green and yellow basket, I (wrote/sent) a letter to my love And on the way I dropped it." "A little puppy picked it up And put it in his pocket, It isn't you, it isn't you, But it is *you*."
AUTHOR: unknown
EARLIEST_DATE: 1879 (Illustrated National Nursery Songs and Games)
KEYWORDS: playparty courting
FOUND_IN: US(MA) Britain(England(No,So)
REFERENCES: (3 citations)
Fuld-WFM, pp. 113-114, "Atisket, Atasket"
cf. Botkin-AmFolklr, pp. 806, "Hunt the Squirrel (Itisket, Itasket)" (1 text, 1 tune)
cf. Baring-Gould-MotherGoose #630, p. 250, "(I sent a letter to m love)"
ST BAF806A (Full)
Roud #7896
CROSS_REFERENCES:
cf. "Hunt the Squirrel" (floating lyrics, playparty form)
NOTES: There is confusion about the origin of this piece. Botkin links it to the playparty "Hunt the Squirrel." There is, however, no lyric similarity; the point of contact is that both are used with the English "drop glove" game. (For other "Drop Glove" verses, which actually mention gloves, see Baring-Gould-MotherGoose #647, p. 258, "(I've a glove in my hand).")
Fuld explicitly denies the English connection, pointing our that the earliest appearance was in Rosenwig's 1879 collection, where it was titled "I Sent a Letter to My Love." Even there, however, it is listed without an author. The Rosenwig text does not contain the "Atisket" words; these are first mentioned by Hofer in 1901.
It can be said that the two songs have cross-fertilized; see the "little dog at home" stanza, found in both "hunt the squirrel" and "Atisket."
The pop version of this song, of course, was recorded by Ella Fitzgerald. - RBW
File: BAF806A
===
NAME: Atlanta Blues: see Make Me a Pallet on Your Floor (File: Handy190)
===
NAME: Au Bord d'une Fontaine: see A La Claire Fontaine (File: FJ134)
===
NAME: Au Revoir to Our Hardy Sealers
DESCRIPTION: "Our gallant ships are going, where rude Boreas is blowing." "Oh, farewell, and may God bless you... May kind Heaven hover o'er you... Terra Nova's sons and daughters truly bid you au revoir." The singer hopes the sailors find success in the ice
AUTHOR: unknown
EARLIEST_DATE: 1917 (Murphy, Songs of Newfoundland from Various Authors)
KEYWORDS: ship sailor hunting
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 102, "Au Revoir to Our Hardy Sealers" (1 text)
NOTES: Reading this, I can't help but think it's based on something else -- but I can't tell what. - RBW
File: RySm102
===
NAME: Auchnairy Ball, The
DESCRIPTION: "Jean Shearer she was there, And vow but she was nice, She had a tweedle in her tail [or "She had a feestle in her arse"] 'It wad 'a grun spice" [or "Wad grun Jamaica spice"]
AUTHOR: Johnnie Willox, Fridayhill (source: GreigDuncan3)
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: dancing bawdy
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 626, "The Auchnairy Ball" (2 fragments)
Roud #6063
NOTES: The following songs are all one or two verses or fragments with a verse beginning "[so-and-so he/she] was there": "Mary Glennie," "Jean Dalgarno,"  "The Singing Class" and "The Auchnairy Ball." Should two or more be considered the same song? - BS
File: GrD3626
===
NAME: Auction Block: see Many Thousand Gone (Auction Block) (File: FJ030)
===
NAME: Auction of a Wife: see Sale of a Wife (File: HHH226)
===
NAME: Augathella Station: see Brisbane Ladies (File: FaE162)
===
NAME: Aughalee Heroes, The
DESCRIPTION: Orangemen from County Antrim march from Portadown to Lurgan celebrating the anniversary of the Battle of the Boyne. They are greeted like heroes "that soon made the rebels subdue." At Aughalee the brandy flows with toasts to the boys or King William. 
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster); mid-19C? (Zimmermann)
KEYWORDS: pride Ireland political
HISTORICAL_REFERENCES: July 1 or 12, 1690 (Old Style or New Style dates) - Battle of the Boyne. William III defeats the forces of James II to firmly establish his control of Ireland
FOUND_IN: Ireland
REFERENCES: (4 citations)
Zimmermann 98, "The Aughalee Heroes" (2 texts, 1 tune)
Hayward-Ulster, pp. 127-128, "The Aughalee Heroes" (1 text)
OrangeLark 23, "The Aughalee Heroes" (1 text, 1 tune)
Graham, p. 10, "The Aughalee Heroes" (1 text, 1 tune)
Roud #6546
RECORDINGS:
Robert Cinnamond, "The Aghalee Heroes" (on Voice08); "Aghaloe Heroes" (on IRRCinnamond01)
CROSS_REFERENCES:
cf. "The Battle of the Boyne (I)"  (subject: The Battle of the Boyne) and references there
File: Zimm098
===
NAME: August Gale (I), The
DESCRIPTION: The captains and crews of four ships lost are cited. Only the Annie [Young q.v.] is mentioned by name.
AUTHOR: Billy Wilson
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 25, 1935 - "Placentia Bay was hit by a severe storm ... which claimed the lives of forty fishermen."
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 5A, "The August Gale" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (II)" (subject)
cf. "The Annie Young" (subject)
NOTES: The August Gale was off shore of the US and knocked out telephone and telegraph lines crossing Cape Breton. 
"A number of vessels were lost including the _Joyce Smith_ with 21 lives, 19 of whom were Newfoundlanders. The _Halifax Daily News_ later reported that the August Gale was one of the worst in the history of Nova Scotia.  Early in the morning of August 25, the August Gale crossed the Cabot Strait. Because communications had been severed because of the storm, no advance warning of the approaching storm was available....
The most severe destruction was reserved for ships at sea. According to Robert Parsons in _Lost at Sea_, the _Vienna_ of Burnt Island was lost with a crew of six, the _Hilda Gertrude_ of Rushoon went down with seven men, the _Ella May_ of Rencontre West (six men), _Annie Jane_ of Isle of Mort (4 men), Red Harbour's _John Loughlin_ (8 men) and Fox Harbour's _Annie Healey_ (7 men)."
Source: Bruce Whiffen site, copyright August 23, 1999, Bruce Whiffen, quoted with permission of copyright owner.
Northern Shipwrecks Database lists fifteen ships lost in Newfoundland waters -- between Cape Race and one at Prince Edward Island -- on August 24-25, 1935. You can use the reports of wrecks to follow the storm from Ramea in the southwest, around the south and east coast, up to Goose Cove just south of St Anthony. - BS
File: LeBe005A
===
NAME: August Gale (II), The
DESCRIPTION: The "storm on Thursday" comes up suddenly and "all the boats were on the ground around Placentia Bay"
AUTHOR: John Burke
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
HISTORICAL_REFERENCES: Aug 25, 1935 - "Placentia Bay was hit by a severe storm ... which claimed the lives of forty fishermen."
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 5B, "The August Gale" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The August Gale (I)" (subject)
cf. "TheAnnie Young" (subject)
NOTES: [For background on this storm, see the notes to "The August Gale (I)" - BS, RBW]
Lehr/Best describes the storm at Placentia Bay. The captains and crews of four ships lost are cited. Only the _Annie [Young_ q.v.] is mentioned by name. - BS
File: LeBe005B
===
NAME: Aul' Meldrum Toon: see Oh Cruel (File: GrD3513)
===
NAME: Aul' Sanners an' I
DESCRIPTION: "Aul' Sanners an' I lay doon to sleep Wi' twa pint stoupies at our bed feet; An' lang ere the mornin' we drank them dry, An' fat dar ye think o' aul Sanners and I? ... There's time aneuch yet to be toddlin' hame"
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: drink nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 591, "Aul' Sanners an' I" (2 texts, 2 tunes)
Roud #6043
ALTERNATE_TITLES:
When Sanners an' I Lies Doon to Sleep
NOTES: The current description is based on the GreigDuncan3 entry 591A. - BS
File: GrF3591
===
NAME: Auld Eddie Ochiltree
DESCRIPTION: Auld Eddie, a blue-gown beggar, comes to town and is greeted and cared for by the townsfolk. He foretells who is to be married next and makes other predictions. All are happy to see the cheerful wanderer
AUTHOR: unknown
EARLIEST_DATE: 1869 (Logan)
KEYWORDS: begging rambling
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 218-221, "Auld Eddie Ochiltree" (1 text)
Logan, pp. 166-171, "Auld Eddie Ochiltree" (1 text)
ST FVS218 (Partial)
Roud #5637
NOTES: Ford and Logan both describe the blue-gown beggars, a special order appointed by the Catholic kings of Scotland to pray for them. Not surprisingly, this order died out long ago -- but Walter Scott's _The Antiquary_ mentions a blue-gown beggar actually named Eddie Ochiltree. Obviously there is some sort of dependence involved. - RBW
File: FVS218
===
NAME: Auld Fisher's Farewell to Coquet, The
DESCRIPTION: "Come bring to me my limber gad I've fished wi' mony a year, An' let me ha'e m weel-worn creel An' a' my fishing gear...." The singer goes fishing one more time, recalls sixty years of fishing on the Coquet, and bids a farewell.
AUTHOR: Robert Roxby & Thomas Doubleday?
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: fishing farewell
FOUND_IN: Britain(England(BNorth))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 134-135, "The Auld Fisher's Farewell to Coquet" (1 text, 1 tune)
Roud #3160
File: StorR134
===
NAME: Auld Hat, The: see When This Old Hat Was New (II) (File: GrD3540)
===
NAME: Auld Horse's Lament, The
DESCRIPTION: An old horse, "turned out to die," remembers "when I was a foalie ... brisk and jolly." He threw "young Mr Galloper" when he was abused, so he was sold to a dealer who wore his life away. He warns people to "lay something in store" for their own old age.
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: age warning abuse ordeal lament horse
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 492, "The Auld Horse's Lament" (3 texts, 2 tunes)
Roud #5980
CROSS_REFERENCES:
cf. "Poor Old Horse (III)" (theme of a weary old horse) and references there
ALTERNATE_TITLES:
The Auld Mare's Lament
File: GrD3492
===
NAME: Auld Lang Syne
DESCRIPTION: Recognized by the first line "Should auld acquaintance be forgot" and the chorus "For auld lang syne." Two old friends meet and remember their times together, ending by taking "a cup o' kindness."
AUTHOR: Adapted by Robert Burns
EARLIEST_DATE: 1797
KEYWORDS: drink friend
FOUND_IN: Britain US
REFERENCES: (4 citations)
Silber-FSWB, p. 381, "Auld Lang Syne" (1 text)
Fuld-WFM, pp. 115-117, "Auld Lang Syne"
DT, AULDLANG* AULDLNG2*
James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #240,, pp. 353-354, "Auld lang syne" (1 text, 1 tune, from 1788)
Roud #13892
SAME_TUNE:
Bohunkus (Old Father Grimes, Old Grimes Is Dead) (File: R428)
On Mules We Find Two Legs Behind (Pankake-PHCFSB, p. 202; DT, MULEBEHD)
We Made Good Wobs Out There (Greenway-AFP, p. 182)
The Fish It Never Cackles Bout (Pankake-PHCFSB, p. 156)
The Salem Murder (Burt, pp. 87-88); cf. the song on the suicide of Crowningshed which follows
NOTES: This is a song that Burns rewrote (the putative original is in the Digital Tradition as AULDLNG3; compare also the broadside NLScotland, Ry.III.a.10(070), "Old Lang Syne," unknown, dated 1701 though there is no reason for this dating on the sheet); Fuld traces the "Should Auld Acquaintance" text to 1711 in James Watson's _Scots Poems_. Burns's own version was published in the _Scots Musical Museum_ in 1796/7. This had a mostly traditional first verse, with the remainder by Burns, but by error the wrong melody was printed and has become the "traditional" tune.
Murray Shoolbraid offers these additional notes upon this topic:
"The Museum text is half-and-half, 2-3 being by Burns (about youthful days on the braes etc.) and the rest (seemingly) an old fragment. One can dispute this of course, for this old text first appears in SMM.  Previously we have the 1711 version, 'Should old acquaintance be forgot / And never thought
upon,' attributed to Sir Robert Aytoun  (1570-1637/8), one of the first Scots poets to write in English (knighted by King James 1612; buried in Westminster Abbey). A bit later (1720) Allan Ramsay uses the incipit to start his own poem 'Should auld acquaintance be forgot,/ Though they return with scars?/ These are the noble hero's lot,/ Obtain'd in glorious wars.'
"These old versions go to the old tune printed in SMM: The songs that predate Burns [and B's words too] go to the old melody: in Mitchell's ballad opera _The Highland Fair_ (1731), earliest in print in Playford's _Collection of Original Scotch Tunes_ (1700), also sans title in Mgt Sinkler's MS., 1710 (the versions differ). The SMM  version is from Neil Stewart's _Scots Songs_, 1772.
"So the tune is correct; it was Burns's Edinburgh publisher Thomson (_Scotish Airs_, 1799) who reset the words to another tune, _I Fee'd a Lad at Martinmas_, otherwise called _The Miller's Wedding/Daughter_. This is the one we all sing it to today."
File: FSWB381B
===
NAME: Auld Luckie: see Auld Luckie of Brunties (File: Ord246)
===
NAME: Auld Luckie of Brunties
DESCRIPTION: "It's a' ye rovin' young men, come listen unto me, And dinna gang to Brunties toon The lasses for to see; Auld Luckie she's a wily ane, And she does watch the toon," fining visitors for vice. She traps a young couple bundling. He wishes her in hell
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: sin money punishment escape food nightvisit
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #178, p. 1, "Auld Luckie" (1 text) 
GreigDuncan3 373, "Bruntie's" (2 texts, 1 tune)
Ord, pp. 246-247, "Auld Luckie of Brunties" (1 text)
Roud #5577
ALTERNATE_TITLES:
Lucky Duff
NOTES: GreigDuncan3: "The farm of Bruntyards Gamrie, Banffshire (see map), was farmed by Mrs Annabella Duff (Auld Luckie) the widow of the former farmer, James Duff, from 1883 to 1893.... The song was reputedly written by a local poet called Shaw." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Bruntyards (373) is at coordinate (h6,v7-8) on that map [near Banff, roughly 37 miles NNW of Aberdeen]. - BS
File: Ord246
===
NAME: Auld Man and the Churnstaff, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Auld Man's Mare's Dead, The
DESCRIPTION: "The auld man's mare's dead (x3), A mile aboon Dundee." "She had the fiercie and the fleuk... On ilka knee she had a breuk, What ailed the beast to dee?" The beast's decrepitude, and the old man's mourning, are described in repetitive detail
AUTHOR: Patrick Birnie?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: horse death disease
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Ford-Vagabond, pp. 280-282, "The Auld Man's Mare's Dead" (1 text, 1 tune)
GreigDuncan3 494, "The Auld Man's Mear's Deid" (2 texts, 1 tune)
Roud #5880
File: FVS280
===
NAME: Auld Man's Mear's Deid, The: see The Auld Man's Mare's Dead (File: FVS280)
===
NAME: Auld Man's Song, The: see O! Why Should Old Age So Much Wound Us? (File: GrD3548)
===
NAME: Auld Matrons [Child 249]
DESCRIPTION: Willie comes courting at Annie's door; she assures him that Matrons (an old woman by the fire) can do nothing. But Matrons summons the sheriff, who comes to take Willie -- only to have Willie escape by calling on his brother John, a fantastic fighter
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting seduction nightvisit age police rescue
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Child 249, "Auld Matrons" (1 text)
Leach, pp. 612-614, "Auld Matrons" (1 text)
DT 249, OLDMATRN
Roud #3915
CROSS_REFERENCES:
cf. "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116]
NOTES: This seems to be either descended from or heavily influenced by the Robin Hood tradition, or specifically (in Child's view) "Adam Bell." One rather hopes it is the latter; the rescue by John, if anything, weakens the ballad. - RBW
File: C249
===
NAME: Auld Quarry Knowe, The
DESCRIPTION: "Oh, weel I mind the joys we had, In youth's bright sunny days... But better far I mind the time... When daffin' wi' my Jessie On the auld quarry knowe." Now old, both he and his wife are past their prime, but still he recalls the happy days
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: courting marriage age nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 141-142, "The Auld Quarry Knowe" (1 text)
Roud #6147
File: FCS141
===
NAME: Auld Robin Gray 
DESCRIPTION: Jamie leaves Jenny to earn enough to be married. Her family has bad luck. Robin Gray supports them and asks Jenny to marry. Jamie's ship is wrecked and Jennie assumes he is dead. She marries Robin. Jamie returns too late.
AUTHOR: Lady Anne Lindsay (1750-1825)
EARLIEST_DATE: before 1801 (broadside, Bodleian Harding B 14(4))
KEYWORDS: age poverty courting love marriage rescue wreck father mother sailor
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Peacock, pp. 482-483, "Old Robin Gray" (1 text, 1 tune)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #376, "Auld Robin Gray" (1 text)
Charles W. Eliot, editor, English Poetry Vol II From Collins to Fitzgerald (New York, 1910), #328, pp. 557-558, "Auld Robin Gray" (by Lady Anne Lindsay)
ST Pea482 (Partial)
Roud #2652
BROADSIDES:
Bodleian, Harding B 14(4), "Auld Robin Gray", Fowler (Salisbury), 1770-1800; also Harding B 25(88), Firth b.27(516), Harding B 11(7), Harding B 11(162), Firth b.26(412), "Auld Robin Gray"
Murray, Mu23-y4:029, "Auld Robin Gray", John Ross (Newcastle), 19C 
NOTES: Original text is on Bartleby.com with the attribution. The date is 1794 per site for Early American Secular Music and Its European Sources, 1589-1839.
Per site for The First Hypertext Edition of The Dictionary of Phrase and Fable [this] was written to an old Scotch tune called "The bridegroom grat when the sun gaed down." - BS
Broadside Bodleian, Firth b.25(24), "The Death of Auld Robin Gray," J. T. Burdett (London), c. 1855, seems to be some sort of a by-blow of this, since the characters are Robin Gray, Jamie, and Jenny, but it manages a happy ending by having Robiin die so that Jamie and Jenny are still available for each other. - RBW
File: Pea482
===
NAME: Auld Seceder's Cat, The: see The Presbyterian Cat (The Cameronian Cat) (File: FVS319)
===
NAME: Auld Soldier, The: see The Old Tobacco Box (File: FSC143)
===
NAME: Auld Song from Cow Head, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Auld Warrack's Plough Feast
DESCRIPTION: The lads and lasses had fun at old Warrack's plough feast. The plough chain broke and everyone helped fix it to end the job. At supper Warrack confesses "I never had a lawfu' wife, Nor yet a lawfu' son But I fell foul o' Maggie Thows"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: sex farming food party wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 634, "Auld Warrack's Plough Feast" (3 texts)
Roud #6073
NOTES: GreigDuncan3 p. 675 has the third text which was used for the descriptioon. 
GreigDuncan3: "William Warrack (born at Towie) was farmer at Nains of Towie in 1851, when he was sixty-eight." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Mains of Towie (634) is at coordinate (h1,v4) on that map [roughly 33 miles W of Aberdeen]. - BS
File: GrD3634
===
NAME: Auld Wife and Her Cattie, The
DESCRIPTION: "There was an aul' wifie, she clippit her cattie For takin' a moosie on Christenmas day, And oh fat befell the silly auld bodie The half o' her cattie was clippit away"
AUTHOR: unknown
EARLIEST_DATE: 1905 (GreigDuncan3)
KEYWORDS: humorous nonballad animal
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 690, GreigDuncan8 Addenda, "The Auld Wife and Her Cattie" (2 texts, 2 tunes)
Roud #6112
CROSS_REFERENCES:
cf. "Carrickfergus" (tune, per OLochlainn)
ALTERNATE_TITLES:
There Was an Auld Wifie
NOTES: The current description is all of GreigDuncan3 690A. One version mentioned by Duncan has the last line as "eaten that day" instead of "clippit away." - BS
File: GrD3690
===
NAME: Auld Wife beyont the Fire, The
DESCRIPTION: An old widow with many daughters wants "snishing/spruncin" (sex). They say she is too old and toothless. They will let her seek sex if she can break a nut with her teeth. They give her a pistol bullet instead of a nut; she cannot break it and wastes away
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: family sex bawdy age trick
FOUND_IN: Britain(Scotland) US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 128, pp. 135-136, "The Old Wife" (1 text)
Roud #4294
File: CW128
===
NAME: Auld Yule
DESCRIPTION: An old man tells the singer his story. When he first arrived he was well received. Then, sixty years ago, someone called him "Papist Knave." Then a more fashionable man arrived. He expects to see hard times until he dies. Then "Auld Yule he vanished"
AUTHOR: unknown
EARLIEST_DATE: 1916 (GreigDuncan3)
KEYWORDS: political religious
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 539, "Auld Yule" (1 text)
Roud #6017
NOTES: GreigDuncan3 quoting "the introduction and commentary" to the poem from _Aberdeen Buchan Association Magazine No. 17_ (January 1916): " ... The adoption of the Gregorian Calendar (New Style), to correct the cumulative deficiencies in the Julian Calendar (Old Style), came late into England and Scotland, and was resented much by the common people. It was adopted in England in 1758, when eleven days were omitted after the 2nd September, so that what should have been the 3rd, was counted the 14th. The year 1800, which was a leap year (old style) was made a common year, thus making a total of twelve days' difference between the new and old styles of reckoning. In Scotland, in outlying districts the old style was kept up as regards popular festivals (Yule and New Year's Day particularly) till within living memory. The poem before us is a lament for the passing of Auld Yule, who is personified as an old wandering outcast, met by the author." - BS
In defence of the common people, it should be noted that they often were charged rent for the eleven days that were removed from the calendar. Less defensible is their case that the whole thing was a Catholic plot. We do see some effects of the calendar shift in songs such as the Cherry Tree Carol, where the birth of Jesus is listed on some date in early January. - RBW
File: GrD3539
===
NAME: Aunt Dinah's Quilting Party: see Seeing Nellie Home (File: RJ19229)
===
NAME: Aunt Jemima's Plaster
DESCRIPTION: Aunt Jemimah survives by selling sticking plaster. With it she might catch a thief, keep a wayward husband from straying, etc. Chorus: "Sheepskin and beeswax Makes an awful plaster, The harder you try to get it off, The more it sticks the faster."
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: humorous commerce trick
FOUND_IN: US(Ap,NE,SE,So)
REFERENCES: (5 citations)
Randolph 414, "Sheepskin and Beeswax" (1 fragment, 1 tune)
Randolph/Cohen, pp. 354-355, "Sheepskin and Beeswax" (1 text, 1 tune -- Randolph's 414)
BrownII 271, "Aunt Jemima's Plaster" (2 texts)
JHCoxIIB, #23, pp. 23-25, "Aunt Jemima's Plaster" (1 text, 1 tune)
MHenry-Appalachians, p. 233, (first of four "Fragments from Maryland") (1 fragment, which I link to this on the basis of the mention of Aunt Jemima)
ST R414 (Partial)
Roud #974
RECORDINGS:
Margaret MacArthur, "Aunt Jemima" (on MMacArthur01)
Skyland Scotty, "Aunt Jemimah's Plaster" (Conqueror 8308, 1934)
NOTES: Said to be a version of "Bees wax," a song sung by (but perhaps not written by) Dan Emmett.  Cohen says it was written by Septimus Winner, but lists other claims of authorship. - RBW
File: R414
===
NAME: Aunt Maria
DESCRIPTION: "Old Aunt Maria (Jack-a-ma-rier) Jumped in the fire. Fire too hot, Jump in the pot. Pot so black, (S)he jumped in a crack. Crack so high, (S)he jumped in the sky. Sky so blue, (S)he jumped in a canoe. Canoe so shallow, (S)he jumped in the tallow." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Minnie Stokes)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 134, "Jack-a-Maria" (1 text)
Botkin-SoFolklr, p. 705, "Aunt Maria" (1 text, 1 tune)
MHenry-Appalachians, p. 242, (no title) (1 text)
Roud #11418
File: BSoF705A
===
NAME: Aunt Nancy: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aunt Rhody: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aunt Sal's Song (The Man Who Didn't Know How to Court)
DESCRIPTION: "A gentleman came to our house, He would not tell his name." He comes to court, but acts ashamed. He sits silent next to the girl. Finally he gives up, saying courting isn't worth it. The girls laugh at the "ding-dang fool [that] don't know how to court."
AUTHOR: unknown
EARLIEST_DATE: 1935
KEYWORDS: courting humorous
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
BrownIII 15, "Courting Song" (1 text)
Lomax-FSNA 101, "Aunt Sal's Song" (1 text, 1 tune)
Ritchie-SingFam, pp. 233-234, "[Aunt Sal's Song]" (1 text, 1 tune)
Chase, pp. 140-141, "The Bashful Courtship" (1 text, 1 tune)
DT, HOWCOURT
Roud #776
CROSS_REFERENCES:
cf. "Johnson Boys" (theme)
ALTERNATE_TITLES:
Not Know How to Court
Bashful Courtship
File: LoF101
===
NAME: Aunt Tabbie: see Go Tell Aunt Rhody (File: R270)
===
NAME: Aupres De Ma Blonde
DESCRIPTION: French language. "Aupres de ma blonde, Qu'il fait bon, fait bon, fait bon... Qu'il fait bon rester. Au jardin de mon pere Les lauriers sont fleuris."
AUTHOR: unknown
EARLIEST_DATE: 1883 (Charles Guillon, "Chansons Populaires de l'Ain")
KEYWORDS: foreignlanguage France
FOUND_IN: France Canada(Que)
REFERENCES: (3 citations)
Silber-FSWB, p. 329, "Aupres De Ma Blonde" (1 text)
DT, AUPRBLND*
ADDITIONAL: Charles Guillon, "Chansons Populaires de l'Ain" (1883; available on Google Books), pp. 515-516 (1 French text, 1 tune)
File: FSWB329A
===
NAME: Aura Lea
DESCRIPTION: "When the blackbird in the spring On the willow tree Sat and rock'd, I heard him sing, Singing Aura Lee." In praise of a "maid of golden hair." The singer describes how even the bird praise her. He begs her hand in marriage
AUTHOR: Words: W. W. Fosdick / Music: George R. Poulten
EARLIEST_DATE: 1861
KEYWORDS: courting love nonballad lyric
FOUND_IN: US
REFERENCES: (3 citations)
RJackson-19CPop, pp. 14-17, "Aura Lea" (1 text, 1 tune)
Fuld-WFM, p. 117, "Aura Lea--(Love Me Tender)"
DT, AURALEE*
ST RJ19014 (Full)
NOTES: At times like this, one wishes we had a keyword, "Great-tune-lousy-words."
Originally published as a minstrel tune in 1861, verses were printed by both Union and Confederate presses, and the first important parody ("Army Blue") was used by the West Point class of 1865.
As for what Elvis Presley did with the tune, the less we say of that here, the better. - RBW
File: RJ19014
===
NAME: Aurore Bradaire: see Aurore Pradere (File: LxA220)
===
NAME: Aurore Pradere
DESCRIPTION: Creole French. "Aurore Pradere, belle 'ti fille (x3), C'est li mo 'oule, s'est le ma pren." The singer praises the beauty of Aurore, and says that she is what he wants and will have. He describes what others say of her, but as for him, he still wants her
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: love courting foreignlanguage
FOUND_IN: US
REFERENCES: (3 citations)
Allen/Ware/Garrison, p.110, "Aurore Bradaire" (1 short text, 1 tune)
Scarborough-NegroFS, p. 121, "Aurore Pradere" (1 text, 1 tune)
Lomax-ABFS, pp. 220-221, "Aurore Pradere" (1 text plus translation, 1 tune)
File: LxA220
===
NAME: Australia (Virginny)
DESCRIPTION: "When I was a young man, my age seventeen, I ought ha' been serving Victoria our Queen, But those hard-hearted judges, how cruel they've been, To send us poor lads to Australia." To please his girlfriend, the singer turns outlaw, and winds up transported
AUTHOR: unknown
EARLIEST_DATE: 1969 (collected from Bob Hart by Rod & Danny Stradling, according to Patterson/Fahey/Seal)
KEYWORDS: transportation courting work outlaw
FOUND_IN: Australia Britain(England(Lond,South))
REFERENCES: (2 citations)
Fahey-Eureka, pp. 12-13, "Australia" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 47-48, "Australia" (1 text)
Roud #1488
RECORDINGS:
Bob Hart, "Australia" (on BHart01, HiddenE)
Cyril Poacher, "Australia" (on Voice04)
NOTES: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 4" - 19.8.02: "Originally an 18th century song about transportation to the American State of Virginia. Later broadside printers changed it to Australia, to suit the then current destination of transports." - BS
This is at least possible (with the footnote that no one was ever transported to the *state* of Virginia, but rather to the *colony*). Though Virginia did not receive a high number of transportees. The transport system arose around 1650, and by the time the American colonies had been closed off by the Revolution, only about 50,000 prisoners had been sent (see _The Oxford Companion to British History_, article on "Transportation"). And most of these went to the West Indies (see Samuel Eliot Morison, _The Oxford History of the American People_, p. 82), with only a handful to Virginia, Maryland, and New England. And many of *them* were Jacobite refugees exiled in the aftermath of the 1745 rebellion. (Plus, of course, a lot of Jacobites came voluntarily; see, e.g. the notes to "Flora MacDonald's Lament.") - RBW
File: FaE012
===
NAME: Australia for Me!: see Give Me a Hut (File: MA137)
===
NAME: Australia's on the Wallaby
DESCRIPTION: "Our fathers came to search for gold, The claim it proved a duffer. The syndicates and bankers' bosses made us all to suffer.... Australia's on the wallaby, Listen to the cooee." Most of the song is devoted to the animals the settler sees
AUTHOR: unknown
EARLIEST_DATE: 1933 (Old Bush Recitations)
KEYWORDS: animal Australia
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 199-200, "Australia's on the Wallaby" (1 text, 1 tune)
Fahey-Eureka, pp. 70-71, "Australia's on the Wallaby" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 286-287, "Australia's on the Wallaby" (1 text)
DT, WALLABB2*
CROSS_REFERENCES:
cf. "Freedom on the Wallaby" (tune, theme)
NOTES: Some feel that this is a parody, others a forerunner, of Henry Lawson's more political "Freedom on the Wallaby." - RBW
File: MA199
===
NAME: Automobile Trip Through Alabama
DESCRIPTION: Narrative: surreal description of speaker's trip through Alabama in an talking Ford filled with "Loco-Pep" gasoline. They fight off biting insects and a rattlesnake; the car falls to pieces, then reassembles itself. Incorporates bearhunt tall-tale
AUTHOR: probably Red Henderson
EARLIEST_DATE: 1920s (recording, Red Henderson & Emmett Bankston)
KEYWORDS: travel hunting technology humorous nonsense recitation talltale
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Red Henderson & Emmett Bankston, "Automobile Trip [or Ride] Through Alabama, pts. 1 & 2" (OKeh 45283, c. 1929; rec. 1928)
New Lost City Ramblers, "Automobile Trip Through Alabama" (on NLCR13, NLCRCD2)
File: RcATTA
===
NAME: Autumn Dusk/Coimfeasgar Fogmair
DESCRIPTION: "It was on an autumn twilight, I watched the seagulls glide, When the fairest of all maidens Stole softly by my side." He describes her beauty and how they met and embraced. He wishes he were still with her
AUTHOR: English words: George Graham (?)
EARLIEST_DATE: 1916 (Morris)
KEYWORDS: love beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H831, p. 235-236, "Autumn Dusk/Coimfeasgar Fogmair" (1 text, 1 tune)
File: HHH831
===
NAME: Autumn to May: see Little Brown Dog (File: VWL101)
===
NAME: Auxville Love, The: see Love Has Brought Me to Despair [Laws P25] (File: LP25)
===
NAME: Ave, Maris Stella (Hail, Star of the Sea)
DESCRIPTION: A French/Quebecois song of praise to the Virgin Mary (sung in Latin): "Ave, maris stella, Dei Mater alma, Atque semper virgo, Felix coeli porta (x2)" "Sumus illud Ave Gabrielis ora, Funda nes in pace, Mutans Hevae nomen."
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: religious nonballad Quebec foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 19-20, "Ave, Maris Stella" (1 text, 1 tune)
ST FMB019 (Full)
BROADSIDES:
LOCSheet, sm1871 11058, "Ave maris stella," Balmer & Weber (Saint Louis), 1871 (tune); also sm1873 01284; sm1877 05005; sm1873 01284; sm1882 13480
NOTES: According to Fowke/Mills, this song was adopted as the quasi-official hymn of the French colony in Canada at the suggestion of Louis XIII, and is still sung on special occasions by the Acadians.
The original Latin text is longer and older than the commonly sung version; it has been dated as early as the seventh century. It is perhaps typical of the Marian cult that only one of the images of the poem (the visitation by Gabriel, Luke 1:26f.) is biblical. The others are either from the creed (the trinitarian imagery) or directly from Catholic legend (Mary's eternal virginity, etc.) or apparently specific to the poem (e.g. the reference to the "maris stella" -- the "of-the-sea star"). - RBW
File: FMB019
===
NAME: Average Boy, The
DESCRIPTION: A southern alphabet song: "A is the green apple with bites all around, B is the ball that is lost on the ground, C is the cigarette making him pale... Yell is the yell he emits all the day, Z is for zeal he shows in his play."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 874, "A Is for Apple Pie" (4 texts, but only the "D" text goes here)
Roud #7539
CROSS_REFERENCES:
cf. "The Logger's Alphabet" (subject) and references there
NOTES: The title of this song refers, of course, to all the traits found in the "average boy." - RBW
File: R874A
===
NAME: Average Rein
DESCRIPTION: The rider, on the advice of the cowboys, bridles the horse "Lumberjack" with an "average rein." As a result, he is thrown. He determines thereafter to seek better advice
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: horse cowboy trick
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 94, "Average Rein" (1 text, 1 tune)
NOTES: Ohrlin explains that bronc riders always tried to determine how much rein a horse would need (the length of leather depended on the horse's tricks). Usually the rider asked other cowboys -- but, of course, they might not be entirely honest. - RBW
File: Ohr094
===
NAME: Avondale Disaster (I), The (The Mines of Avondale) [Laws G6]
DESCRIPTION: Flames are seen outside the Avondale mines; the miners' families realize there is a fire below. The two men who enter the mine find all the miners suffocated. Over one hundred men die
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: mining disaster death
HISTORICAL_REFERENCES: Sept 6, 1869 - The fire in the Avondale coal mines near Wilkes-Barre, Pennsylvania. The fire blocked the only exit route and consumed all the oxygen in the tunnels. A total of 110 miners died, with 76 found in one ineffective shelter.
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (8 citations)
Laws G6, "The Avondale Mine Disaster I"
Greenleaf/Mansfield 60, "Mines of Avondale" (1 text)
Leach-Labrador 106, "The Mines of Avondale" (1 text, 1 tune)
Leach, pp. 783-785, "The Avondale Mine Disaster" (1 text)
Friedman, p. 307, "The Avondale Mine Disaster" (1 text)
Lomax-FSNA 64, "The Avondale Mine Disaster" (1 text, 1 tune)
Darling-NAS, pp. 215-218, "The Avondale Mine Disaster" (1 text)
DT 713, AVONDAL1
Roud #698
RECORDINGS:
John J. Quinn, "The Avondale Mine Disaster" (AFS, 1946; on LCTreas)
CROSS_REFERENCES:
cf. "The Avondale Disaster II" [Laws G7] (subject)
NOTES: Much the more common of the Avondale Disaster songs (which Laws calls independent ballads, though there are strong similarities between the two which may imply common influence), this one is characterized by the fairly fixed first stanza, "Good Christians all, both great and small, I pray you lend an ear / And listen with attention while the truth I will declare; / When you hear this lamentation it will cause you to weep and wail / About the suffocation in the mines of Avondale." - RBW
File: LG06
===
NAME: Avondale Disaster (II), The [Laws G7]
DESCRIPTION: A fire in the Avondale Mine kills 110 miners. Relatively few details of the disaster and rescue are given, with the focus being on the plight of the bereaved families.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Gardner/Chickering)
KEYWORDS: mining disaster death
HISTORICAL_REFERENCES: Sept 6, 1869 - The fire in the Avondale coal mines near Wilkes-Barre, Pennsylvania. The fire blocked the only exit route and consumed all the oxygen in the tunnels. A total of 110 miners died, with 76 found in one ineffective shelter.
FOUND_IN: US(MA,MW)
REFERENCES: (3 citations)
Laws G7, "The Avondale Disaster II"
Gardner/Chickering 122, "The Avondale Disaster" (1 text, 1 tune)
DT 784, AVONDAL2
Roud #3250
CROSS_REFERENCES:
cf. "The Avondale Disaster I  (The Mines of Avondale)" [Laws G6] (subject)
NOTES: Laws lists only two versions of this ballad, one of those from manuscript. The first stanza is superficially similar to "The Mines of Avondale," but differs in detail: "Come, friends and fellow Christians, and listen to my tale, And as I sing, pray drop a tear for the dead of Avondale." - RBW
File: LG07
===
NAME: Awa' tae Cyprus
DESCRIPTION: "They're starving noo in Scotland, in England and Ireland tae; I canna bide nae langer here, so now I must away." The singer is going to Cyprus "to open a public hoose." Gold lies at your feet. If he gets rich he may come home "wi' a Pasha to my name"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: emigration farewell drink hardtimes nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #132, p. 2, "Awa' tae Cyprus" (1 text) 
GreigDuncan3 537, "Awa' tae Cyprus" (2 texts, 1 tune)
Roud #6015
ALTERNATE_TITLES:
Cyprus
File: GrD3537
===
NAME: Awake Awake (Awake Sweet England)
DESCRIPTION: "Awake, awake, sweet England, sweet England now awake, And do your prayers obediently." Listeners are told to repent, reminded that worms will eventually eat their flesh, reminded that wealth is useless after death, and blessed
AUTHOR: unknown
EARLIEST_DATE: 1909 (Leather)
KEYWORDS: Bible religious burial nonballad carol
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, pp. 194-195, "Awake, Awake" (1 text, 1 tune)
ST Leath194 (Partial)
Roud #2111
CROSS_REFERENCES:
cf. "The Moon Shines Bright (The Bellman's Song)" (lyrics)
NOTES: Several verses of this are shared with "The Moon Shines Bright (The Bellman's Song)," and they probably have some sort of common ancestry. But this strikes me as even more gloomy somehow. - RBW
File: Leath194
===
NAME: Awake, Awake, You Drowsy Sleeper: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Away Down East (I)
DESCRIPTION: "There's a famous fabled country never seen by mortal eyes... And this famous fabled country is away down east." A man sets out to seek the place, and eventually is tricked into jumping off an east-facing cliff. His mother mourns
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: talltale travel trick suicide mother
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Linscott, pp. 158-160, "Away Down East" (1 text, 1 tune)
Botkin-NEFolklr, pp. 533-535, "Away Down East" (1 text, 1 tune)
ST BNEF533 (Partial)
Roud #3726
File: BNEF533
===
NAME: Away Down in Sunbury
DESCRIPTION: "O massa take that brand new coat And hang it on the wall, That darkie take that same old coat And wear 'em to the ball. Oh, don't you hear my true love singing, Oh, don't you hear 'em sigh, Away down in Sunbury I'm bound to live and die."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: home clothes nonballad dancing
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 99, "Away Down in Sunbury" (1 text, 1 tune)
Roud #12056
File: AWG099A
===
NAME: Away in a Manger
DESCRIPTION: "Away in a manger, no crib for a bed, The little Lord Jesus lay down his sweet head." The baby never complains even amid the noise of the cattle. The singer asks that Jesus protect him/her and all children
AUTHOR: unknown
EARLIEST_DATE: 1885 ("Little Children's Book: for Schools and Families")
KEYWORDS: religious Jesus animal Christmas
FOUND_IN: 
REFERENCES: (5 citations)
Silber-FSWB, p. 373, "Away In A Manger" (1 text)
Fuld-WFM, pp. 120-121+, "Away in a Manger"
DT, AWAYMNGR*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 111, "Away In A Manger" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #10, "Away In a Manger" (1 text)
CROSS_REFERENCES:
cf. "Flow Gently Sweet Afton" (tune)
NOTES: Although often called "Luther's Cradle Hymn," it is known that this is not by Martin Luther, and apparently is a purely American creation. Johnson, who usually gives some sort of background even if inaccurate, has nothing whatsoever to say about the piece.  Fuld gives such details as are known.
Several tunes are in use; the usual American form is a relative of Jonathan Edwards Spilman's "Flow Gently Sweet Afton."
Ian Bradley, in _The Penguin Book of Carols_, admits that this is "one of the most unScriptural" of popular carols (though he follows this up with a fierce defence of its place in the tradition). This is nothing less than the truth; the only part with Biblical authority is the manger (Luke 2:7, 12, 16); there is no proof there were animals in the vicinity. - RBW
File: FSWB373B
===
NAME: Away Out On the Mountain
DESCRIPTION: "I packed my grip for a farewell trip; I kissed Susan Jane goodbye at the fountain. 'I'm going,' says I, 'to the land of the sky, Away out on the mountain.'" The singer describes mountain life -- the wind, the animals; he will feast on meat and honey
AUTHOR: Kelly Harrell
EARLIEST_DATE: 1927 (copyrighted by author)
KEYWORDS: food animal nonballad travel farewell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 318, "Away Out On the Mintain" (1 text)
Roud #15887
RECORDINGS:
Bud Reed, "Away Out On The Mountain" (on Reeds01)
Frankie Marvin, "Away Out On The Mountain" (on Edison 11006, 1929)
Riley Puckett, "Away Out On The Mountain" (on Columbia 15324-D, 1928)
Jimmie Rodgers, "Away Out On The Mountain" (on Victor 21142, 1927)
NOTES: Pity we don't have a keyword "travelogue." - PJS
File: Br3318
===
NAME: Away with Rum: see Rum By Gum (Temperance Union Song) (File: R317)
===
NAME: Away, Idaho: see We're Coming, Arkansas (We're Coming, Idaho) (File: R343)
===
NAME: Away, Rio!: see Rio Grande (File: Doe064)
===
NAME: Awful Wedding, The: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: Awful, Awful, Awful: see Death is a Melancholy Call [Laws H5] (File: LH05)
===
NAME: Ay Ban a Svede from Nort' Dakota: see The Swede from North Dakota (File: Ohr008)
===
NAME: Aye She Likit The Ae Nicht
DESCRIPTION: The man gets into bed, knocks the bottom boards over the woman's head, gives her his "hairy peg." She likes it. (Refrain: "Lassie, let me in, O") When he comes down, the "auld wife" is standing there; she lifts her clothes and says "Laddie, put it in"
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected from Maggie McPhee)
KEYWORDS: sex nightvisit bawdy humorous mother
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
MacSeegTrav 41, "Ae She Likit The Ae Nicht" (1 text, 1 tune)
Roud #135
RECORDINGS:
cf. "Let Me In This Ae Nicht" (chorus, theme)
CROSS_REFERENCES:
cf. "Courting the Widow's Daughter (Hard Times)" [Laws H25] (plot)
NOTES: This has a good deal in common with "Let Me In This Ae Nicht," aka "Cold Haily Windy Night," but as the plots are quite different, MacColl & Seeger split them, and so do I. - PJS
I'm glad you added that note, though, or I might have lumped them. (Roud did.) I almost wonder if this isn't "Let Me In This Ae Nicht," with an ending related to "Courting the Widow's Daughter" [Laws H25). - RBW
File: McCST041
===
NAME: Aye Work Awa'
DESCRIPTION: "Fortune favours them wha work aye wi' a busy haun'." Help yourself; look before you leap; don't speak ill of others; "never say that ye're ill-used"; "never let your tongue wag up and down"; life is a fight "to the very grave"
AUTHOR: Joseph Wright (source: GreigDuncan3)
EARLIEST_DATE: 1890 (_Whistle-Binkie_, according to GreigDuncan3)
KEYWORDS: virtue warning work nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 655, "Aye Work Awa" (1 text)
Roud #6084
File: GrD3655
===
NAME: Aylesbury Girl, The: see Haselbury Girl, The (The Maid of Tottenham, The Aylesbury Girl) (File: K176)
===
NAME: B'y' Sara Burned Down: see The Bayou Sara (File: DTBayous)
===
NAME: Baa Baa Black Sheep
DESCRIPTION: "Baa baa, black sheep, have you any wool?" The sheep replies that it does, and details what might be done with it
AUTHOR: unknown
EARLIEST_DATE: c. 1744 (Tom Thumb's Pretty Song Book)
KEYWORDS: animal sheep nonballad clothes
FOUND_IN: US
REFERENCES: (3 citations)
Baring-Gould-MotherGoose #16, p. 33, "(Bah, Bah a black Sheep)"
Opie-Oxford2 55, "Baa, baa, black sheep" (1 text)
Fuld-WFM, pp. 593-594, "Twinkle, Twinkle, Little Star -- (ABCDEFG; Baa, Baa, Black Sheep; Schnitzelbank)"
Roud #4439
BROADSIDES:
LOCSheet, sm1871 10570, "Baa, baa, black sheep," G. D. Russell & Co (Boston), 1871; sm1881 04227, "Ba-a, ba-a, black sheep," Geo. Molineux? (unknown), 1881 (tune)
CROSS_REFERENCES:
cf. "Twinkle, Twinkle, Little Star" (tune)
NOTES: Although the lyrics of this are older than "Twinkle Twinkle Little Star," and indeed are older than the oldest known form of the music ("Ah! Vous Dirai-Je, Maman," published 1761), text and tune, according to Fuld, were not united until 1879.
The 1881 sheet music credits this to C. M. Wiske, but I would suspect that is the arrangement. The 1871 sheet music is credited to Charles Moulton, but it's a different tune (don't ask me why everyone suddenly got the idea to set this to be music)
According to the Baring-Goulds, Katherine Elwes Thomas (who could always be relied upon to find expansive explanations when simple ones would do) reads this as a complaint against the exactions of the English royalty and nobility. - RBW
File: BGMG016
===
NAME: Baa-Baa Black Sheep (II): see All the Pretty Little Horses (File: LxU002)
===
NAME: Babbity Bowster
DESCRIPTION: "Wha learned you to dance, Babbity Bowster, Babbity Bowster? Wha learned you to dance, Babbity Bowster, brawly." "My minie learned me to dance." "Wha gae you the keys to keep?" "My minne gae me the keys to keep."
AUTHOR: unknown
EARLIEST_DATE: 1862 (Chambers)
KEYWORDS: dancing nonballad mother
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 89, "(Who learned you to dance)" (1 text)
DT, BABOWSTR
Roud #8772
File: MSNR089
===
NAME: Babcock Bedtime Story, The
DESCRIPTION: A cante-fable: Old El, crippled and without resource, is sentenced to the poorhouse. His wife must go to another poorhouse. They are preparing to part for the last time. The song (to the tune of Loch Lomond) recalls their happy times together, now gone
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: injury poverty work separation husband wife age
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 176, "The Babcock Bedtime Story" (1 text, 1 tune)
ST FSC176 (Partial)
CROSS_REFERENCES:
cf. "Loch Lomond" (tune & meter, some words) and references there
File: FSC176
===
NAME: Babe of Bethlehem, The
DESCRIPTION: A nativity hymn, generally following the Lukan story, and beginning: "Ye nations all, on you I call, Come, hear this declaration, And don't refuse the wond'rous news Of Jesus and salvation...."
AUTHOR: William Walker?
EARLIEST_DATE: 1835 (Walker's "Southern Harmony")
KEYWORDS: Christmas religious Jesus Bible
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 554, "Babe of Bethlehem" (1 fragment)
Botkin-SoFolklr, p. 757, "The Babe of Bethlehem" (1 text, 1 tune)
DT, BABEBETH*
Roud #11878
NOTES: The sundry references:
"As was foretold by prophets old, Isaiah, Jeremiah." -- Many prophecies of the Messiah are found in Isaiah (e.g. Isa. 7:14f.; also the "servant" prophecies of Isa. 53, etc.). The only prophecy of Jeremiah quoted about Jesus (as opposed to being quoted BY Jesus), however, is in Matt. 27:9-10 -- and this is actually a prophecy of Zechariah! Thus Jeremiah cannot be held to have foretold Jesus.
"To Abraham the promise came, and to his seed for ever" -- Gen. 15:5, 22:17; also Gen. 26:4, Isa. 51:2, etc.
"A light to shine in Isaac's line" -- cf. Gen. 21:12=Rom. 9:7=Heb. 11:18; also Gen. 26:4
"God's blessed word made flesh and blood, assumed the human nature." -- John 1:1f.
"They found no bed to lay his head, but in the ox's manger... But in the hay the stranger lay, with swaddling bands around him" -- Luke 2:7
"On the same night a glorious light to shepherds there appeared, Bright angels came in shining flame, they saw and greatly feared" -- Luke 2:9
"The angels said:  Be not afraid, although we much alarm you, We do appear good news to bear, as now we will inform you." -- Lukw 2:10f.
"When this was said, straightway was made a glorious sound from heaven" -- Luke 2:13
"Each flaming tongue an anthem sung" (not associated with the birth of Jesus; see Acts 2:3)
"At Jesus' birth be peace on earth" -- loosely paraphrased from Luke 2:14
"To Bethlehem they quickly came, the glorious news to carry, And in the stall they found them all, Joseph, the Babe, and Mary." -- Luke 2:16
The shepherds then return'd again to their own habitation" -- Luke 2:20 - RBW
File: BSoF757
===
NAME: Babes in the Greenwood, The: see The Cruel Mother [Child 20] (File: C020)
===
NAME: Babes in the Wood (II): see The Three Lost Babes of Americay (File: Peac030)
===
NAME: Babes in the Woods, The: see Children in the Wood, The  (The Babes in the Woods) [Laws Q34] (File: LQ34)
===
NAME: Babies on Our Block
DESCRIPTION: "If you long for information or in need of merriment, Come over with me socially to MurphyÕs tenement." The singer catalogs all the myriad Irish babies living in the area, who join in singing "Little Sally Waters"
AUTHOR: Words: Edward Harrigan / Music: David Braham
EARLIEST_DATE: 1879 (original publication)
KEYWORDS: baby family
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 91-92, "Babies on Our Block" (1 text)
Roud #9572
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_ Random House, 1948, pp. 186-187, the late 1870s saw a series of musical skits called the Mulligan series. "January 13, 1879, was the historic date of the opening of the full-sized _Mulligan Guard Ball,_which ran right on to the end of that season.... [T]he _Mulligan Guard Bal_ maybe considered the real revelation of what was thereafter known as the Harrigan and Hart style...."
"Harrigan himself represented thebrains and energyof thetroup, writing dialogue and the song lyrics, casting and directing every production, acting and singing the leading roles and often also serving as manager. Braham composed all themusic and conucted the orchestra in the pit. Tony Hart continued to be the foil to Harrigan's characterizations and was particularly good as a female impersonator...."
"The _Mulligan Guard Ball_ contained, in addition to its parent song, such musical hits as _The Skidmore Fancy Ball_ (a satirical treatment of a colored company), _We're all Young Fellows Bran New,_ _Singing at the Hallway Door,_ and _The Babies on Our Block._ The latter was the definitive  forerunner of _The Sidewalks of New York,_ giving a detailed picture of life in the humbler sections of the metropolis,with actual quotations from old Irish song scattered throughout the music."
I read somewhere that Braham (1838-1905) was the father-in-law of Harrigan. - RBW
File: Dean091
===
NAME: Baby Livingston: see Bonnie Baby Livingston [Child 122] (File: C222)
===
NAME: Baby Please Don't Go
DESCRIPTION: The prisoner begs his girl not to abandon him: "Now your man done gone (x3) To the county farm." "Baby, please don't go (x3) back to Baltimore." ""Turn your lamp down low." ""You know I loves you so." "I beg you all night long."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, Joe Williams)
KEYWORDS: love separation prisoner abandonment
FOUND_IN: US
REFERENCES: (2 citations)
Courlander-NFM, pp. 108-109, "Baby, Please Don't Go" (2 texts, 1 tune)
Silber-FSWB, p. 65, "Baby, Please Don't Go" (1 text)
RECORDINGS:
Sam Montgomery, "Baby Please Don't Go" (ARC 6-11-55, 1936)
Tampa Red, "Baby Please Don't Go" (Decca 7278, 1937, rec. 1936)
Joe Williams, "Baby Please Don't Go" (Bluebird B-6200, 1936, rec. 1935)
File: CNFM108
===
NAME: Baby, All Night Long
DESCRIPTION: Floating blues verses; "I'm going to the depot/Look up on the board"; "If I had listened/To what mama said," etc. Chorus is "All night long/Baby, all night long/Got the Richmond blues/Baby, all night long."
AUTHOR: unknown (credited to Ada Jones & Shelton Brooks on the Stanleys' recording)
EARLIEST_DATE: 1924 (recording, Roba & Bob Stanley)
KEYWORDS: loneliness rambling railroading lyric nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, pp. 172-173, "Baby, All Night Long" (1 text, 1 tune)
Silber-FSWB, p. 74, "All Night Long" (1 text)
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Baby, All Night Long" (Vocalion 02780, 1934)
[Richard] Burnett & [Leonard] Rutherford (Columbia 15314-D, 1928; rec. 1927; on BurnRuth01, KMM)
Clint Howard & Fred Price, "The Richmond Blues" (on Ashley02, WatsonAshley01)
Frank Hutchison, "All Night Long" (OKeh 45144, 1927)
Earl Johnson & his Dixie Entertainers, "All Night Long" (OKeh 45383, 1929; rec. 1927)
Miles & Bob Pratcher, "If It's All Night Long" (on LomaxCD1703)
[Leonard] Rutherford & [John] Foster, "Richmond Blues" (on KMM)
Roba & Bob Stanley, "All Night Long" (OKeh 40295, 1925; rec. 1924)
CROSS_REFERENCES:
cf. "All Night Long" (words)
cf. "Railroad Blues (I)" (words)
SAME_TUNE:
Byrd Moore, "All Night Long" (Gennett 6686, 1928/Conqueror 7259 [as by Oscar Craver], 1929)
ALTERNATE_TITLES:
Richmond Blues
NOTES: The Oscar Craver recording uses the same tune and structure, but most of the lyrics are variants on "Mary Had a Little Lamb" verses. - PJS
File: CSW172
===
NAME: Babylon Is Fallen (II): see Babylon Is Falling (File: R229)
===
NAME: Babylon Is Falling
DESCRIPTION: "Way up in the cornfield where you hear the thunder, That is our old forty pounder gun, When the shells are missin' then we load with pumpkins, All the same we make the cowards run." The slave rejoices to triumph over the master
AUTHOR: Henry Clay Work?
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: Civilwar battle slave
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 229, "Babylon Is Falling" (1 text, 1 tune)
Greenway-AFP, p. 103, "Babylon is Fallen" (1 text)
DT, BBLNFALL
Roud #7706
CROSS_REFERENCES:
cf. "Kingdom Coming (The Year of Jubilo)" (theme)
NOTES: Not to be confused with the hymn, "Babylon Is Fallen." - RBW
File: R229
===
NAME: Babylon, or, The Bonnie Banks o Fordie [Child 14]
DESCRIPTION: An outlaw accosts (three) sisters, demanding that one of them marry him on pain of death. As all refuse, he kills all but the youngest. She accidentally learns that he is their brother. The outlaw usually then kills himself in remorse.
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scots Magazine)
KEYWORDS: brother sister outlaw crime incest
FOUND_IN: Britain(Scotland,England) US(NE,SE,So) Canada(Mar,Newf)
REFERENCES: (20 citations)
Child 14, "Babylon, or, The Bonnie Banks o Fordie" (6 texts)
Bronson 14, "Babylon, or, The Bonnie Banks o Fordie" (8 versions plus 2 in addenda)
GreigDuncan2 199, "The Bonnie Banks o' Airdrie" (1 fragment, 1 tune)
BarryEckstormSmyth p. 72, "Babylon" (1 fragment)
Flanders/Olney, pp. 61-63, "The Burly, Burly Banks of Barbry-O" (1 text, 1 tune) {Bronson's #5}
Flanders-Ancient1, pp. 213-222, "Babylon" (4 texts, 3 tunes) {A=Bronson's #8, C=#5}
Davis-More 9, pp. 68-71, "Babylon, or, The Bonnie Banks o Fordie" (1 text)
BrownII 8, "Babylon; or, The Bonnie Banks o Fordie" (1 text)
OBB 57, "Babylon, or, The Bonnie Banks o Fordie" (1 text)
Fowke/Johnston, pp. 18-19, "The Bonny Banks of Virgie O" (1 text, 1 tune) {Bronson's #3, but the texts differ noticeably}
Greenleaf/Mansfield 4, "The Bonnie Banks of the Virgie, O" (1 text, 1 tune) {Bronson's #4}
Peacock, pp. 809-811, "The Bonny Banks of Ardrie-O" (1 text, 2 tunes)
Karpeles-Newfoundland 3, "Bonny Banks of Virgie-O" (1 text, 4 tunes) {Bronson's #3}
Leach, pp. 88-90, "Babylon, or, The Bonnie Banks o Fordie" (2 texts)
Niles 11, "Babylon; or, The Bonnie Banks o Fordie" (1 text, 1 tune)
Lomax-FSNA 71, "Three Young Ladies" (1 text, 1 tune) {Bronson's #3, but with different information about the collector and informant}
MacSeegTrav 6, "Babylon" (1 text, 1 tune)
Gummere, pp. 188-189+344, "Babylon; or The Bonnie Banks o Fordie" (1 text)
HarvClass-EP1, pp. 58-59, "Babylon; or, the Bonnie Banks o Fordie" (1 text)
DT 14, VIRGIBNK* VIRGIBN3* BONFARDY
Roud #27
RECORDINGS:
Ken Peacock, "Bonnie Banks of the Virgie-O" (on NFKPeacock)
CROSS_REFERENCES:
cf. "The Bonnie Hind" [Child 50] (plot)
ALTERNATE_TITLES:
Bonny Farday
The Rocky Banks of the Buffalo
Baby Lon
NOTES: Alison Jolly, _Lucy's Legacy: Sex and Intelligence in Human Evolution_, Harvard University Press, 1999, p. 94, has an interesting observation regarding incest: she quotes Jared Diamond to the effect that "people seem to choose mates who are almost, but not quite, like themselves. In fact, people like people who look a bit like their parents, right down to earlobe size." But it should be recalled that parents share 50% of their genes with their children, and siblings also share 50% of their genes. Assuming (as is likely) that sexual preference is conditioned genetically rather than by environment (which would be more or less the Freudian assumption), one's siblings would be the most desirable sexual partners, one's parents being less desirable simply because they are too old.
So why isn't there more incest? Apparently that's in the genes, too. People have a built-in "aversion" to falling in love with people they grow up with. Presumably this is a semi-instinctive incest taboo: The deep-down emotional assumption seems that these people are siblings or parents or offspring (so Edward Westermarck; cited by Matt Ridley, _The Red Queen: Sex and the Evolution of Human Nature_, Penguin, 1993, p. 283; also _The Agile Gene_ Perennial, 2004 [originally published 2003 under the title _Nature via Nurture_], pp. 171-173).
But Ridley cites another study (_The Red Queen_, p. 281), "two siblings reared apart are surprisingly likely to fall in love with each other if they meet at the right age" (cf. Ridley's _The Agile Gene_, p. 173). The reference is to M. Greenberg and R. Littlewood, "Post-adoption incest and phenotypic matching: Experience, personal meanings, and biosocial implications," in the _British Journal of Medical Psychology_, 68:29-44, 1995.
There does seem to be anecdotal evidence for this; newspaper reports say that Britain in 2008 started to work on laws to make sure adopted children knew about any relatives they had. This was in response to a case of two twins separated in infancy; they met when they grew up, fell in love, and were married before anyone realized they were siblings. But this is just an isolated incident, not a rule.
I have not seen Greenberg and Littlewood to know if Ridley is describing it correctly, let alone to know if the conclusions are justified. But it may be less surprising than it sounds. Evolutionary success consists in conserving one's genes. This means that the evolutionary ideal is to marry someone related at about the first or second cousin level --  close enough to share a lot of genes, not so close as to have a particularly high risk of reinforcing dangerous recessives.
(There does seem to be one side footnote to this, mentioned by Jolly, p. 95, and by Olivia Judson, in _Dr. Tatiana's Sex Advice to All Creation_, Henry Holt/Owl Books, 2002, pp. 52-53, notes that there are many variants in the genes of the MHC, or major histocompatibility index -- and that people apparently can tell, by smell, who shares their MHC genes; women don't want to be involved with men who are too close in MHC. But, of course, brother and sister need not share MHC genes -- given the size and complexity of the gene group, they very likely will not -- it's just that the odds are higher than among strangers.)
It is interesting to note that surveys have shown that beauty is in the eye of the beholder, but ugliness is not -- that is, almost everyone agrees that certain people are ugly, but not everyone agrees on who is attractive. It is further interesting to note that -- insofar as this has been studied -- we seem to find attractive people who appear to share our own genetic traits. (I can't remember where I read this. The bit about beauty and ugliness came from a very poor newspaper summary of research done at a local college)
Obviously a sibling is the closest relative we can find within our generation. If siblings are raised separately, they will not feel the raised-together taboo, so the shares-my-genes attraction will produce a tendency to fall in love. At least, that seems the logical implication of the data. And hence songs such as this and "Sheathe and Knife" and "Lizie Wan."
Though the siblings, it appears, would have to be separated by the age of three. But Ridley adds that the aversion seems to be stronger in females. If the brother is older (as seems to be the case, e.g., in "Lizie Wan," and probably in this song), he might have left the household before the girl reached the "aversion threshold."
In that context, it's worth remembering that sons of noble families were often sent away from their homes to be raised and trained in arms. In England, noble siblings were rarely raised together in the Middle Ages. So -- assuming all this hypothesizing is correct -- incestuous love affairs would be much more common among the nobility than the common folk. Indeed, there was a rumor that Ernest, Duke of Cumberland, the fifth son of George III who later became King of Hanover, fathered a child on his sister Sophia; see Christopher Sinclair-Stevenson, _Blood Royal: The Illustrious House of Hanover_, p. 123, 128. Sinclair-Stevenson thinks it impossible that Cumberland was actually the father, but it hardly matters if he was; the point is that he could have been. (A *really* dirty part of my mind notes that George III -- like his descendant Nicolas II of Russia -- long forced his daughters of marriageable age to stay at home with him. But George's daughters, at least, managed affairs -- see Sinclair-Stevenson, p. 124).
An even stronger instance of brother-sister incest occurs in the Bible, no less. Very few female members of the Davidide royal family are mentioned in the Bible -- except one. 2 Samuel, chapter 13 (one of the chapters that seems to have been written by an immediate witness -- some suspect the priest Abiathar), details the rape of David's daughter Tamar by her half-brother Amnon; the next several chapters are devoted to the dreadful after-effects of that rape.
The ultimate example of incestuous royal families, though, is surely the Ptolemaic Dynasty, which ruled Egypt from the time of Alexander the Great until the Roman conquest. Ptolemy II, late in life, would marry his sister Arsinoe II, and Ptolemy IV took up with his sister Arsinoe III.
And then there are the children of Ptolemy V. The older son, Ptolemy VI Philometer (which means "loving his mother"!), married his sister Cleopatra II; they had a daughter Cleopatra III. The second son of Ptolemy V was Ptolemy VIII Physcon, who in his turn married Cleopatra II and then, while she was still alive, her daughter Cleopatra III. Their children were Ptolemy IX Lathyrus, Cleopatra IV, and Ptolemy X Alexander. Ptolemy Alexander would later marry Cleopatra Berenice, the daughter of Ptolemy Lathyrus and Cleopatra IV. (This did have genetic effects, to be sure. The later Ptolemies were mostly immensely, grotesquely fat and diseased. On the other hand, Cleopatra VII -- "the" Cleopatra, of Julius Caesar and Mark Antony fame, whose mother and grandmother were non-Ptolemies -- was certainly accomplished and probably quite beautiful.) 
Later, Cleopatra VII would marry a couple of her brothers, but that was political. In the cases of Arsinoe II and Cleopatra III, their royal brothers and uncles married for love, or at least lust. Thus, historically, royal incest seems not to have been all that uncommon. Probably more common than the above would imply, given how strongly it would be hushed up! - RBW
File: C014
===
NAME: Bachelor Blues
DESCRIPTION: Singer laments his bachelor life. He sends a letter to his girlfriend, proposing that she share his lot; she answers by telegram, refusing. He replies, "If you don't like my bait, you need not to bite my hook"
AUTHOR: Steve Ledford
EARLIEST_DATE: 1964 (recording, New Lost City Ramblers)
KEYWORDS: loneliness courting rejection bachelor
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Bill Carlisle, "Batchelor's Blues" (Vocalion 02879, 1935)
Steve Ledford, "Bachelor Blues" (Bluebird B-7626, 1938)
New Lost City Ramblers, "Bachelor Blues" (on NLCR13)
File: RcBacBlu
===
NAME: Bachelor's Complaint, The: see A Bachelor's Lament (File: JHCox160)
===
NAME: Bachelor's Hall (I)
DESCRIPTION: About the sad life of a bachelor: "Bachelor's Hall, what a queer looking place it is, Keep me from such all the days of my life." The singer describes the mess and squalor of the place, and the pitiful lives of its inhabitants.
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: bachelor loneliness
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 475, "Bachelor's Hall" (1 text)
Roud #7031
CROSS_REFERENCES:
cf. "A Bachelor's Lament" (subject, lyrics)
cf. "Married and Single Life" (subject)
NOTES: There is another "Bachelor's Hall" which describes the good life in the Hall: "No woman to scold you, No children to bawl, Always stay single, keep Bachelor's Hall."
As I have only one version of this text, I cannot really determine the relationship between the two -- but the present text is not in the same meter as the other.
Charles Dibdin wrote a piece called "Batchelor's Hall" in 1794, but I haven't found a text of that, either. - RBW
File: R475
===
NAME: Bachelor's Hall (II)
DESCRIPTION: "When young men go courting they'll dress up so fine," meet the girls, dress up -- and end up worn out, (broke), and claiming, "I believe it's the best to court none at all, And live by myself and keep bachelor's hall," where neither wife nor children nag
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Fiddlin' John Carson)
KEYWORDS: courting bachelor
FOUND_IN: US(Ap,MW,SE) Canada(Newf)
REFERENCES: (9 citations)
Abrahams/Foss, p. 120, "Bachelor's Hall" (1 text, 1 tune)
Gardner/Chickering 183, "Bachelor's Hall" (1 text, 1 tune)
Fuson, p. 133, "Bachelor's Hall" (1 text)
Ritchie-Southern, p. 35, "Bachelor's Hall" (1 text, 1 tune, with a first verse that seems to have floated in from "The Wagoner's Lad")
Peacock, pp. 237-238, "Bachelor's Hall" (1 text, 1 tune)
Fowke/MacMillan 36, "Bachelor's Hall" (1 text, 1 tune)
BrownIII 337, "When Young Men Go Courting" (1 fragment, probably this)
Darling-NAS, p. 273, "Bachelor's Hall" (1 text)
DT, BACHHALL
Roud #385
RECORDINGS:
Fiddlin' John Carson, "The Batchelor's Hall" (OKeh 45056, 1926; rec. 1925; on TimesAint04 as "Bachelor's Hall")
Earl Shirkey & Roy Harper [pseud. for Roy Harvey], "Keep Bachelor's Hall" (Columbia 15429-D, 1929)
CROSS_REFERENCES:
cf. "Putting on Airs" (theme)
NOTES: There is another "Bachelor's Hall" which describes the difficult life in the Hall: "Sure when I think what a burning disgrace it is, Never at all to be getting a wife, See the old bachelor gloomy and sad enough...."
As I have only one version of #1, I cannot really determine the relationship between the two -- but the present text is not in the same meter as the other.
Charles Dibdin wrote a piece called "Batchelor's Hall" in 1794, but I haven't found a text of that, either.
Gardner and Chickering's text is rather confusing and perhaps composite; it starts by talking about *girls* and the troubles of marriage -- "When young girls get married, their pleasure is all gone; They doubt on their prospects, their troubles come on." But it ends with the warnings found in this song. It appears that their text is either a fusion of two songs or an incomplete attempt to convert this piece to a woman's point of view.
Jean Ritchie's version also hints at that, but with a different first verse. - RBW
File: AF120
===
NAME: Bachelor's Hall (III)
DESCRIPTION: "Young ladies all, both short, fat, and tall, On me you will surely take pity, For a bachelor's hall is no place at all." The singer would rather be married: it's less expensive. He lists his household assets in hopes of attracting a wife.
AUTHOR: Larry Gorman
EARLIEST_DATE: 1957 (Ives-DullCare)
KEYWORDS: courting bragging humorous nonballad bachelor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 39-41,241, "Bachelor's Hall" (1 text, 1 tune)
Roud #14002
CROSS_REFERENCES:
cf. "The Courting Case" (theme)
cf. "Michael O'Brien" (theme)
File: IvDC039
===
NAME: Bachelor's Lament, A
DESCRIPTION: "As I was walking all alone, I heard an old bachelor making his moans: I wonder what the matter can be, Dog them pretty girls won't have me." The bachelor describes those he has courted, the offers he has made, the horses he has ruined -- to no avail
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: bachelor loneliness courting
FOUND_IN: US(Ap,MA,MW,NE,So)
REFERENCES: (3 citations)
Belden, p. 263, "The Old Bachelor" (1 text)
JHCox 160, "A Bachelor's Lament" (1 short text)
Brewster 70, "The Old Bachelor" (1 text)
ST JHCox160 (Partial)
Roud #3771
RECORDINGS:
Eugene Jemison, "The Bachelor's Complaint" (on Jem01)
CROSS_REFERENCES:
cf. "Bachelor's Hall (II)" (subject, lyrics)
NOTES: The texts in Belden and Cox have hardly a word in common, but the themes and forms are so similar that I don't hesitate to lump them. Brewster's text is similar to the one in the description. - RBW
Paul Stamler notes that at least one version ends with the bachelor dying; the singer tells women to put him in the ground, for fear he might come back to life and keep trying to find a wife.- (PJS, RBW)
The Jemison recording includes at least one verse that overlaps Fiddlin' John Carson's version of "Bachelor's Hall." I called that "Bachelor's Hall (II)"; the Jemison recording sounds more like "Bachelor's Hall (I)." - PJS
File: JHCox160
===
NAME: Bachelor's Walk
DESCRIPTION: The singer describes "the murderous outrage that took place in Dublin Town." Armed Irish rebels came to Dublin, and disturbances followed. In the confusion, the King's Own Scottish regiment kills three people
AUTHOR: unknown
EARLIEST_DATE: 1914 (OLochlainn)
KEYWORDS: Ireland rebellion death
HISTORICAL_REFERENCES: 1914 - the riot in Bachelor's Walk
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 55-56, "Batchelor's Walk" (1 text, 1 tune)
OLochlainn 100, "Bachelor's Walk: Mournful Lines on the Military Outrage in Dublin" (1 text, 1 tune)
Roud #3049
NOTES: This song illustrates clearly the sad state of Anglo-Irish relations in the early twentieth century. The British troops (who, according to  George Danderfield's _The Damnable Question_, p. 121, were not trained in riot work) were doing their best to keep order -- but the Irish called them "cowards" and "murderers."
The massacre came about as a result of rising tensions in Ireland. Many in Britain were ready to grant the Irish Home Rule (internal self government; see, e.g., "Home Rule for Ireland") -- but the folk of Ulster feared the Catholics so much that they formed paramilitary forces and began smuggling in guns. The rest of the Irish also started to organize armies.
The British were in an uncomfortable situation; they had to put more soldiers in the streets. Unfortunately, the soldiers were met by catcallers and stone throwers.
The Bachelor's Walk massacre was the result of just such a provocation. According to Robert Kee, _The Bold Fenian Men_, being volume II of _The Green Flag_, pp. 214-215, the soldiers had been sent out to try to stop some arms-runners. They failed -- sort of. The British law of the time was peculiar: Owning firearms was permitted, but importing them was not. Had the British caught the arms coming in, they could have impounded them. But by the time the soldiers arrived, the arms (some 15,000 rifles and 100,000 rounds of ammunition, according to Ulick O'Connor, _Michael Collins & The Troubles_, p. 60) had been distributed and therefore legal. Besides, the Irish Volunteers scattered when they saw the soldiers. But in the process, the soldiers loaded their guns, and did not unload. (Or so it was reconstructed later.)
So the soldiers started back, to be greeted by a jeering mob. An officer told the troops to face the crowd; he wanted to address the demonstrators. The report is that he did not know the soldier's guns were loaded. He held up his hand for silence. Someone apparently took this as a signal to fire, and the rest of the troops, who were being severely goaded, joined in.
The net toll of the "massacre," according to Kee, was three Irish dead (none of them among the thousand or so soldiers who provoked the riots) and 38 wounded (O'Connor claims four killed and 38 wounded) -- but the British troops (King's Own Scottish Borderers), though they suffered no fatalities, also took their share of injuries.
This is not to say that the British were entirely without fault. Calton Younger, in _Ireland's Civil War_, p. 23, notes that both Nationalists and Unionists were running guns. The British hadn't done much when the Ulster Volunteers had marched earlier in the week, but they watched the Irish Volunteers closely, resulting in the tragedy.
For some reason, Galvin spells the name of this song "Batchelor's Walk," which I followed in the first version of the Index because it was the only version I'd seen. But the first four genuine histories I checked -- Younger,  Dangerfield, O'Connor, and Kee -- prefer the more normal spelling "Bachelor's Walk." - RBW
File: PGa055
===
NAME: Back Bay Hill
DESCRIPTION: The singer meets a girl "tripping and slipping down (Back Bay Hill)." They are married the next day. They have three children; during a disagreement about names, the father insists the child be named after the hill! He advises others to visit the place
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-Nova Scotia)
KEYWORDS: courting children
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (3 citations)
Fowke/Johnston, pp. 164-165, "Citadel Hill" (1 text, 1 tune)
Blondahl, p. 107, "Sig-i-nal Hill" (1 text, 1 tune)
Creighton-NovaScotia 101, "Back Bay Hill" (1 text, 1 tune)
ST FJ165 (Partial)
Roud #1811
NOTES: Creighton reports, "[Informan Frank Faulkner] learned this song while sealing in 1902.... The name Back Bay may be changed to any hill in the place where the song is sung." - RBW
Blondahl: "Signal Hill, St John's, is famed for many deeds (and mis-deeds) which have taken place over the past three or four centuries." - BS
File: FJ165
===
NAME: Back o' Bennachie, The: see Where the Gadie Rins (I), (II), etc. (File: Ord347)
===
NAME: Back o' Rarey's Hill, The (The Jilted Lover)
DESCRIPTION: "It was on a Saturday evening, As I went to Dundee, I met wi' an old sweetheart," and one thing led to another. They share a glass, he departs, then writes a letter saying he will marry her only if she comes to him. She warns other girls of her sad fate
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting sex abandonment betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 156-157, "The Back o' Rarey's Hill" (1 text)
Roud #6847
File: Ord156
===
NAME: Back to Jericho
DESCRIPTION: Reworked floating verses in white-blues form: "I'm going back to Jericho, sugar babe (x3)"; "Never seen the likes since I've been born...." "Old Aunt Jemima going through the sticks...." "What you gonna do when the meat gives out...."  Etc.
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Dock Walsh)
KEYWORDS: humorous nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, pp. 170-171, "Back to Mexico" (1 text, 1 tune)
Roud #7694
RECORDINGS:
Carolina Tar Heels, "Back to Mexico" (Victor 23611, 1931)
Dock Walsh, "Going Back to Jericho" (Columbia 15094-D, 1926)
Doc Watson, Gaither Carlton & Ralph Rinzler, "I'm Going Back to Jericho" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "Crawdad" (words, pattern, tune)
NOTES: Jericho is a town in South Carolina. The singer is probably referring to that Jericho, not the one in the Bible. - PJS
I was tempted to classify this as a version of "Crawdad," since that is the source for so many of the verses. I'm still not sure about the matter. Does anyone know any other versions of this song? - RBW
Rinzler notes that Gaither Carlton learned this as a boy (c. 1915?), while Doc Watson learned it from his father. The song may date from the 1900s, therefore. While it's clearly related to "Crawdad Song," I think they're different enough to continue splitting them. - PJS
File: CSW170
===
NAME: Back to Larkins' Bar
DESCRIPTION: The singer writes a letter to his (girl/wife); the (soldiering/cockie's) life is hard and lonely. He pleads, "Take me back to the Holbrook streets, And back where the beer-hogs are, Back to the sound of the barrel taps And back to Larkins' bar."
AUTHOR: James "Digger" O'Brien?
EARLIEST_DATE: 1987
KEYWORDS: home Australia drink
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 273-274, 274-275, "Back to Larkins' Bar" (2 texts, 2 tunes)
NOTES: Meredith collected this song twice, in fragmentary but strikingly different forms, from two residents of Holbrook, Australia. Marilyn McPherson credited it to her father, Digger O'Brien; Jack Campbell also apparently had it from him. On its face, that would seem to disqualify it from "folk song" status -- except for the extreme set of variations.
Larkins' Bar is apparently one of the chief landmarks of Holbrook (this is Australia, after all). - RBW
File: MCB273
===
NAME: Back Water Blues: see Backwater Blues (File: FSWB073A)
===
NAME: Backblock Shearer, The
DESCRIPTION: "I'm only a backblock shearer, as easily can be seen... I've shorn in most of the famous sheds, I've seen big tallies done, But somehow or other, I don't know why, I never became a gun." The shearer describes his many attempts to make the century
AUTHOR: W. Tully
EARLIEST_DATE: 1953 (Collected from Jack Lee by John Meredith)
KEYWORDS: sheep work contest
FOUND_IN: Australia
REFERENCES: (4 citations)
Meredith/Anderson, pp. 38-39, "The Backblock Shearer" (1 text, 1 tune)
Manifold-PASB, pp. 128-129, "Widgegoara Joe (The Backblock Shearer)" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 200-202, "The Backblocks Shearer" (1 text)
DT, BACKBLCK
NOTES: A "gun" was a high-speed shearer who could shear "the century" (100 sheep) in an eight hour day. - RBW
File: MA038
===
NAME: Backward, Turn Backward (I)
DESCRIPTION: "Backward, turn backward, O Time, in your flight, Bring back my ability if just for tonight. Bring back that riding ability of mine, Don't let the bull buck my ass off this time."
AUTHOR: Joe Cavanaugh?
EARLIEST_DATE: 1954
KEYWORDS: parody cowboy animal humorous
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 55, "Backward, Turn Backward" (1 short text, 1 tune)
Roud #5092
CROSS_REFERENCES:
cf. "Rock Me to Sleep Again, Mother" (tune)
cf. "Cowboy Again for a Day" (tune, lyrics)
NOTES: Ohrlin believed that Joe Cavanaugh made up this parody on the spot at a competition in 1954. (The original is "Rock Me to Sleep Again, Mother," and is quoted by Laura Ingalls Wilder in chapter 19 of _Little Town on the Prairie_, but this is probably derived from "Cowboy Again for a Day.") But this cannot be absolutely proved, so it goes into the Index. - RBW
File: Ohr055
===
NAME: Backward, Turn Backward (II): see Cowboy Again for a Day (File: FCW116)
===
NAME: Backwater Blues
DESCRIPTION: "Well, it rained five days and the sky was dark (x2), There's trouble in the lowlands tonight. "I got up one morning, I couldn't even get out of my door." The storms and floods drive many poor people from their homes
AUTHOR: Bessie Smith?
EARLIEST_DATE: 1927 (recording, Bessie Smith)
KEYWORDS: storm flood home disaster
HISTORICAL_REFERENCES: 1927 - Mississippi River floods, devastating the Delta region and leaving thousands homeless
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Silber-FSWB, p. 73, "Back Water Blues" (1 text)
DT, BACKWATR*
RECORDINGS:
Big Bill Broonzy, "Backwater Blues" (on Broonzy01)
Lonnie Johnson, "Backwater Blues" (King 4251, 1948)
Bessie Smith, "Back Water Blues" (Columbia 14195-D, 1927)
CROSS_REFERENCES:
cf. "Mississippi Heavy Water Blues" (subject)
ALTERNATE_TITLES:
Backwater Blues
File: FSWB073A
===
NAME: Backwoodsman, The (The Green Mountain Boys) [Laws C19]
DESCRIPTION: The singer, a wood-hauler, having gotten drunk, is convinced to go a ball. He spends a riotous night. He hopes that others will not exaggerate what happened.
AUTHOR: unknown
EARLIEST_DATE: 1920 (Cox)
KEYWORDS: drink hardtimes
FOUND_IN: US(Ap,MA,MW,NE,SE) Canada(Ont,West)
REFERENCES: (10 citations)
Laws C19, "The Backwoodsman (The Green Mountain Boys)"
Rickaby 35, "The Backwoodsman" (1 text)
Gardner/Chickering 168, "The Backwoodsman" (1 text)
JHCox 132, "When I Was One-and-Twenty" (1 text)
BrownIII 340, "The Wood Hauler" (2 texts)
FSCatskills 119, "The Cordwood Cutter" (2 texts, 2 tunes)
Fowke-Lumbering #49, "The Backwoodsman" (1 text, 1 tune)
Fowke/MacMillan 30, "The Backwoodsman" (1 text, 1 tune)
Flanders/Brown, pp. 43-45, "The Green Mountain Boys" (1 text)
DT 604, BACKWOOD* CAMCNTRY*
Roud #641
RECORDINGS:
Maynard Britton, "I Came to this Country" (AFS, c. 1937; on KMM; there is probably some mixture in this version)
James B. Cornett, "Spring of '65" (on MMOK, MMOKCD)
Robert C. Paul, "The Backwoodsman" (on Saskatch01)
Vern Smelser, "The Morning of 1845" (on FineTimes)
Emerson Woodcock, "The Backwoodsman" (on Lumber01)
CROSS_REFERENCES:
cf. "In Eighteen-Forty-Nine" (floating lyrics)
cf. "In Seventeen Ninety-Five" (lyrics)
ALTERNATE_TITLES:
The Cordwood Cutter
NOTES: Laws made rather a botch of this piece, omitting the Cox and Brown texts and causing me to split the song in two for a time. It doesn't help that it's an extremely diverse item; there is hardly a single feature common to all versions. Many versions start with the lines, "I woke up on morning in (1805/1845/1865), (Thought/Found) myself quite (happy/lucky) to find myself alive."
This is not, however, diagnosic. Cox's text, for instance, begins with the line, "When I was one-and-twenty," but is obviously not to be confused with the A. E. Housman poem of the same title.
Many texts say that the young man was able to go on a spree because of a gift from his father. But in Brown's "B" text, he's treated to an election spree (a common technique in nineteenth century elections: Give the voters enough free liquor and they would be expected to vote for you. Though it's rather odd to see an election held in *1845*).
The singer is often a hauler, and may ring in his mule -- but may not.
We often find a description of a wild dance, but this seems to vary also.
And so it goes.
Fowke's text has a curious reference to a fiddle tune "The Bluebells of Ireland." Wonder how the Scots felt about that title. - RBW
File: LC19
===
NAME: Bad Ale Can Blow a Man Down
DESCRIPTION: "Go bring me a mug of your very best ale, Bad ale can drag a man down." "The lord of the castle a bold knight was he, He started to London the Queen for to see." "His cloak it was velvet for a grand lord was he, He rode a white charger...."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: nobility royalty drink travel
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 30, (no title) (1 text)
CROSS_REFERENCES:
cf. "Abie's White Mule" (lyrics)
NOTES: Thomas, obscurely, lists this in her section on chanteys. The first verse, I suppose, might be; the second and third appear to be part of an unrelated ballad. But with only two lines of the first and four of the second, I can't identify it.
It may well be mixed up with another song in Thomas, "Abie's White Mule." - RBW
File: ThBa030
===
NAME: Bad Brahma Bull (The Bull Rider Song)
DESCRIPTION: A parody of "The Strawberry Roan," in which the boss hires the cowman to ride a "big Brahma bull" in a rodeo. The rest follows the original: The rider winds up being thrown, and "high-tail[s] it back to that old Flying U."
AUTHOR: Curly Fletcher
EARLIEST_DATE: 1942
KEYWORDS: parody cowboy injury
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Fife-Cowboy/West 68, "The Strawberry Roan" (2 texts, 1 tune, the second text being this one)
Logsdon 13, pp. 97-101, "The Flyin' U Twister" (1 text, 1 tune)
DT, BADBRAHM*
Roud #3239
NOTES: This is reportedly Curly Fletcher's parody of his own "Strawberry Roan." (Fletcher in fact wrote several such parodies; see also "The Castration of the Strawberry Roan.") Roud appears to lump the pieces. - RBW
File: FCW68B
===
NAME: Bad Company: see Young Companions [Laws E15] (File: LE15)
===
NAME: Bad Girl's Lament, The (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26]
DESCRIPTION: The bad girl tells of how she reveled at the ale-house and the dance hall, then found herself in the poorhouse, and now is at death's door. She makes her final requests, and asks that young sailors carry her coffin
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: drink poverty death
FOUND_IN: Canada(Mar,Newf) Britain(England) US(So) Ireland
REFERENCES: (11 citations)
Laws Q26, "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)"
Munnelly/Deasy-Lenihan 21, "Saint James' Hospital" (1 text, 1 tune)
Peacock, pp. 420-421, "Annie Franklin" (1 text, 1 tune)
Friedman, p. 426, "The Bad Girl's Lament (St. James Hospital)" (1 text)
Fowke/Johnston, pp. 160-161, "The Bad Girl's Lament" (1 text, 1 tune)
Creighton-NovaScotia 102, "Bad Girl's Lament" (1 text, 1 tune)
Mackenzie 119, "The Bad Girl's Lament" (1 text)
Randolph-Legman II, pp. 604-608, "The Bad Girl's Lament" (1 text)
Lomax-FSNA 97, "The Bad Girl" (1 text, 1 tune)
Darling-NAS, p. 8, "One Morning in May" (1 text)
DT 350, UNFORTLS*
Roud #2
RECORDINGS:
James "Iron Head" Baker, "St. James Hospital" (AFS 204 B1, 206 A2, 1934)
(AFS 718 B1, 1936)
Tom Lenihan, "Saint James' Hospital" (on IRTLenihan01)
Mose "Clear Rock" Platt, "St. James Hospital" (AFS 194 B2, 1933)
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Unfortunate Rake" (tune & meter, plot)
cf. "The Sailor Cut Down in His Prime" (tune & meter, plot)
cf. "My Home's in Montana" (tune, floating lyrics)
cf. "Saint James Infirmary" (theme)
NOTES: One of the large group of ballads ("The Bard of Armagh," "Saint James Hospital," "The Streets of Laredo") ultimately derived from "The Unfortunate Rake." All use the same tune and metre, and all involve a person dying as a result of a wild life, but the nature of the tragedy varies according to local circumstances. There is a certain amount of cross-fertilization between versions; see the cross-references. - RBW
Legman provides extensive notes to the entire "Unfortunate Rake" song cycle in Randolph-Legman II. - EC
There is a particular sub-family of this type, which I've heard done up-tempo with a rather different tune. The Darling "One Morning in May" text appears to belong here. If there is a characteristic line, it seems to be the one "My body is elevated [by the mercury treatments for venereal disease] and I am bound to die." - RBW
Without hearing Platt's & Baker's recordings, I can't tell whether this is "Bad Girl's Lament" or "Unfortunate Rake," but I'm playing the percentages and putting them here. - PJS
For the treatment of syphilis prior to the twentieth century, see the notes to "The Unfortunate Rake." - RBW
File: LQ26
===
NAME: Bad Lee Brown (Little Sadie) [Laws I8]
DESCRIPTION: The singer goes out one night to "make his rounds." He meets his (girlfriend/wife), Little Sadie, and shoots her. He flees, but is overtaken and sentenced to (a long prison term/life)
AUTHOR: unknown
EARLIEST_DATE: 1922 (Randolph)
KEYWORDS: murder prison
FOUND_IN: US(Ap,So,SE)
REFERENCES: (9 citations)
Laws I8, "Bad Lee Brown"
Randolph 155, "Bad Lee Brown" (2 fragments, 1 tune)
Cambiaire, p. 22, "Little Sadie" (1 text)
MWheeler, pp. 109-111, "Late One Night" (1 text, 1 tune)
BrownII 252, "Sadie" (1 text)
MHenry-Appalachians, pp. 39-40, "Little Sadie" (1 text)
Scarborough-NegroFS, p. 243, (no title) (1 fragment)
Lomax-ABFS, pp. 89-91, "Bad Man Ballad" (1 text, 1 tune)
DT 659, LILSADIE*
Roud #780
RECORDINGS:
Clarence Ashley, "Little Sadie" (Columbia 15522-D, 1930; rec. 1929; on RoughWays1)
Blue Heaven, "Bad Man Ballad" (AAFS 384 B)
Mrs. Lloyd Bare Eagle, "Little Sadie" (AAFS 2851 B1)
Louise Foreacre, "Little Sadie" (on Stonemans01)
Wendell Hart & group of convicts, "Bad Man Ballad" (AAFS 2591 B2)
Willie Rayford, "Bad Man Ballad" (AAFS 2591 B2)
Wade Ward, "Little Sadie" [instrumental] (on Holcomb-Ward1)
Clarence Ashley & Doc Watson, "Little Sadie" (on Ashley03, WatsonAshley01)
Unidentified Negro convict, "Bad Man Ballad" (AAFS 1859 A1-10)
ALTERNATE_TITLES:
Bad Man's Blunder
File: LI08
===
NAME: Bad Luck Attend the Old Farmer
DESCRIPTION: A warning to servant boys seeking employment by farmers at hiring fairs. You are badly fed and "cold as lead." The singer will not hire for another half year. "Don't hire with any farmer ... But sail off to Amerikay, To a land where you'll be free"
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: emigration hardtimes farming food America servant
FOUND_IN: Ireland
REFERENCES: ()

Roud #17894
RECORDINGS:
James Halpin, "Bad Luck Attend the Old Farmer" (on IRHardySons)
CROSS_REFERENCES:
cf. "The Hiring Fair at Hamiltonsbawn" (subject: hiring fair servant's half-year term hard times)

ALTERNATE_TITLES:
The Ingy Buck
NOTES: The alternate title, "The Ingy Buck," refers to maize or "Indian Buck." (source: Notes to IRHardySons)
File: RcBLATOF
===
NAME: Bad Man Ballad: see Bad Lee Brown (Little Sadie) [Laws I8] (File: LI08)
===
NAME: Bad Mind
DESCRIPTION: "In every home that you can find There are people who have bad mind. (x2) Certain bad mind that sit and lie, Sit and criticize people who go by." Other stanzas offer examples, e.g. "You kneel in your home to pray; They say a hypocrite you did play."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: accusation nonballad
FOUND_IN: West Indies
REFERENCES: (1 citation)
Courlander-NFM, p. 74, (no title) (1 text)
File: CNFM074
===
NAME: Bad Tom Smith
DESCRIPTION: "I am passing through the valley here in peace (x2), O when I am dead and buried in the cold and silent tomb, I don't want you to grieve after me." "I am leaving all my friends here in peace... I don't want you to grieve after me."
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: death grief burial
HISTORICAL_REFERENCES: June 28, 1895 - Hanging of "Bad" Tom Smith in Jackson, Kentucky for the murder of Dr. John E. Rader
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
Combs/Wilgus 162, p. 187, "Bad Tom Smith" (1 text)
Roud #4300
NOTES: Reported to be the last "goodnight" of Tom Smith, but obviously based on "Don't You Grieve After Me." - RBW
File: CW187
===
NAME: Bad Wife, The: see Scolding Wife (IV) (File: HHH145)
===
NAME: Badai na Scadan (The Herring Boats)
DESCRIPTION: Gaelic. The singer recalls that his son was killed when his herring boat was wrecked on a submerged rock. He names the men drowned and their mourning family members. He hopes that the bodies will be found.
AUTHOR: unknown
EARLIEST_DATE: 1976 (OBoyle)
KEYWORDS: foreignlanguage grief death fishing sea ship wreck moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
OBoyle 2, "Badai na Scadan" (1 text, 1 tune)
NOTES: O Boyle does not translate the text. There is an English translation by Eamonn O Donaill on RootsWeb site Transcriptions-Eire-L Archives. The description follows that translation. The notes on that site say this "is a song from Donegal which was composed by a grief stricken father whose sons were killed in a shipwreck near Inisfree Island." - BS
File: OBoy002
===
NAME: Badger Drive, The
DESCRIPTION: A song of praise to logdrivers. It mentions the hardships of the job. It praises manager Bill Dorothy, and points out that drivers supply the pulpwood for paper. The drive on Badger is described. The singer hopes that the company will continue to succeed
AUTHOR: Words: John V. Devine
EARLIEST_DATE: 1933
KEYWORDS: logger river work
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Fowke/Johnston, pp. 84-86, "The Badger Drive" (1 text, 1 tune)
Greenleaf/Mansfield 160, "The Badger Drive" (1 text, 1 tune)
Doyle2, p. 29, "The Badger Drive" (1 text, 1 tune)
Doyle3, p. 13, "The Badger Drive" (1 text, 1 tune)
Blondahl, pp. 49-50, "The Badger Drive" (1 text, 1 tune)
ST FJ084 (Partial)
Roud #4542
RECORDINGS:
Omar Blondahl, "The Badger Drive" (on NFOBlondahl01)
CROSS_REFERENCES:
cf. "The Drive" (theme)
File: FJ084
===
NAME: Baffin's Bay: see Hurrah for Baffin's Bay (File: Harl230)
===
NAME: Baffled Knight, The [Child 112]
DESCRIPTION: A (knight/shepherd) sees a lady (bathing), and wishes to lie with her. She convinces him not to touch her until they reach her father's gate. She jumps in, locks him out, and scolds him for his base thoughts and/or his lack of assertiveness.
AUTHOR: unknown
EARLIEST_DATE: 1609 (Ravenscroft)
KEYWORDS: seduction escape trick knight
FOUND_IN: Britain(England(All),Scotland(Aber,Bord)) US(MW,NE,SE) Canada(Mar,Newf)
REFERENCES: (18 citations)
Child 112, "The Baffled Knight" (6 texts)
Bronson 112, "The Baffled Knight" (40 versions+3 in addenda) -- but #26-33 (his Appendix A) are "The New-Mown Hay," which may be separate, and #34-#39 (his Appendix B) are "Katie Morey" [Laws N24] which is certainly separate
Percy/Wheatley II, pp. 336-342, "The Baffled Knight, or Lady's Policy" (1 text; tune in Chappell)
GreigDuncan2 301, "The Shepherd's Son" (3 texts, 2 tunes) {A=Bronson's #9, B=#8}
Stokoe/Reay, pp. 112-113, "Blow the Winds I-Ho!" (1 text, 1 tune) {Bronson's #6}
BarryEckstormSmyth pp. 454-456, "The Baffled Knight" (notes plus a modified version from Ravenscroft=Child A, also a claimed link to "Katey Morey")
Flanders-Ancient3, pp. 89-99, "The Baffled Knight" (5 texts, but the "A" text is from "The Charms of Melody" rather than tradition and "B-I" through "B-IV" are "Katie Morey" [Laws N24] rather than "The Baffled Knight")
Creighton/Senior, pp. 63-65, "The Baffled Knight" (1 text, 1 tune) {Bronson's #25}
Peacock, pp. 272-275, "The Foolish Shepherd" (2 texts, 2 tunes)
Karpeles-Newfoundland 16, "The Baffled Knight" (1 text fragment, 1 tune)
Leach, pp. 320-321, "The Baffled Knight" (1 text)
Friedman, p. 154, "The Baffled Knight" (1 text)
PBB 35, "Blow the Winds, I-Ho" (1 text)
Sharp-100E 19, "Blow Away the Morning Dew" (1 text, 1 tune) {Bronson's #16}
Chappell/Wooldridge I, p. 136, "Yonder Comes a Courteous Knight" (1 tune, partial text) {Bronson's #1}; Chappell/Wooldridge II, pp. 69-70, "The Baffled Knight" (1 tune, partial text; full text is in Percy/Wheatley) {Bronson's #2}
Silber-FSWB, p. 190, "Blow Away The Morning Dew" (1 text)
BBI, ZN2505, "There was a Knight was drunk with Wine"; cf. ZN2506, "There was a knight was wine-drunke"
DT 112, MORNDEW* MORNDEW2
Roud #11
RECORDINGS:
Emily Bishop, "The Baffled Knight (Clear Away the Morning Dew" (on FSB5, FSBBAL2)
Sam Larner, "Blow Away the Morning Dew" (on SLarner02)
BROADSIDES:
Bodleian, Johnson Ballads 739 [mostly illegible], "Blow the Wind, I, O", J. Pitts (London), 1802-1819; also Harding B 13(224), Harding B 11(337), Harding B 15(21b), Firth b.27(27), "Blow the Winds I[.] O"; Harding B 5(5), Douce Ballads 3(52b), "The Baffled Knight" or "The Lady's Policy"
CROSS_REFERENCES:
cf. "Katie Morey" [Laws N24] (plot)
cf. "The New-Mown Hay" (plot)
cf. "The Lovely Banks of Mourne" (plot)
cf. "Jock Sheep" (plot)
ALTERNATE_TITLES:
Blow Ye Winds High-O
Clear Away the Morning Dew
The Shepherd Laddie
NOTES: Child relegates the Percy text, and a similar one in the Roxburghe collection, to an appendix to this piece. I really don't see why. The result is long and complex, and may well have been retouched, but it's certainly a variant of this song.
It is noteworthy that Bronson classifies most versions of this song into a large tune group -- but that none of the early printed texts (e.g. Ravenscroft's and D'Urfey's) fit this form.
A handful of versions of this end with the rather ornate couplet
If you would not when you might
You shall not when you would.
This appears to be older; according to Richard Garnett and Edmund Gosse, _English Literature: An Illustrated Record_ four volumes, MacMillan, 1903-1904 (I used the 1935 edition published in two volumes), volume I, p. 296, the couplet
The man that will nocht whan he may,
Sall have nocht quhen he wald
is found in the so-called "lyrical pastoral" "Robin and Makyne" of Robert Henryson (fl. 1462), which has a vaguely similar plot: Makyne loves Robin, who is not interested. Makyne renounces him, which spurs him to affection, which she rejects.
The song "Jock Sheep" is clearly a rewrite of this, with an anti-feminist ending, and as such was lumped with Child 112 in earlier versions of this index. But it is distinct enough, and survives widely enough on its own, that we now split the two. As does Roud. (Thanks to Ben Schwartz for doing the research to split them.) - RBW
File: C112
===
NAME: Bagenal Harvey's Farewell
DESCRIPTION: Harvey bids farewell to his father's estate, his tenants, and "my true United Men who bravely with me fought." If he is executed at Wexford he asks to be buried at his father's tomb. The estate will be returned when Ireland is free.
AUTHOR: unknown
EARLIEST_DATE: 1998 ("The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes)
KEYWORDS: rebellion Ireland execution patriotic nonballad recitation
HISTORICAL_REFERENCES: June 28, 1798 - Bagenal Harvey is executed in Wexford. (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 90, "Bagenal Harvey's Farewell" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Kelly, the Boy from Killane" (character of Bagenal Harvey)
cf. "Croppies Lie Down (II)" (character of Bagenal Harvey)
NOTES: Moylan: "the song is modelled on the Jacobite song 'Derwentwater's Farewell'" and was sung to that tune. The last verse of "Bagenal Harvey's Farewell" begins "So farewell to Bargy's lofty towers since from you I must part, A stranger now may call you his ..."; the following lines are from "Derwentwater's Farewell": "Farewell to pleasant Dilston Hall, my father's ancient seat, A stranger now must call thee his ..." 
The ballad is recorded on two of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Sean Garvey, "Bagenal Harvey's Farewell" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) 
Franke Harte and Donal Lunny, "Bagnal Harvey's Farewell" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Harte: Harvey "was a Protestant, a popular landlord and ... a senior member of the United Irishmen in Wexford." When the rebellion collapsed Harvey tried to escape but was betrayed, taken, court-martialled, hanged and his head placed on a spike over the Wexford courthouse. "The song was written shortly after 1798 but was only heard as a recitation until an air was put to it by Tommy Mallon. Since then it has been widely sung." - BS
Bagenal Harvey was by no means the best choice to command the Wexford rebels. Although in genuine sympathy with the United Irishmen (the British had put him in prison for this; see Thomas Pakenham, _The Year of Liberty_, p. 188), he was a Protestant, and a landlord -- and, seemingly, a militarily inept coward. His incompetence was largely responsible for the defeat at New Ross (see the notes to "Kelly, the Boy from Killane"), which led to the gradual but inevitable decline of the Wexford rebellion. Having lost at New Ross, he fled, was captured, an eventually hanged (see the notes to "Croppies Lie Down (II)" and "The Wexford Schooner"). - RBW
File: Moyl090
===
NAME: Baggage Coach Ahead, The
DESCRIPTION: The passengers on the train are awakened by a child's cries. They complain to the child's father. He tells them that the child's mother is dead "in the baggage coach ahead." Upon learning this, the passengers turn helpful
AUTHOR: Gussie L. Davis?
EARLIEST_DATE: 1898
KEYWORDS: family children mother death train
FOUND_IN: US(So)
REFERENCES: (6 citations)
Cohen-LSRail, pp. 304-315, "In the Baggage Coach Ahead" (1 text plus some excerpts, a copy of the sheet music cover, and four texts on related theme, 1 tune)
Randolph 704, "The Baggage Coach Ahead" (1 text)
LPound-ABS, 58, pp. 131-132, "The Baggage Coach Ahead" (1 text)
Spaeth-ReadWeep, pp. 155-156, "In the Baggage Coach Ahead" (fragmentary text, partial tune)
Geller-Famous, pp. 173-178, "In the Baggage Coach Ahead" (1 text, 1 tune)
cf. Gardner/Chickering, p. 477, "The Baggage Coach Ahead" (source notes only)
Roud #3529
RECORDINGS:
Fiddlin' John Carson, "The Baggage Coach Ahead"  (OKeh 7006, 1924)
Vernon Dalhart, "In the Baggage Coach Ahead" (Columbia 15028-D, 1925) (Edison 51557 [as Vernon Dalhart & Co.], 1925) (Victor 29627, 1925) (Supertone 9248, 1928)  (Perfect 12199 [as Bob Massey]; Perfect 12644, 1930) (CYL: Edison [BA] 5011 [as Vernon Dalhart & Co.], n.d.)
Red Evans, "In the Baggage Coach Ahead" (Vocalion 5173, 1927)
George Gaskin, "In the Baggage Coach Ahead" (CYL: Collumbia 4080, c. 1898)
George Hobson [possibly a pseudonym for George Reneau?] "The Baggage Coach Ahead" (Silvertone 3047, 1924)
Andrew Jenkins & Carson Robison, "In the Baggage Coach Ahead" (OKeh 45234, 1928)
Lester McFarlane & Robert Gardner, "The Baggage Coach Ahead"  (Brunswick 200Brunswick 326/Vocalion 5200, 1928; rec. 1927)
George Reneau, "The Baggage Coach Ahead" (Vocalion 14918, 1924)
Kate Smith, "In the Baggage Coach Ahead" (Columbia 2605-D, 1932)
Ernest Thompson, "In The Baggage Coach Ahead"  (Columbia 216-D, 1924; Harmony 5124-H [as Ernest Johnson], c. 1930)
NOTES: Various "real" stories have been claimed as the inspiration of this ballad -- e.g. Randolph reported it to be based on the real-life story of Dr. James B. Watson and family. Watson's daughter Nellie was born in 1867, and the girl's mother died in 1869. Watson was taking his wife's body back to her home in Pennsylvania when the events described took place.
On the other hand, Spaeth notes that Charles K. Harris wrote a song "Is Life Worth Living," with almost the same plot, some years before Davis produced "Baggage Coach." Whether based on an actual incident or not, the idea amply met the nineteenth century demand for tearjerkers.
Cohen's notes on the song include four other dead-body-on-the-train songs, and list other people on whose story the song might have been based. Adding it all up, it seems likely that there was *something* in existence before Davis worked on ths song, though the Davis text does seem to have become canonical. - RBW
File: R704
===
NAME: Bailie's Daughter, The: see The Bailiff's Daughter of Islington [Child 105] (File: C105)
===
NAME: Bailiff's Daughter of Islington, The [Child 105]
DESCRIPTION: A youth is in love with the Bailiff's daughter. He is apprenticed in London for seven years. At last she disguises herself to see if he is still true. They meet; he asks of his love. She says she is dead; he grieves; she reveals herself
AUTHOR: unknown
EARLIEST_DATE: 1731 (ballad opera, "The Jovial Crew"); before 1697 (broadside, Bodleian Douce Ballads 2(230a))
KEYWORDS: love separation disguise apprentice
FOUND_IN: Britain(England(All),Scotland(Aber,Hebr)) US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf) Ireland
REFERENCES: (25 citations)
Child 105, "The Bailiff's Daughter of Islington" (1 text)
Bronson 105, "The Bailiff's Daughter of Islington" (35 versions+4 in addenda)
Greig #115, p. 1, "The Bailie's Daughter" (1 text) 
GreigDuncan1 168, "The Bailiff's Daughter of Islington" (5 texts, 6 tunes) {A=Bronson's #12, B=#7, C=#34, D=#10, E=#14, F=#13}
BarryEckstormSmyth pp. 225-227, "The Bailiff's Daughter of Islington" (1 text)
Percy/Wheatley III, pp. 135-137, "The Bailiff's Daughter of Islington" (1 text)
Davis-Ballads 28, "The Bailiff's Daughter of Islington" (1 text plus a fragment, 1 tune) {Bronson's #25}
Belden, pp. 68-69, "The Bailiff's Daughter of Islington" (1 text, 1 tune) {Bronson's #6}
Hudson 18, pp. 114-116, "The Bailiff's Daughter of Islington" (1 text)
Flanders/Olney, pp. 41-42, (no title) (2 excerpts which the editors apparently regard as part of "The Bailiff's Daughter")
Flanders-Ancient3, pp. 67-75, "The Bailiff's Daughter of Islington" (2 texts plus 2 fragments, 4 tunes, two of the tunes being from the same informant and used for the same text, with some of the differences being perhaps transcribers' variants) {A(1)=Bronson's #31b, A(2)=#31a, B=#23}
Linscott, pp. 160-162, "The Bailiff's Daughter of Islington" (1 text, 1 tune) {cf. Bronson's #24, seemingly the source for the tune printed}
Creighton/Senior, pp. 58-62, "The Bailiff's Daugher of Islington" (3 texts, 3 tunes) {Bronson's #19, #20, #18}
Greenleaf/Mansfield 14, "The Bailiff's Daughter of Islington" (1 fragment)
Karpeles-Newfoundland 15, "The Bailiff's Daughter of Islington" (1 text, 1 tune)
Leach, pp. 313-315, "The Bailiff's Daughter of Islington" (2 texts, but the second of these looks more like a George/John Riley text)
Friedman, p. 140, "The Bailiff's Daughter of Islington" (1 text, 1 tune)
OBB 162, "The Bailiff's Daughter of Islington" (1 text)
SharpAp 30, "The Bailiff's Daughter of Islington" (2 texts, 2 tunes){Bronson's #3, #5}
Hodgart, p. 67, "The Bailiff's Daughter of Islington" (1 text)
Chappell/Wooldridge II, p. 159, "The Bailiff's Daughter" (1 tune, partial text) {Bronson's #16}
Darling-NAS, pp. 73-75, "The Bailiff's Daughter of Islington" (1 text)
Silber-FSWB, p. 219, "Bailiff's Daughter Of Islington" (1 text)
BBI, ZN2549, "There was a youth, and a well belov'd youth"
DT 105, BAILDAUG*
Roud #483
RECORDINGS:
Albert Beale, "The Bailiff's Daughter of Islington" (on FSBBAL1)
Tony Wales, "The Bailiff's Daughter of Islington" (on TWales1)
BROADSIDES:
Bodleian, Douce Ballads 2(230a), "True Love Requited" or "The Bayliffs Daughter of Islington", P. Brooksby (London), 1672-1696; also Douce Ballads 2(229a),  Harding B 5(8), Douce Ballads 3(94a), "True Love Requited[!]" or "The Bailiff's Daughter of Islington"; Firth c.26(181), "The Bailiff's Daughter of Islington"; Harding B 11(129), Harding B 11(1196), "[The] Bailiff's Daughter"
SAME_TUNE:
I Have a Good Old Mother at Home (per broadside Bodleian Douce Ballads 2(230a))
ALTERNATE_TITLES:
The Comely Youth
Nancy the Bailiff's Daughter
True Love Requited
The Shepherd
The Hills o' Traquair
NOTES: The 1731 date is for the tune, but the the broadside, ZN2549, was published by Phillip Brooksby sometime between 1683 and 1696. - WBO
File: C105
===
NAME: Bailiff's Daughter, The: see The Bailiff's Daughter of Islington [Child 105] (File: C105)
===
NAME: Bainbridge Tragedy, The
DESCRIPTION: "In Bainbridge town there dwelt of late A worthy youth who met his fate." Urial Church and girlfriend Louisa go strolling in the snow; he throws snow in her face. She playfully throws a scissors at him -- but wounds him; it festers and he dies. All grieve
AUTHOR: unknown
EARLIEST_DATE: 1939 (Garnder/Chickering)
KEYWORDS: injury death love courting warning
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 124, "The Bainbridge Tragedy" (1 text, very probably from print)
ST GC3700 (Partial)
Roud #3700
File: GC3700
===
NAME: Bal Chez Boule, Le (Boule's Ball)
DESCRIPTION: French: Jose wishes to go to Boule's Ball; his mother makes him stay until his chores are done. At last he finishes and hurries off to the dance -- only to fall down and be thrown out. His Lisette proceeds to dance with another swain
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: work dancing courting foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 108-109, "Le Bal Chez Boule (Boule's Ball)" (1 text, 1 tune)
NOTES: Fowke reports (at about fourth hand) that this is a true story about one Jose Blais. "He went to a ball without being invited, had the misfortune to trip the daughter of the house, and was thrown out bodily by her father." - RBW
File: FJ108
===
NAME: Balaclava (I): see The Famous Light Brigade (File: Doe276)
===
NAME: Balaclava (II): see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Balbriggen Landlord
DESCRIPTION: "Low-bred landlords" raise rents and drive starving tenants. "Viva la for Hampton landlords" who voted against Union and stood with Flood, Burke, Grattan and Parnell. "Viva la" for Parnell "driving foes and Landlord Reptiles from his native land"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Ireland nonballad political landlord
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Harding B 26(659), "A New Song Dedicated to an Upstart Balbriggan Landlord" ("Viva la our landlords' mounted"), unknown, n.d.
CROSS_REFERENCES:
cf. "The Blackbird of Avondale (The Arrest of Parnell)" (subject of Charles Stewart Parnell)
cf. "Viva La, the French They Are Coming" (tune, per broadside Bodleian Harding B 26(659))
NOTES: Broadside Bodleian Harding B 26(659) is the basis for the description.
Zimmermann pp. 61-62: "From a moderate and somewhat ineffective party, the Home Rule movement became a decisive force when Charles Stewart Parnell rose to leadership. In forming a temporary alliance with the revolutionaries and playing an important part in the Land League agitation, he vastly increased his prestige. Old song-themes were revived in his honour." This broadside is one of the examples Zimmermann cites.
Balbriggan is in County Dublin, Ireland.
Henry Grattan (1746-1820) and Henry Flood (1732-1791) were eighteenth century Protestants who formed a Patriot Party calling for Irish independence (source: "1700 - 1800" in _Ireland Information_ at the World Infozone site). Burke may be one of the Fenians General Thomas H Burke or Colonel Richard O'Sullivan Burke [one of whom is assumed to be the Burke of "Burke's Dream"]; Edmund Burke, though a supporter of Irish Catholic liberation, seems unlikely [to me]. [Me too. Extremely. He was too conservative. - RBW] For some information on Parnell (1846-1891) and the Land League see RBW's note to "The Bold Tenant Farmer." - BS
In addition, there is information on Grattan and Flood in the entry on "Ireland's Glory" and "Harry Flood's Election Song."
Since Saint Patrick was credited (falsely) with driving the snakes from Ireland, the reference to "driving... Landlord reptiles" is surely a way of calling then snakes. Which, in context, is largely true; while British policy toward Ireland was usually benighted, it was the landlords -- many of them Irish, we note -- who truly ruined the lot of the Irish peasants. - RBW
File: BrdBaLan
===
NAME: Bald Knobber Song, the
DESCRIPTION: "Adieu to old Kirbyville, I can no longer stay. Hard Times and Bald Knobbers have driven me away." He does not wish to leave family and home, but the vigilante Bald Knobbers drove him away. He describes their various villainies
AUTHOR: Andrew Coggburn?
EARLIEST_DATE: 1932 (Randolph)
KEYWORDS: exile crime outlaw violence
HISTORICAL_REFERENCES: 1884 - Organization of the Bald Knobbers
1889 - Dispersal of the Bald Knobbers
FOUND_IN: US(Ro,So)
REFERENCES: (3 citations)
Randolph 154, "The Bald Knobber Song" (1 text plus a fragment, 1 tune, plus a third brief fragment of another piece)
Randolph/Cohen, pp. 175-177, "The Bald Knobber" (1 text, 1 tune -- Randolph's 154A)
Burt, p. 164-165, "(Bald Knobbers' Song)" (1 text, 1 tune)
Roud #5486
NOTES: The Bald Knobbers were named after the rise of ground on which they met. They organized in 1884 to combat outlaws in Taney County, Missouri, but soon turned outlaw themselves, being regarded by some as the Ozark equivalent of the Klan. More details can be found in Randolph, who describes their leader and some of their victims, including the alleged author of the song. - RBW
File: R154
===
NAME: Bald-Headed End of the Broom, The
DESCRIPTION: The singer warns men against marriage: It's fun at first, but wait till you're stuck "with a wife and (sixteen) half-starved kids." "So keep away from the girls... For when they are wed, they will bang you on the head With the bald-headed end of a broom"
AUTHOR: Harry Bennett?
EARLIEST_DATE: 1877 (Copyright)
KEYWORDS: courting marriage warning wife children family hardtimes poverty
FOUND_IN: US(Ap,SE,So) Australia Ireland
REFERENCES: (10 citations)
Randolph 386, "The Bald-Headed End of the Broom" (2 texts, 1 tune)
Randolph/Cohen, pp. 313-315, "The Bald-Headed End of the Broom" (1 text, 1 tune -- Randolph's 386A)
BrownII 206, "Boys, Keep Away from the Girls" (1 text)
MHenry-Appalachians, p. 34, "Advice to the Boys" (1 fragment, only two stanzas and without a reference to the broom but with lyrics and theme much like this)
Fahey-Eureka, pp. 190-191, "The Bald-Headed End of the Broom" (1 text, 1 tune)
Kennedy 193, "The Bald-Headed End of the Broom" (1 text, 1 tune)
Darling-NAS, pp. 273-274, "Baldheaded End of the Broom" (1 text)
Gilbert, p. 105, (No title) (1 partial text)
Rorrer, p. 94, "Look Before You Leap" (1 text, probably somewhat rewritten and without a chorus)
DT, BALDBROM BALDBRM2*
Roud #2129
RECORDINGS:
Grandpa Jones, "The Bald Headed End of A Broom" (King 717, 1948)
Charlie Poole and the North Carolina Ramblers, "Look Before You Leap" (probably rewritten; Columbia 15601-D, 1930; on CPoole03)
George Reneau, "Bald Headed End of The Broom" (Vocalion 14930, Silvertone 3052, 1924; Vocalion 5052, c. 1926)
Walter "Kid" Smith & Norman Woodlief with Posey Rorer, "The Bald-Headed End of a Broom" (Gennett 6887/Champion 15772 [as by Jim Taylor and Bill Shelby]/Supertone 9454 [as by Jerry Jordan], 1929)
Mike Seeger, "The Baldheaded End of a Broom" (on MSeeger01)\
File: FaE190
===
NAME: Baldheaded End of the Broom, The: see The Bald-Headed End of the Broom (File: FaE190)
===
NAME: Baldy Green
DESCRIPTION: "Come listen to my ditty... 'Tis about one Baldy Green... He was a way up six horse driver On Ben Holiday's stage line." Green is halted by robbers, but rather than yielding the gold, he restarts the team. Green is shot; the money is saved
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: robbery gold horse murder
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 209-210, "(Baldy Green)" (1 text)
NOTES: Burt claims this incident actually happened, but can offer no supporting evidence, nor even cite the location of the failed robbery. - RBW
File: Burt209
===
NAME: Balinderry: see Ballinderry (File: HHH080)
===
NAME: Ball at Davidson's, The
DESCRIPTION: "There was a ball at Davidson's Just i' the mids o' Lent." There were farmers, thimble-riggers, itinerant dealers and lottery folk. The farmer couldn't sell cattle or grain but fish sellers and thimble-riggers did well.
AUTHOR: Peter McCombie (source: GreigDuncan3)
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: commerce farming gambling dancing trick
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 628, "The Ball at Davidson's" (2 texts, 1 tune)
Roud #6065
CROSS_REFERENCES:
cf. "Errol on the Green" (tune, per GreigDuncan3)
ALTERNATE_TITLES:
The Murlin and the Creel
File: GrD3628
===
NAME: Ball of Kirriemuir, The
DESCRIPTION: A quatrain ballad, the scores of verses to this song describe the sexual feats at the "gathering of the clans."
AUTHOR: unknown
EARLIEST_DATE: c.1938 (sung by Mikeen McCarthy on Voice14)
KEYWORDS: bawdy sex
FOUND_IN: Australia Britain(England,Scotland) Ireland US New Zealand
REFERENCES: (2 citations)
Cray, pp. 95-101, "The Ball of Kirriemuir" (2 texts, 1 tune)
DT, KERIMUIR*
Roud #4828
RECORDINGS:
Anonymous singers, "The Ball of Kirriemuir" (on Unexp1)
John MacDonald, "The Ball O'Kerriemeer" (on Voice07)
Mikeen McCarthy, "The Ball O'Kerriemeer" (on Voice14)
ALTERNATE_TITLES:
The Ball at Kerrimuir
The Gatherin' of the Clan
NOTES: A few verses are attributed, with little evidence, to Robert Burns. - PJS
File: EM095
===
NAME: Ball of Yarn
DESCRIPTION: The narrator asks a pretty little miss "to wind her ball of yarn." He contracts gonorrhea, then is arrested nine months later, and sentenced to the penitentiary, all for "winding up that little ball of yarn."
AUTHOR: Unknown; parody of "Winding Up Her Little Ball of Yarn" (words: Earl Marble; tune: Polly Holmes)
EARLIEST_DATE: 1890; original song copyrighted 1884
KEYWORDS: bawdy disease pregnancy sex punishment prison parody
FOUND_IN: Britain(England) Ireland US(MA,MW,Ro,So,SW)
REFERENCES: (8 citations)
Cray, pp. 89-95, "Ball of Yarn" (3 texts, 1 tune)
Randolph-Legman I, pp. 97-104, "Little Ball of Yarn" (10 texts, 3 tunes)
Hugill, pp. 533-534, "The Little Ball O' Yarn" (1 text, 1 tune) [AbrEd, pp. 385-386]
Kennedy 180, "The Little Ball of Yarn" (1 text, 1 tune)
MHenry-Appalachians, p. 249, "And She Skipped Across the Green" (1 fragment)
Gilbert, pp. 74-75, "Little Ball of Yarn" (1 partial text)
Silber-FSWB, p. 155, "Little Ball of Yarn" (1 text)
DT, BALLYARN* BALLYAR2* BALLYAR3
Roud #1404
RECORDINGS:
Mary Ann Haynes, "The Little Ball of Yarn" (on Voice20)
New Lost City Ramblers, "Little Ball of Yarn" (on NLCR14)
Southern Melody Boys, "Wind the Little Ball of Yarn" (Bluebird B-7057/Montgomery Ward 7227, 1937) [Note: Not having heard this record, I don't know whether it's the parody or the original. - PJS]
Nora Cleary, "Little Ball of Yarn" (on IRClare01)
Unidentified woman, Mena, Ark., "Little Ball of Yarn" (LC AAFS 3236 A1, 1936)
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Blackbirds and Thrushes (I)"
NOTES: Randolph-Legman has extensive notes on the history of this ballad, tracing it to Burns's "Yellow, Yellow Yorlin." - EC
It should be noted, however, that Cray's tune does not match the versions of "Yellow, Yellow Yorlin," and while there are lyrical similarities, the metrical pattern is also slightly different. - RBW
The song of which this is almost certainly a parody can be found [in the Library of Congress online collection]. - PJS
And said song is pretty bad; it begins
It was many years ago,
With my youthful blood aglow,
I engaged to teach a simple district school.
I reviewed each college book,
And my city home forsook,
Sure that I could make a wise man from a fool.
Mister School Committee Frye thought 'twould do no harm to try,
To see if unruly scholars I could l'arn.
When his daughter I espied, with her knitting by her side,
As she wound up her little ball of yarn.
The singer wooed and won the girl in short order, and now that he is old, he remembers the good old days every time he sees her darning socks! - RBW
A broadside id for a Library of Congress reference is LOCSheet, sm1884 20995, "Winding Up her Little Ball of Yarn," White, Smith & Co. (Boston), 1884 (tune); the sheet music attributes the words to Earl Marble and the music to Miss Polly Holmes.
Mary Ann Haynes version on Voice20 lacks the gonorrhea and arrest touches; the girl has a baby and warns other young girls to "never trust a farmer." - BS
File: EM089
===
NAME: Ballad of Ben Hall, The
DESCRIPTION: Ben Hall was "a peaceful, quiet man until he met Sir Fred." Then, with his homestead burnt and his cattle dead, he turned outlaw. The song describes the reward for Dunn, Gilbert, and Ben, and exhorts the listeners to toast their memories
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's Old Bush Songs)
KEYWORDS: abuse outlaw police Australia
HISTORICAL_REFERENCES: May 5, 1865 - Ben Hall is ambushed and killed by police near Forbes, Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Fahey-Eureka, pp. 88-89, "The Ballad of Ben Hall" (1 text, 1 tune)
Manifold-PASB, pp. 55-57, "Ballad of Ben Hall's Gang" (1 text, 2 tunes)
Paterson/Fahey/Seal, pp. 75-79, "Dunn, Gilbert, an Ben Hall" (1 text)
CROSS_REFERENCES:
cf. "Ben Hall" (plot)
cf. "Streets of Forbes" (plot)
cf. "The Death of Ben Hall" (plot)
cf. "My Name is Ben Hall" (subject)
NOTES: On the basis of internal references (see below), this song might be a variant of "Ben Hall." However, the metre is slightly different and there are few similarities of texts beyond the names of the robbers.
Ben Hall is widely regarded as "the noblest of the bushrangers." This song tells the common story that he was hounded from his home by the police, and only then turned to crime. Even as a bushranger, he attacked only the rich and never shed blood.
The truth is not quite so pretty; for background, see the notes to "Ben Hall."
Dunn and Gilbert, like Hall, were associated with Frank Gardiner's outlaw band. John Gilbert brought the full force of the law down on the gang when he shot a policeman, and he died along with Johnny Dunn in 1866. Johnny O'Meally, also mentioned in the song, was a member of the gang killed in 1863. (Gardiner was eventually taken, but was paroled after ten years and allowed to emigrate to the U.S., where he opened a saloon and, it is said, was shot in a poker fight in 1903.)
"Sir Fred" is Sir Frederick Pottinger, a "monumentally inept" officer of the crown who bungled the whole case -- and eventually managed to accidentally kill himself -- again see "Ben Hall" for background.
To tell this song from the other Ben Hall songs, consider this first stanza:
Come all you sons of liberty and listen to my tale;
A story of bushranging days I will to you unveil.
It's of those gallant heroes, God bless them one and all!
So let us sit and sing: 'God save the King, Dunn, Gilbert, and Ben Hall.'"
- RBW
File: FaE088
===
NAME: Ballad of Ben Hall's Gang, The: see The Ballad of Ben Hall (File: FaE088)
===
NAME: Ballad of Billy the Bull Rider
DESCRIPTION: Billy takes his girl to a rodeo where he is riding bulls. He assures her that all will be well -- but he is thrown as his girlfriend watches: "There wasn't a thing she could do But stand there and watch the boy die." She has nightmares of his last ride
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: cowboy injury death dream
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 95, "Ballad of Billy the Bull Rider" (1 text, 1 tune)
File: Ohr095
===
NAME: Ballad of Bunker Hill, The
DESCRIPTION: "The soldiers from town to the foot of the hill... They pottered and dawdled and twaddled until We feared there would be no attack at all." The Colonials inflict heavy casualties on the British, but then "We used up our powder and had to go home!"
AUTHOR: Words: Edward Everett Hale? / Music traditional, set by John Allison
EARLIEST_DATE: 1908
KEYWORDS: battle patriotic
HISTORICAL_REFERENCES: June 17, 1775 - American defeat at the Battle of Bunker Hill. The Americans are pushed from their positions, but inflict heavy casualties on the British, and so feel they have earned some bragging rights.
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-NEFolklr, pp. 541-542, "The Ballad of Bunker Hill" (1 text, 1 tune)
NOTES: Recorded by John and Lucy Allison. There is no reason to believe this song ever circulated in oral tradition. - RBW
File: BNEF541
===
NAME: Ballad of Captain Bob Bartlett, Arctic Explorer
DESCRIPTION: "Bob Bartlett, born in Brigus, of a bold sea-faring breed, Became a master-mariner as destiny decreed; He won renown... When Peary used his services to the Northern Pole." We are told of the hardships in the arctic, and of the sealing ships he captained
AUTHOR: A. C. Wornell?
EARLIEST_DATE: 1951 (Wornell, Rhymes of a Newfoundlander)
KEYWORDS: hunting ship exploration
HISTORICAL_REFERENCES: 1875-1946 - Life of Robert Abram Bartlett
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 85, "Ballad of Captain Bob Bartlett, Arctic Explorer" (1 text)
CROSS_REFERENCES:
cf. "Captain Bob  Bartlett" (subject)
cf. "The Roving Newfoundlanders (I)" (brief mention or Bob Bartlett)
NOTES: Robert Bartlett is now remembered mostly as an arctic explorer (Robert Peary took him on three expeditions, and in 1913 Bartlett, as commander of the _Karluk_, was wrecked, and saved his expedition by a sled trip to Alaska). But it is clear that he was well known in Newfoundland even before that; several of the poems in Ryan/Small, including those written before Peary's explorations, mention him.
It is possible that some of this is by confusion with his uncles Isaac and John Bartlett, who also were sealing captains and connected with the quest for the North Pole.
For more background, see the notes to "Captain Bob Bartlett." - RBW
File: RySm085
===
NAME: Ballad of Captain Kidd, The: see Captain Kidd [Laws K35] (File: LK35)
===
NAME: Ballad of Davy Crockett, The: see Davy Crockett (File: R423)
===
NAME: Ballad of Hardin Town, The
DESCRIPTION: "I'll tell you a tale of Ioway... about a crime in Hardin Town...." Barowner Thorne has betrayed an Indian chief's daughter. The chief seeks him out in the bar, but is shot by an unknown assailant. The chief's son kills a bar patron and goes to prison
AUTHOR: unknown
EARLIEST_DATE: 1951 (Hempel, Annals of Iowa)
KEYWORDS: murder Indians(Am.) revenge prison punishment
HISTORICAL_REFERENCES: 1847 - The Hardin Tragedy. An old Indian was shot to death, and his son randomly killed Patrick Riley in revenge. There was no ravished daughter, and the old man was not a chief
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 136-137, "(The Ballad of Hardin Town)" (1 text)
File: Burt136
===
NAME: Ballad of Kelly's Gang: see The Ballad of the Kelly Gang (File: FaE108)
===
NAME: Ballad of Major Andre, The: see Major Andre's Capture [Laws A2] (File: LA02)
===
NAME: Ballad of Master M'Grath, A: see Master McGrath (File: Hodg215)
===
NAME: Ballad of Master McGrath, A: see Master McGrath (File: Hodg215)
===