NAME: Co Sheinneas an Fhideag Airgid?: see The Silver Whistle (File: K009)
===
NAME: Coachman's Whip
DESCRIPTION: Singer takes a job with young lady who needs a coachman to "drive her in style." He drives her "ten times round the room"; she asks for a look at his whip. He takes her riding, but on the first turn breaks a spring; her maid takes the next ride
AUTHOR: unknown
EARLIEST_DATE: 1957 (Pinto & Rodway, from a Nottingham broadside)
LONG_DESCRIPTION: Singer takes a job as coachman; his employer is a young lady who informs him that she needs a coachman to "drive her in style." He drives her "ten times round the room"; she takes him to the cellar and feeds him whisky, then asks for a look at his whip. After holding it, she says, smiling, that by the look and length of it they could go ten miles. He takes her riding, but on the first turn breaks a spring; she calls for her serving maid, saying that while her spring is being repaired "I'll let him drive you for a while"
KEYWORDS: sex work drink bawdy humorous servant
FOUND_IN: Britain(England(South,West))
REFERENCES: (2 citations)
Kennedy 172, "The Coachman's Whip" (1 text, 1 tune)
DT, COACHMN*
Roud #862
CROSS_REFERENCES:
cf. "The Chandler's Wife" (plot)
cf. "The Farm Servant (Rap-Tap-Tap)" (plot)
cf. "The Jolly Barber Lad" (plot)
ALTERNATE_TITLES:
The Coachman
The Jolly Driver
File: K172
===
NAME: Coal Black Rose
DESCRIPTION: Halyard shanty, Negro origin. "Oh, me Rosie, Coal Black Rose, Don't ye hear the banjo ping-a-pong-a-pong? Oh, me Rosie, Coal Black Rose." Verses mostly nonsense, with a fair amount of onomatopoeia, i.e. "ping-a-pong-a-pong," "dinging an' a dang," etc.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Bullen, _Songs of Sea Labor_)
KEYWORDS: shanty worksong
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 364, "Coal Black Rose" (1 text, 1 tune) [AbEd, p. 274]
Roud #9128
File: Hugi364
===
NAME: Coal Creek Troubles
DESCRIPTION: "My song is founded on the truth, In poverty we stand. How hard the millionaire will crush Upon the laboring man." The governor of Tennessee sends convicts to work the mines of Coal Creek. The miners oppose, but the legislature will not help
AUTHOR: James W. Day ("Jilson Setters")?
EARLIEST_DATE: 1937 (recording, Jilson Setters)
KEYWORDS: mining hardtimes strike political work chaingang
HISTORICAL_REFERENCES: 1891-1892 -- Coal Creek War.
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Thomas-Makin', pp. 192-194, (no title) (1 text)
Green-Miner, p. 155-157, "Coal Creek Troubles" (4 texts, 1 tune)
DT, COALCRK*
RECORDINGS:
Old Charlie,' "Coal Creek Rebellion" (AFS 12012, 1940)
Jilson Setters, [pseud. for James W. Day] "Coal Creek Troubles" (AFS 1017, 1937) [Note: This was Thomas's source. - PJS]
G. D. Vowell, "Coal Creek War" (AFS 1381, 1937)
CROSS_REFERENCES:
cf. "Pay Day at Coal Creek" (subject)
cf. "Buddy Won't You Roll Down the Line" (subject)
NOTES: The Coal Creek War had a long and disturbing history. Conditions at Coal Creek were terrible, as the deaths in 1902 and 1911 disasters show. Beginning in 1877, the state of Tennessee chose to relieve its shortage of prisons by putting miners to work in the Coal Creek mines. Many died, but the owners didn't care; convicts were cheap. At the time, there were enough jobs at other mines, so the miners didn't care much either.
In 1891, things turned ugly as the owners tried to deny the miners the right to choose their own check-weighmen. The miners struck; they were evicted from their homes and more convicts brought in. The miners peacefully freed the convicts and tried to convince governor "Buck" Buchanan to negotiate.
Buchanan made the worst possible choice: Force, but not sufficient force. He gathered a small escort of militia, came to Coal Creek, tried to argue with the miners, was refuted, then departed. He left the militia -- but they were only three companies, not enough to do any good. The miners forced them to surrender.
Buchanan sent more and more troops until the miners finally surrendered in October 1892. Buchanan failed of re-election, and eventually the convict labor system was abolished. - RBW
File: ThBa192
===
NAME: Coal Miner's Child, The: see The Orphan Girl (The Orphan Child) (File: R725)
===
NAME: Coal Miner's Song, The
DESCRIPTION: "Working in the mines, boys, Mighty hard to stand; Lordy, lordy, these old mines Has killed many a man." The singer described the hard work, the bad food, the poverty, the waiting for the whistle, the "Mine boss at the office, Cutting down our pay."
AUTHOR: "Aunt Pricey Preston's Mose"?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: mining hardtimes money nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 247, "The Coal Miner's Song" (1 text)
NOTES: Though Thomas does not list a tune, and does list an author (sort of), this looks to me more traditional than many of the pieces in her book. At the very least, I am sure the tune is traditional.
It appears from her account that the author managed to bring his guitar to work with him in the mines, allowing him to sing it while there. Right. - RBW
File: ThBa247
===
NAME: Coal Owner and the Pitman's Wife, The
DESCRIPTION: "A dialog I'll tell you as true as my life, Between a coal owner and a poor pitman's wife." The woman tells the owner she has come from Hell. They are turning out the poor to make room for "the rich wicked race." She tells him to treat his workers well
AUTHOR: William Hornsby?
EARLIEST_DATE: 1952 (Lloyd, "Come All Ye Bold Miners")
KEYWORDS: dialog worker warning Hell
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
MacColl-Shuttle, pp. 16-17, "The coal owner & the pitman's wife" (1 text, 1 tune)
DT, COALOWNR*
NOTES: The notes in the Digital Tradition say this came from an 1844 strike. It is sung to the Derry Down tune, though the version in MacColl-Shuttle isn't quite the Derry Down tune I know. - RBW
File: MacCS16
===
NAME: Coal Quay Market, The
DESCRIPTION: Singer buys an old flea-ridden chemise at Coal Quay. His wife won't have it. The lady that sold it to him won't take it back and beats him. "Pretty females": don't let a man interfere with your business; if you buy a chemise, buy a new one.
AUTHOR: Jimmy Crowley (source: OCanainn)
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: clothes humorous wife abuse
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 98-99, "The Coal Quay Market" (1 text, 1 tune)
NOTES: OCanainn: "This is one of Jimmy Crowley's best known songs and is very popular with Cork audiences, as it deals with the goings-on at one of the city's best known landmarks - the Coal Quay, between Castle Street and the river. It was traditionally a second-hand market, though you can now get both new and second-hand goods there." - BS
File: OCan098
===
NAME: Coalmine, The
DESCRIPTION: Some men go a Mallore hill to find coal. "In a month's time we'll all be millionaires." They spend a hot day digging but the only thing black they find is a dead crow. They test burn some lumps but it's not coal. "Let the coal and the mine go to hell"
AUTHOR: Tom Molloy (source: McBride)
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: mining humorous moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 17, "The Coalmine" (1 text, 1 tune)
File: McB1017
===
NAME: Coast of Barbary, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Coast of Peru, The [Laws D26]
DESCRIPTION: (The captain promises the sailors that they will spot many whales off Peru.) A whaler spots a whale off the coast of Peru. The crew harpoons the whale and renders it. They look forward to seeing the girls at home
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal of William Silver of the Bengal)
KEYWORDS: sea whale whaler return
FOUND_IN: US(MA)
REFERENCES: (8 citations)
Laws D26, "The Coast of Peru"
Doerflinger, pp. 151-152, "The Coast of Peru" (1 text)
Huntington-Whalemen, pp. 2-4, "The Coast of Peru" (1 text, 1 tune)
Colcord, pp. 194-195, "Coast of Peru" (1 text, 1 tune)
Harlow, pp. 222-223, "Coast of Peru" (1 text, 1 tune)
Darling-NAS, pp. 185-186, "The Coast of Peru" (1 text)
Silber-FSWB, p. 91, "Coast of Peru" (1 text)
DT 617, CSTPERU*
Roud #1997
CROSS_REFERENCES:
cf. "Blow Ye Winds in the Morning" (floating versesO
NOTES: A.L. Lloyd notes that "Mention of the mate 'in the main chains' dates the song from before the 1840s." -PJS
File: LD26
===
NAME: Coasts of High Barbary, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: Coatman's Saloon
DESCRIPTION: The singer meets a young lady. He invites her to Coatman's for ice cream. She orders a steak. She says "her husband had gone to war" but at the ferry her "husband" threatens to shoot him. "The story will be continued in the 'Guardian' next week"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: lie food humorous husband
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 98-99, "Coatman's Saloon" (1 text, 1 tune)
Roud #12450
File: Dib098
===
NAME: Cobalt Song, The
DESCRIPTION: "For we'll sing a little song of Cobalt, If you don't live there it's your fault, Oh you Cobalt where the wintry breezes blow...." The singer describes various bad mining towns, concluding "It's hob-nail boots and a flannel shirt in Cobalt town for mine."
AUTHOR: L. F. Steenman
EARLIEST_DATE: 1910
KEYWORDS: mining home nonballad
HISTORICAL_REFERENCES: 1903 - Discovery of silver in Cobalt, Ontario
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 195-197, "The Cobalt Song" (1 text, 1 tune)
File: FMB195
===
NAME: Cobbler (I), The
DESCRIPTION: The singer, cobbler (Dick Hobson), comes from a questionable family and leads a questionable life. The song may end with an account of how he became free of his "lumpy" wife: I dipped her three times in the river / and carelessly bade her goodnight"
AUTHOR: unknown
EARLIEST_DATE: 1731 (ballad opera, "The Jovial Crew")
KEYWORDS: abandonment rambling bawdy
FOUND_IN: US(MA,MW,NE,So,SW) Britain(England,Scotland(Aber)) Ireland
REFERENCES: (12 citations)
Randolph 102, "Dick German the Cobbler" (1 text plus a fragment, 1 tune)
Randolph/Cohen, pp. 133-135, "Dick German the Cobbler" (1 text, 1 tune -- Randolph's 102A)
Randolph-Legman I, ppp. 516-517, "Dick Darlin' the Cobbler" (2 texts, 1 tune)
Flanders/Olney, pp. 176-177, "Hobson, the Cobbler" (1 text, 1 tune)
Gardner/Chickering 180, "Rusty Old Rover" (1 fragment, probably this piece); also 181, "Me Father Is a Lawyer in England" (2 short texts, 2 tunes, both very mixed; "A" has the first verse of "Me Father Is a Lawyer in England,"; the second is "Me father is a hedger and ditcher, and the third and the chorus are from "The Cobbler"; the "B" text is also clearly mixed though the elements are less clear)
GreigDuncan3 483, "Dick Dorbin the Cobbler" (3 texts, 2 tunes)
Kennedy 222, "Fagan the Cobbler" (1 text, 1 tune)
Cray, pp. 111-113, "(My Name Is) Dick Darby, the Cobbler" (1 partial text, 1 tune)
MacSeegTrav 42, "My Faither Was Hung for Sheep-Stealing" (1 text, 1 tune)
Gilbert, pp. 78-79, "Dick Darlin'" (1 text)
Chappell/Wooldridge II, pp. 163-164, "Old Hewson the Cobbler" (1 tune with no text, but presumably a version of this)
DT, DICKDARB* DICKDAR2 DICKDAR3
Roud #872
RECORDINGS:
Lawrence Older,  "Jed Hobson" (on LOlder01)
Wickets Richardson & chorus, "Fagan the Cobbler" (on FSB3)
BROADSIDES:
Bodleian, 2806 b.10(81), "Dick Darling the Cobbler" ("My name is Dick Darling the cobbler"), H. Such (London), 1849-1862; also Harding B 11(891), Harding B 20(38), "Dick Darling the Cobbler"
LOCSinging, sb10093b, "Dick Darlin' the Cobbler," H. De Marsan (New York), 1864-1878
CROSS_REFERENCES:
cf. "My God, How the Money Rolls In"
ALTERNATE_TITLES:
Dick Darby, the Cobbler
The Souter
NOTES: Chappell/Wooldridge report "The words of this song have not been recovered; but there can be little doubt that they were a political satire upon Colonel Hewson, who was one of Charles I's judges, and of those who signed his death-warrant.
"John Hewson was originally a cobbler, and had but one eye. He took up arms on the side of the parliament.... He was knighted by Cromwell, and afterwards made one of his Lords. He quitted England immediately before the Restoration, and died at Amsterdam in 1662."
The above may be taken with as many grains of salt as you desire.
This clearly circulated in both clean and dirty versions, and all shades in between (e.g. in the Flanders/Olney version, the third line reads, "They call me an old fornicator," but the rest is clean).
For one of the more extreme versions, see "Haben a Boo and a Banner" (DT DICKDAR3) - RBW
See Tim Coughlan, _Now Shoon the Romano Gillie_, (Cardiff,2001), #162, pp. 413-416, "My Manishi's Rumpy and Tumpy" [Scotto-Romani/Tinklers' Cant fragment from M'Cormick, _The Tinkler-Gypsies_ (1906)]. - BS
Broadside LOCSinging sb10093b: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: R102
===
NAME: Cobbler (II), The: see The Shoemaker (File: R566)
===
NAME: Cobbler (III), The
DESCRIPTION: "Walking up and down one day, I peeped in a window over the way. Pushing his needle through and through, There sat a cobbler making a shoe. Rap-a-tap-tap-tap, ticky-tacky-too, This is the way to make a shoe."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 149, "The Cobbler" (1 text)
Roud #15884
NOTES: I have the funny feeling that this is a scrap of a bawdy song, along the lines of "The Shoemaker's Kiss," but the fragment in Brown is clean -- and entirely pointless. - RBW
File: Br3149
===
NAME: Cobbler (IV), The
DESCRIPTION: The singer is a poor uneducated shoemaker "mong the lowly ... scarcely owner of a groat." "Contented if I'm healthy ... If I keep the ravening wolf from my door". Don't long for what you don't have. Be satisfied while "around us be the everlasting arms"
AUTHOR: William Reid (d. c. 1903) (source: GreigDuncan3)
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: poverty nonballad religious
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 482, "The Cobbler" (1 text)
Roud #5975
CROSS_REFERENCES:
cf. "Cruiskeen Lawn" (tune, per GreigDuncan3)
File: GrD3482
===
NAME: Cobbler, Cobbler, Where's My Shoe
DESCRIPTION: "Cobbler, cobbler, mend my shoe, Yes, good master, that I'll do; Here's my awl and wax and thread, And now your shoe is quite mended."
AUTHOR: unknown
EARLIEST_DATE: 1807 (Original Ditties for the Nursery, according to Opie-Oxford2)
KEYWORDS: clothes
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 103, "Cobbler, cobbler, mend my shoe" (1 text)
Baring-Gould-MotherGoose #585, p. 235, "(Cobbler, cobbler, mend my shoe)"
Roud #12749
NOTES: It appears, from Halliwell, that this was a song used to induce children to put on their shoes. - RBW
File: BGMG585
===
NAME: Cobbler's Boy, The: see The Shoemaker (File: R566)
===
NAME: Coble o Cargill, The [Child 242]
DESCRIPTION: Davie Drummond o Cargill has a bed waiting for him in Balathy, another in Kercock. But one of the women "bored the coble (boat) in seven pairts," and it sinks as he tries to cross the Tay. He regrets his death; the song ends with repetitions of same
AUTHOR: unknown
EARLIEST_DATE: 1875
KEYWORDS: jealousy death drowning infidelity murder
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Child 242, "The Coble o Cargill" (1 text)
Roud #4021
NOTES: Child reports a legend that Drummond was killed because one of his lovers suspected infidelity when he failed to visit her when he had opportunity. But he points out that such legends often grew up about ballads.
The song has very little plot, and that rather smothered in the repetitions at the end (of what sort of man Drummond was, and of how he drowned). It is not surprising that it did not flourish in tradition. - RBW
File: C242
===
NAME: Cocaine (The Furniture Man)
DESCRIPTION: "I've got a gal in the white folks' yard...she brings me meal, she brings me lard." Refrain: "Here comes Sal with her nose all sore/Doctor said she can't smell no more...." The furniture man looks for the singer's wife, repossesses all of his belongings
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Luke Jordan)
LONG_DESCRIPTION: Confused, floating verses; "I've got a gal in the white folks' yard...she brings me meal, she brings me lard." Occasional refrain: "Here comes Sal with her nose all sore/Doctor said she couldn't smell no more...I'm simply wild about my good cocaine." The furniture man comes to singer's house looking for his wife, repossesses all of his belongings
KEYWORDS: drugs hardtimes floatingverses
FOUND_IN: US(Ap, SE)
REFERENCES: (0 citations)
RECORDINGS:
Luke Jordan, "Cocaine Blues" (Victor 21076, 1927)
Dick Justice, "Cocaine" (Brunswick 395, 1929; on RoughWays2)
CROSS_REFERENCES:
cf. "Cocaine Blues (I)" (subject) and references there
cf. "Ain't No Use Workin' So Hard" (lyrics)
NOTES: This song clearly exists in both Anglo- and African-American traditions; just as clearly, Justice's performance was derived from Jordan's. The narrative is extremely confused, but (barely) sufficient to class it as a ballad. - PJS
File: RcCo
===
NAME: Cocaine Bill and Morphine Sue
DESCRIPTION: "Cocaine Bill and Morphine Sue, Strolling down the avenue two by two," decide that a shot will do them no harm. They try to find cocaine, though it is no longer sold in the stores. Now they are dead and buried; no one knows where they went
AUTHOR: unknown
EARLIEST_DATE: 1959 (recording, anonymous singers)
KEYWORDS: drugs death
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Silber-FSWB, p. 75, "Cocaine Bill and Morphine Sue" (1 text)
Roud #4790
RECORDINGS:
Anonymous singers, "Cocaine Bill and Morphine Sue" (on Unexp1)
CROSS_REFERENCES:
cf. "Cocaine Blues (I)" (subject) and references there
NOTES: Cocaine was outlawed in the early part of this [the twentieth] century, which is probably why Bill and Sue couldn't get it at the drugstore.
This is clearly related to the cross-referenced pieces, but it includes more narrative than "Cocaine Blues", and lacks the "drug-afflicted possessions" so characteristic of  "Cocaine Lil". I call it a separate song. - PJS
This is clearly so; even if it arose from one of the other cocaine songs (all of which have a certain sameness), it has gone its own way. - RBW
File: FSWB075A
===
NAME: Cocaine Blues (I)
DESCRIPTION: "Yonder comes my baby all dressed in blue, Hey, baby, what you gonna do? Cocaine all around my brain." "Hey, baby, won't you come here quick, This old cocaine is makin' me sick." "Yonder comes my baby all dressed in white, Hey... gonna stay all night?"
AUTHOR: unknown
EARLIEST_DATE: c. 1961 (recording, Dave Van Ronk)
KEYWORDS: drugs sex
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 76, "Cocaine Blues" (1 text)
CROSS_REFERENCES:
cf. "Cocaine Lil" (theme, lyrics)
cf. "Take a Whiff on Me" (lyrics, chorus)
cf. "Cocaine (The Furniture Man)" (subject)
cf. "Cocaine Bill and Morphine Sue" (subject)
File: FSWB076B
===
NAME: Cocaine Lil
DESCRIPTION: Cocaine Lil "lived in Cocaine town on Cocaine Hill, She had a cocaine dog and a cocaine cat..." and other equally drug-afflicted possessions. One night, after a party, she "took another sniff and it knocked her dead"; her tombstone testifies to her habit
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: drugs death party burial
FOUND_IN: US
REFERENCES: (3 citations)
PBB 114, "Cocaine Lil and Morphine Sue" (1 text)
Sandburg, p. 206, "Cocaine Lil" (1 text, tune referenced)
DT, COKELIL
Roud #9543
CROSS_REFERENCES:
cf. "Willy the Weeper" (tune)
cf. "Cocaine Blues (I)" (subject) and references there
File: PBB114
===
NAME: Cock Robin: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Cock Your Beaver
DESCRIPTION: "When first my Jamie he came to the town, He had a blue bonnet, a hole in the crown, But now he has gotten a hat and a feather: Hey, Jamie lad, cock your beaver." Jamie now has"gold behind" and "gold afore," and is urged to show it proudly
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2); probably before 1776 (Herd)
KEYWORDS: clothes money
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Hogg2 64, "Cock Up Your Beaver" (1 text, 1 tune)
Montgomerie-ScottishNR 112, "(When first my Jamie he came to the town)" (1 text)
Roud #8257
NOTES: A description for the Hogg2 text is: The singer says her brave Johnnie has traded his blue bonnet for a hat with a feather and a white rose on the band. He's gone south with Andrew Ferrara and "Donald the drover, and Duncan the caird, And Sawney the shaver, and Logie the laird." Hogg2 has no explanation except that it "is a clever old song" and "There are various sets of it sung in the country. Johnson, in his Museum, has made sure of leaving out all that may be misconstrued, by publishing only one verse to suit the air." - BS
File: MSNR112
===
NAME: Cock-Fight, The
DESCRIPTION: Description of a cock-fight, wherein the grey defeats the charcoal-black, to the delight of the singer.
AUTHOR: unknown
EARLIEST_DATE: 1905
KEYWORDS: fight bird gambling sports chickens
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 27, "The Cock-Fight (The Bonny Grey)" (1 text, 1 tune)
Roud #211
BROADSIDES:
Bodleian, Firth c.19(37) view 1, "The Bonnie Gray," unknown, n.d.
CROSS_REFERENCES:
cf. "The Wednesbury Cocking" (theme)
cf. "The Follom Brown-Red" (theme)
cf. "The Kildallan Brown Red" (theme)
File: VWL027
===
NAME: Cock, The: see Night Visiting Song (File: DTnitevi)
===
NAME: Cockies of Bungaree, The
DESCRIPTION: The unemployed worker takes a job clearing for a cocky at Bungaree. He finds that the working conditions are miserable, and the cocky expects him to be at work before dawn. (Within days the singer concludes that anything is better than this, and quits)
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: unemployment work farming Australia
FOUND_IN: Australia
REFERENCES: (4 citations)
Fahey-Eureka, pp. 128-129, "The Cockies of Bungaree" (1 text, 1 tune)
Manifold-PASB, pp. 104-105, "The Cockies of Bungaree" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 264-266, "Cockies of Bungaree" (1 text)
DT, COCKBUNG* COCKBUN2*
RECORDINGS:
John Greenway, "The Cockies of Bungaree" (on JGreenway01)
A. L. Lloyd, "The Cockies of Bungaree" (on Lloyd3, Lloyd8) (Lloyd4, Lloyd8)
CROSS_REFERENCES:
cf. "The Stringybark Cockatoo" (plot, lyrics)
cf. "Rhynie" (theme)
NOTES: A "cocky" is a farmer who owns land so poor that it can't raise anything but cockatoos. Bungaree, a short way north of Melbourne, lies within a large area of such poor land. (Even in the settled parts of Australia, the majority of the land is very bad.) - RBW
File: FaE128
===
NAME: Cockledemoy (The French Invasion)
DESCRIPTION:  A cock on a dung hill sees a bull he wants to kill. He raises a navy and impresses ducks for a crew. He would lead the attack but his hen fears he'd be killed. His courage fails and he stays home but sends the ducks to fight John Bull.
AUTHOR: William Ball (source: Moylan)
EARLIEST_DATE: "shortly after 1798" (according to Moylan)
KEYWORDS: war chickens animal humorous
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 31, "Cockledemoy" or "The French Invasion" (1 text, 1 tune)
NOTES: Moylan: "The Cock is France, or perhaps Napoleon, and the Bull is England." - BS
The meaning depends much on the exact dating of the song, I think. After General Hoche's invasion of Ireland failed (for which see, e.g., "The Shan Van Vogt"), Napoleon twice contemplated amphibious action against Britain. In 1798, he considered invading Ireland -- but instead went to Egypt, leaving only a few ships and soldiers to sail for Ireland; they arrived after the 1798 rebellion had failed and accomplished very little.
In 1804-1805, Napoleon went for bigger things: He was going to invade England itself, and built up his forces dramatically. But then he headed east to fight the Third Coalition, leaving his fleet to be beaten at Trafalgar.
Either dating fits the events in the song, obviously, but all those impresseed ducks sound more like the inexperienced French navy of Trafalgar. The navy of 1798 wasn't any better, but it didn't send so many involuntary sailors to Ireland.
William Ball was a writer of humorous verse about Irish history; in this index, see "Cockledemoy (The French Invasion)," "Do as They Do in France," "The Dying Rebel," and "Faithless Boney (The Croppies' Complaint)" -- though he doesn't seem to have made much impression on the wider world of literature; I have been unable to find any of his writings in any of my literary references. - RBW
File: Moyl031
===
NAME: Cockles and Mussels: see Molly Malone (File: FSWB124B)
===
NAME: Cocky Robin: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Cod Banging
DESCRIPTION: A fisherman remembers encountering a big barque and surviving the fight. Now the crowd meets them at Harwich pier to crack cod fish skulls. He concedes he may not have "got it complete 'Cause I've only been in the trade about a week"
AUTHOR: unknown
EARLIEST_DATE: 1972 (recording, Bob Hart)
KEYWORDS: battle fishing sea ship humorous talltale
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1747
RECORDINGS:
Bob Hart, "Cod Banging" (on Voice02)
NOTES: Harwich is an East Anglia port about 65 miles from London. - BS 
File: RcCodBan
===
NAME: Cod Fish Song
DESCRIPTION: A man brings home a "cod fish," and places it in the chamberpot for safekeeping. When his wife goes to relieve herself, the codfish jumps up her "you-know-what." Husband and wife chase the fish around the room, and kill it with a broom.
AUTHOR: Oscar Brand has claimed a copyright on this version of "The Sea Crab."
EARLIEST_DATE: c. 1955
KEYWORDS: animal bawdy humorous husband wife
FOUND_IN: US(Ap) Britain(England(South)) Ireland
REFERENCES: (2 citations)
Cray, pp. 5-6, "Cod Fish Song" (1 text)
Copper-SoBreeze, pp. 288-289, "Little Fisherman" (1 text, 1 tune)
Roud #149
RECORDINGS:
Nora Cleary, "The Codfish" (on Voice07)
CROSS_REFERENCES:
cf. "The Sea Crab"
File: EM005
===
NAME: Cod Liver Oil
DESCRIPTION: Singer complains of having married a sickly wife. After he introduces her to cod liver oil, she goes wild for it, demanding it all the time. He warns young men to avoid sickly women, or they'll "end up a-swimmin' in cod liver oil!"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: disease marriage medicine humorous doctor
FOUND_IN: US Ireland Canada(Newf)
REFERENCES: (6 citations)
Greenleaf/Mansfield 155, "Cod Liver Oil Song" (1 text)
Peacock, pp. 48-49, "Cod-Liver Oil" (1 text, 1 tune)
Blondahl, p. 28, "Cod-Liver Oil" (1 text, 1 tune)
OLochlainn-More 30, "The Cod Liver Oil" (1 text, 1 tune)
Silber-FSWB, p. 169 "Cod Liver Oil" (1 text)
DT, CODLIVR*
Roud #4221
RECORDINGS:
Omar Blondahl, "Cod Liver Oil Song" (on NFOBlondahl02); "Cod Liver Oil" (on NFOBlondahl03)
Flanagan Brothers, "Cod Liver Oil" (Vocalion 84010, n.d.)
BROADSIDES:
Bodleian, Firth b.34(89), "Dr. de Jongh's Cod Liver Oil ," unknown, n.d.
CROSS_REFERENCES:
cf. "The Fair Do" (tune)
cf. "The Quilty Burning" (tune)
cf. "The Half Crown" (tune)
ALTERNATE_TITLES:
Cod Liver Ile
NOTES: Cod liver oil, which contains Vitamin D in quantity, was touted as a cure-all in the 19th and early 20th centuries -- indeed, it was still being given to gagging children when I was growing up in the 1950s. - PJS
The theme is not very different from that of "The Dumb Wife" [Laws Q5], in which a man, to his eventual sorrow, goes to a doctor -- sometimes named John -- to cure his otherwise perfect wife of her inability to speak.
Newfoundland authorship attribution is not always to be treated as gospel. Blondahl notes "there are several popular versions of Cod-Liver Oil, the original to be credited to John Burke." Burke (1851-1930) is a very well known author of songs in Newfoundland. In Blondahl's version the potion comes from "dear Doctor John" and not Doctor de [or D.E.] Jongh. If Burke is indeed the author his work made its way to Ireland. - BS
File: FSWB169A
===
NAME: Cod Liver Oil Song: see Cod Liver Oil (File: FSWB169A)
===
NAME: Cod-Liver Oil: see Cod Liver Oil (File: FSWB169A)
===
NAME: Codfish Shanty, The: see Cape Cod Girls (File: LoF023)
===
NAME: Coffee Grows (Four in the Middle)
DESCRIPTION: Playparty in two or three parts: "Coffee grows on white oak tree, The river flows with brandy o'er, Go choose someone to roam with you...." "Four in the middle, you can't get around..." (may have more verses) "Railroad, steamboat, river, and canal..."
AUTHOR: unknown
EARLIEST_DATE: 1914 (JAFL 27)
KEYWORDS: playparty courting nonballad love train drink
FOUND_IN: US(MW,SE,So)
REFERENCES: (6 citations)
Randolph 524, "Four in the Middle" (1 text plus 8 excerpts and/or fragments, 1 tune)
BrownIII 78, "Coffee Grows on White Oak Trees" (7 texts plus 1 excerpt and mention of 1 more, but almost all mixed --  all except "H" have the "Coffee grows" stanza, but "A" also has verses from "Fly Around, My Pretty Little Miss"; "and "C" through "H" are mostly "Little Pink"; "B" is mixed with "Raccoon" or some such)
Hudson 154, p. 301, "Coffee Grows on White-Oak Trees" (1 short text); also 85, p. 212, "Going to the Mexican War" (1 fragment, with the "Knapsack on my Shoulder" text and also the "Coffee Grows" stanza)
Scarborough-NegroFS, pp. 105-106, "Hold My Mule" (1 text, 1 tune, which Scarborough implies is a "Jim Along, Josie" by-blow but which appears to be built on the "Four in the Middle" segment of this song)
Lomax-FSUSA 31, "Coffee Grows on White Oak Trees" (1 text, 1 tune)
DT, RAGECANL*
Roud #735
CROSS_REFERENCES:
cf. "Bheir Me O" (melody has same first lines as "Coffee Grows")
cf. "Fly Around, My Pretty Little Miss" (floating lyrics)
ALTERNATE_TITLES:
The Raging Canal
File: R524
===
NAME: Coffee Grows on White Oak Trees: see Coffee Grows (Four in the Middle) (File: R524)
===
NAME: Cogie o' Yill, A
DESCRIPTION: "A cogie o' yill (ale), and a pickle ait meal, And a daintie wee drappie o' whiskey Was our forefathers' dose...." The singer praises the martial exploits of the Scots, and their diet, concluding, "Then hey for the whisky, and hey for the meal...."
AUTHOR: Andrew Sherriffs ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: drink food patriotic Scotland nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 329-330, "A Cogie o' Yill" (1 text)
Roud #6316
File: FBS329
===
NAME: Cold and Raw: see Mowing the Barley (Cold and Raw) (File: ShH60)
===
NAME: Cold Black River Stream, The
DESCRIPTION: A young man (Corkery) goes to work on McCormick's drive on the Black River even though his family begs him to stay at home. In the course of his work, he jumps from a log into the stream and, because he cannot swim, drowns
AUTHOR: unknown
EARLIEST_DATE: 1957 (Fowke)
KEYWORDS: logger death drowning
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #41, "The Cold Black River Stream" (2 texts, 1 tune)
Roud #3679
File: FowL41
===
NAME: Cold Blow and a Rainy Night: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Cold Blows the Wind: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Cold Frosty Morning: see On a Cold Frosty Morning (File: R283)
===
NAME: Cold Haily Windy Night: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Cold Mountains
DESCRIPTION: "Cold mountains here are all around me, Cold waters gliding down the stream; Oft in my sleep I think I find her But when I wake it's all a dream." The singer seeks his love, who is gone or has rejected him or is left behind at home; he bids her farewell
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love separation farewell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 277, "Cold Mountains" (1 text)
Roud #16858
File: Br3277
===
NAME: Cold Water Song
DESCRIPTION: "I asked a sweet robin one evening in May" what he sang about. "I am only a-singing the cold water song. Teetotal's the very first word of my lay ... All the birds to the cold water army belong"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: drink lullaby bird
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 82, "Cold Water Song" (1 text, 1 tune)
ST CrSNB082 (Partial)
Roud #2767
NOTES: Creighton-SNewBrunswick states that this song has been collected twice in the Maritimes as a lullaby, which is an interesting end for an anti-alcohol song. Creighton thinks it comes from Britain. - BS
File: CrSNB082
===
NAME: Cold Winter is Coming: see Remember the Poor (File: Wa161)
===
NAME: Cold Winter Night: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: Cole Younger [Laws E3]
DESCRIPTION: Cole Younger tells of his career as a robber, first with his brother Bob and then as part of the James Gang. His career ends when the gang tries to rob the bank in Northfield, MN. Though the Jameses escape, the robbery fails and Cole is captured
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: outlaw robbery prison punishment
HISTORICAL_REFERENCES: 1876 - The raid by the James Gang and the Younger Brothers on the Northfield Bank
1903 - Cole Younger released from prison (despite being sentenced to life for murder)
1916 - Death of Cole Younger
FOUND_IN: US(MA,MW,So,SW)
REFERENCES: (13 citations)
Laws E3, "Cole Younger"
Cohen-LSRail, pp. 117-121, "Cole Younger" (1 text plus an excerpt, 1 tune)
Randolph 131, "Cole Younger" (3 texts plus an excerpt, 3 tunes)
Randolph/Cohen, pp. 143-146, "Cole Younger" (1 text, 1 tune -- Randolph's 131A)
Warner 38, "Cole Younger" (1 text, 1 tune)
Lomax-FSNA 182, "Cole Younger" (1 text, 1 tune)
Asch/Dunson/Raim, p. 46 "Bandit Cole Younger" (1 text, 1 tune)
Fife-Cowboy/West 94, "Cole Younger" (1 text, 1 tune)
Ohrlin-HBT 59, "Cole Younger" (1 text, 1 tune)
Darling-NAS, pp. 188-190, "Cole Younger" (1 text)
Silber-FSWB, p. 204, "Cole Younger" (1 text)
DT 356, COLEYNGR
ADDITIONAL: _Sing Out_ magazine, Volume 20, #5 (1971), p, 9, "Cole Younger" (1 text, 1 tune, the Dock Boggs version)
Roud #2243
RECORDINGS:
Dock Boggs, "Cole Younger" (on Boggs2, BoggsCD1)
Edward L. Crain, "Bandit Cole Younger" ((Columbia 15710-D, 1932; rec. 1931; on AAFM1, WhenIWas1) (Conqueror 8010 [as Cowboy Ed Crane], 1932; rec. 1931)
Warde Ford, "Cole Younger" (AFS 4197 B2, 1938; tr.; in AMMEM/Cowell)
Oscar Gilbert, "Cole Younger" (on LomaxCD1705)
Glenn Ohrlin, "Cole Younger" (on Ohrlin01)
Marc Williams, "Cole Younger" (Brunswick 544, c. 1930)
CROSS_REFERENCES:
cf. "Jesse James (I)" (characters)
cf. "Jesse James (III)" (characters and historical background)
NOTES: Henry Washington Younger was the father of quite a brood: Fourteen children in all (O'Neal, p. 346, etc. For references, see the bibliography at the end of this note). Four of these children would eventually become outlaws: Thomas Coleman ("Cole"), the seventh child, 1844-1916; James ("Jim"), 1848-1902; John, 1851-1874; and Robert ("Bob"), 1853-1889.
Born in Cass County, Missouri; the Youngers came of a good family; both their father and their grandfather were referred to as judges (Yeatman, p. 115) -- though Croy, p. 4, notes that "judge" in this context does not mean what we think it does; it was more nearly equivalent to the modern term "Commisioner." Wellman, p. 56, says that people also called Henry Washington Younger "Colonel," but admits that the title was probably honorary. Despite being a slaveholder, he was a Unionist during the Civil War (Croy, p. 6), but even so, he was killed and his property heavily damaged by Union forces (Croy, p. 17; Wellman, pp. 56-58).
According to Yeatman, "If anyone ever had even a remote excuse for outlawry, or any claim to anything close to a Robin Hood title, [the Younger brothers] did." (Hence, perhaps, the stanza in some versions, "And then we started for Texas, where brother Bob did say, That on fast horses we must ride in revenge of our father's day... And we'll fight them anti-guerillas until our dying day.") Croy, pp. 16-17, tells how the patriarch, Judge H. W. Younger, was robbed and killed during the war.
Cole had seemingly been a good student in his early years, and not given to trouble (Croy, p. 5). But the conflict on the Kansas-Missouri border apparently changed him, and the Civil War in Missourie made it worse. He was the first of the family to join the Confederate forces; Croy, pp. 11-12, says he joined Sterling Price's militia on July 5, 1861 (for Price, see "Sterling Price"). He joined the Quantrill raiders (for whom see "Charlie Quantrell," etc.) somewhat later, perhaps October 1861 (Croy, p. 12) or early 1862 (Settle, p. 23); he presumably first  met Frank James in that company.
Accordingto Croy, p. 12, he killed his first man on November 10, 1861.
Eventually a large part of the Quantrill force broke up to follow other leaders, of whom "Bloody Bill" Anderson was the most important. Finally, in August 1862, Cole joined the regular Confederate forces (Croy, p. 17), and was part of the rather silly Confederate probe into New Mexico; Cole ended the war in California (Settle, p. 26). By that time brother Jim had also become a guerrilla (Settle, p. 23).
It was some time in the mid-1860s that Cole Younger had whatever relationship he had with "Belle Starr" (Mira Belle Shirley). O'Neal and others say that they met in 1863, but Wellman, p. 75, dates their serious relationship to 1866. Croy, pp. 58-60, even describes some of their conversations of this period. What is certain is that the teenage Belle had a daughter, whom she called Pearl Younger. But what really happened is almost impossible to know -- the only real witnesses were Belle and Cole, and neither one had much reputation for truth-telling, and neither had much reason to be truthful in this case, either. All Settle will admit, e.g. (p. 212) is that Cole admitted to knowing Belle. Fortunately, the issue need not detain us.
After the war, Cole was the first of the brothers to be regarded as an outlaw, though there seems to be no absolute proof of his criminal behavior at the time. (Wellman, p. 65, says that the Youngers and the Jameses turned to robbery within seven months of the end of the war. But he offers no evidence of this. It sounds as if he has it from newspapers of 1874, which were blaming all available unsolved robberies on the James/Younger gang. Wellman on the same page says that the Jameses and Youngers were first cousins, which none of the more serious biographies support.) John Younger was the first to be directly involved with the law; he killed a Texas sheriff in 1871, and was killed in a shootout with the Pinkertons on March 17, 1874; two Pinkertons died in the process (Yeatman, p. 116). From then on, there is no question but that the surviving Youngers were bandits during their brief careers before the Northfield robbery -- though Wellmann, p. 99, describes them as acting like model citizens and singing in a Dallas church choir.
Although I know of no Minnesota version of this song, the Northfield Bank incident is one of the most celebrated events in Minnesota folklore, and is still commemorated today. Northfield, about forty miles south of the Twin Cities, was and remains a quiet college town; this is the Big Event in town history.
Although a few people claim there were nine outlaws (Huntington, p. 1), the overwhelming weight of evidence indicates that eight men involved in the September 7, 1876  robbery: Charlie Pitts (the name he was using at this time; his birth name was apparently Samuel Wells; O'Neil, pp. 336-337), Bill Stiles, Clell Miller, the three surviving Youngers (Cole, Bob, and Jim), and Frank and Jesse James (Yeatman, pp. 172-175; the description of the robbery below is also mostly from his pages except as noted. It should be mentioned that details are somewhat incomplete; Huntington, p. 11, observes that eyewitnesses did not tell a completely onsistent tale).
Many of the details of the song are accurate; others are wrong. Some texts refer to the "God-forsaken country" of Minnesota. Some of us like it -- but this may be a reference to conditions in 1877. According to Yeatman, p. 170, much of western Minnesota was plagued by locusts in that year, causing severe distress. The James/Younger gang may even have decided against robbing the bank in Mankato (a larger, and presumably richer, town) due to the harsh conditions --though Huntington, pp. 6-7, claims that they were actually about to start the robbery when a large crowd showed up and made then decide not to continue. 
They definitely did not understand local conditions, though -- before the robbery, they apparently tried to bet the restaurant owner that Minnesota would vote Democratic in 1876 (Wellman, p. 101). In fact, Minnesota *never* voted Democratic until it voted for Franklin Roosevelt in 1932! (After which it flipped completely; from 1932 to 2004, it voted Democratic in every election except 1952, 1956, and 1972.) Somewhere in there, the bandits may have picked up a heavy load of booze as well (see Settle, p. 95, where Cole Younger describes how they got drunk). The robbers in the bank apparently smelled of alcohol, and they certainly were incompetent in their behavior -- it makes you wonder how they had managed to get away with so much in Missouri.
"We stationed out our pickets" and "We are the noted Younger boys": of the eight robbers, only three -- Yeatman thinks it was Charlie Pitts, Bob Younger, and one of the James Boys, and Huntington, p. 13, gives the same list -- went inside. (Brant, p. 178, lists the men inside as Bob Younger and Frank and Jesse James; this apparently came from an 1897 report by Cole Younger, but Brant does not give enough information to trace his source. Wellman suggest it was Pitts, Bob Younger, and Jesse James. Whoever it was that entered the bank, they certainly did not proclaim their identities; for years the Youngers and the Jameses had been vary careful not to admit who they were.) Two robbers -- Cole Younger and Clell Miller -- stayed outside the door to stop anyone who might try to get in. Three more were posted at a greater distance.
Huntington, p. 17, reports that the bank was being reconstructed, so the employees were in "temporary quarters," more vulnerable than they would ordinarily have been. It did not prevent them from resistance.
The first trouble came when one J. S. Allen tried to enter the bank. Miller stopped him from getting in -- but Allen managed to escape around the corner of the building and raised an alarm. Huntington, p. 25, notes that it was prairie chicken season, and many of the town's best hunters were out in the field, but within minutes, the townfolk were arming themselves and fighting back; the whole robbery and gunfight, according to Huntington, p. 38, lasted but seven minutes.
"The cashier being brave and bold denied our noted band; Jesse James fired the shot that killed that noble man" and "in vain we sought the money drawer while the battle raged outside": There were three employees in the bank when the robbers entered: Teller Alonzo Bunker, acting cashier Joseph Lee Heywood, and assistant bookkeeper Frank J. Wilcox. They seem mostly to have played dumb -- e.g. claiming they couldn't unlock the safe (which apparently was literally true, since it was already unlocked). Cashier Heywood apparently smashed Frank James's arm in the safe (Brant, p. 179, but this from a source that, by its publication date alone, *cannot* have had reliable information).
The robbers proceeded to fumble around, missing not only the safe but the money drawer; their final take was reported to be $26.70. Bunker tried to flee and was shot in the shoulder.
Meanwhile, the townsfolk, having been warned, were starting to fight back. Few were armed, but enough managed to scrape up weapons that it was clear the robbers had to flee. As the inside crew left the bank, one of the robbers shot Heywood in the head after slashing his throat (Settle, p. 92; Huntington, p.41, etc. does not mention the throat-slashing). It seems to have been generally assumed that Jesse was the guilty party; he was pretty definitely the most violent of the gang. There was no reliable eyewitness testimony; Huntington, p. 24, merely said it was one of the robbers, unidentified. On the other hand, Cole Younger -- the last survivor of the Northfield raid -- would report, two days before his death on March 21, 1916, that it was Frank James who fired the fatal shot. To be sure, this was forty years later and Cole was dying -- and he wasn't inside.
A Swedish immigrant, Nicolas Gustavson, was killed outside the bank when he failed to understand (English-language) orders to clear the street (Settle, p. 92; Huntington, p. 16), with O'Neal blaming his death specifically on Cole (p. 348); several other Northfield residents were wounded.
By the time the gang fled town, two of them (Clell Miller and Bill Stiles, their primary guide) were dead, and Cole Younger had a hip wound plus some minor injuries from buckshot, while Bob Younger had been hit in the arm, nearly disabling him. They had also lost some horses, which handicapped them significantly; they ended up stealing various animals, but at least one was a plow horse and not much help (Yeatman, p. 177; Huntington, pp. 48-49 describes two unusable horses they requisitioned). In addition, Bob Younger had lost so much blood that he fainted in Shieldsville; they had to stop to have him attended to (p. 178), costing them more time. They finally decided to proceed on foot.
On September 13, near Mankato, the gang split up -- O'Neal, p. 348, says that Jesse wanted to abandon or kill Bob Younger, who could not move quickly (cf. Settle, p. 95). The other Youngers, who had wounds of their own, refused, so instead of abandoning Bob, they split into two groups. Charlie Pitts and the three Youngers formed one party; Frank and Jesse proceeded on their own. (The hope may have been that the fast-moving Jameses would lead the authorities away from the slower Younger party. It worked for a time -- Huntington, pp. 60-61, says that everyone went off after the Jameses, and thought the whole gang had escaped when they vanished into South Dakota -- but only for a time.) A romantic youngster near Madelia, Minnesota encountered them, was sure he had seen the robbers, and hurried off to tell the authorities (Huntington, pp. 64-65)
On September 21, a posse caught up with the Younger party at Hanska Slough near Madelia (the fact that they had gotten only that far -- Madelia is only 25 miles from Mankato -- shows how lost and hungry and hurt they were). In the shootout, three members of the posse were very lightly injured (Huntington, pp. 70-71). But the robbers were hit hard. Pitts was killed; Jim Younger lost several teeth to a bullet (Croy, p. 129, say that a doctor, working on his facial wound, extracted a section of his jaw with two teeth attached; Settle, p. 163, notes that he would live mostly on liquids for the rest of his life), and Cole Younger added more buckshot wounds to his collection (according to O'Neal, p. 348, he had eleven wounds, Jim five, and Bob four). According to Yeatman, p. 182, Cole wanted to fight on, but Bob talked him out of it; in Huntington's account (p. 71), only Bob was even able to stand up to surrender.
They apparently became celebrity prisoners (Trenerry, p. 95), but that didn't keep them from being charged. According to Huntington, p. 77, all three were charged as accessories in the murder of Heywood, with attacking Bunker with intent to do great bodily harm, and with robbery of the Northfield Bank. Cole Younger was charged with the murder of Gustavson, and the others as accessories.  I'm not sure that any of these could have been proved, but they obviously were guilty of shooting it out with the police, which was problem enough.
Minnesota, as of this writing, has managed to resist the urge to reinstate the death penalty for those too poor or too non-white to have fancy lawyers. In 1876, it *did* have the death penalty -- but under a law of 1868 it required that a jury apply the penalty, not a judge. This law had never been fully tested in the courts, but it was widely interpreted to mean that a defendant who pled guilty to murder could not be hanged (Trenerry, p. 100). So the Youngers, rather than risk the gallows, formally pled guilty to sundry charges on December 11 (Settle, p. 94; Yeatman, p. 191), and were sentenced to life imprisonment (Huntington, p. 78).
Cole and Bob Younger became model prisoners. Jim Younger, always moody and now suffering from a speeh impediment and an inability to eat solid foods due to his wounds, was perhaps not quite such a good inmate. But many thought they had earned release, including two of Minnesota's most important political figures, Alexander Ramsey and Henry Sibley (Huntington, pp. xx-xi). Then Bob Younger died in prison of tuberculosis in 1889. That made the pressure even greater; a law known formally as the "Deming Bill" and informally as the "Younger Act" was passed allowing parole for those who were serving life sentences (Huntington, p. xxiii). Jim and Cole were given parole and set free in 1901, a quarter century after their sentencing.
Upon his release, Jim fell in love with a girl half his age, but his parole did not permit him to marry (Settle, pp. 162-163). Nor could he work most jobs, because his signature, as a convicted felon, did not carry legal weight (Huntington, p. xxv). The girl involved petitioned the governor that he be pardoned (Trenerry, pp. 104-105), but this was denied. Jim shot himself on October 19, 1902, declaring himself in his suicide note a Socialist and supporter of women's rights (Huntington, p. xxv)
In reaction to Jim's death, Cole -- who up to that point had been working as a tombstone salesman -- was given a conditional pardon on the condition that he never return to Minnesota (Trenerry, p. 105); he went on to open a Wild West Show with Frank James. That was rather a disaster (see the notes to "Jesse James (III)" for a general history of the James family, including that show), and brought him some condemnation for taking such a large part (Huntington, p. xxvi), but Cole from 1905 to 1908 ran Cole Younger's Coliseum, which was a more sedate exhibition of guns, saddles, and other gear. He also wrote an autobiography (though this is widely regarded as being not very accurate). He finally died in 1916, the last survivor of the Northfield robbers.
A recent find of a prison journal from the period around 1880 (soon to be displayed by the Minnesota Historical Society) lists the brothers as frequently sick in prison, but Cole Younger did found a prison newsletter. The Stillwater area is still the home of one of Minnesota's leading prisons, too; I guess things don't change much in Minnesota. Though the town of Stillwater is now more noteworthy for its site on the St. Croix river, and the actual site of the old Stillwater prison was burned in 2002 in an act of vandalism).
It took the town of Northfield many years to decide that Jesse James and Cole Younger were part of its heritage. For many years it resisted attempts to put up a monument to the Great Robbery, preferring to point out its rich contribution to education (it is home to Carleton and St. Olaf Colleges, the former in particular noted for its extremely strict standards). Not until 1947 did the town start celebrating the anniversary of the robbery (Huntington, p. xxx) -- though now, sixty years later, it has become the biggest day in the town calendar.
>>*BIBLIOGRAPHY*<<
In writing this summary, in addition to the material gleaned from local newspapers, I have heavily consulted the following works:
Brant: Marley Brant, _Jesse James: The Man and the Myth_, 1998. Despite its title, which might seem to indicate scholarly caution, this book strikes me as incredibly credulous, taking as certain many things where the sources conflict, and often relying on the less reliable sources. It also has a very clear sympathy with any Confederate Good Ol' Boys who just might be terrorists on the side. I have been cautious in using it except where it coincides with information in other books. (Frankly, I eventually started checking the index rather than finish reading the thing).
Croy: Homer Croy, _Cole Younger: Last of the Great Outlaws_, 1956 (I use the 1999 Bison Books edition with an introduction by Richard E. Meyer). Told very informally (to put it mildly), but one of the few books about Younger that actually seems to have done some research.
O'Neal: Bill O'Neal, _Encyclopedia of Western Gunfighters_, 1979. A general work, and as with most such things it appears to have a few details wrong, but a handy source for general references.
Huntington: George Huntington, _Robber and Hero: The Story of the Northfiel Bank Raid_, Christian Way Co., 1895; reissued by the Minnesota Historical Society Press in 1986 with a new introduction by John McGuigan. Although this is considered a relatively sober and accurate account of the raid, with much information from those present, the 1986 introduction detailing the later careers of the Youngers is probably the best part. The text itself is much too hagiographic (of the people of Minnesota, not of the robbers) for me to trust it entirely.
Settle: William A. Settle, Jr., _Jesse James Was His Name_, 1966 (I used the 1977 Bison edition) was one of the first serious James biographies. It is relatively short, but carefully documented, and pays more attention to the songs than the other James books I've seen.
Trenerry: Walter N. Trenerry, _Murder in Minnesota_, Minnesota Historical Society, 1962 (I used the 1985 edition, which is not listed as revised, but I noticed a reference to 1980 in one of the appendices). This is mostly concerned with other Minnesota happenings, but it does have a chapter on the Northfield raid and the Youngers.
Wellman: Paul I. Wellman, _A Dynasty of Western Outlaws_, 1961. This covers a series of outlaws starting with Quantrill's Raiders and ending with Pretty Boy Floyd, so it gives a lot of historial context -- but also is prone to believing any old crazy rumor.
Yeatman: Ted P. Yeatman, _Frank and Jesse James: The Story Behind the Legend_, 2000 (cited as Yeatman), is among the newest and most authoritative books; although clearly intended for popular consumption, it is well-footnoted, very large, and new enough to include the results of DNA investigations. - RBW
File: LE03
===
NAME: Coleen Bawn (I): see William Riley's Courtship [Laws M9] (File: LM09)
===
NAME: Coleen Bawn (II): see Limerick is Beautiful (Colleen Bawn) (File: OCon012)
===
NAME: Coleraine Girl, The
DESCRIPTION: The singer recalls the beauty of Coleraine and the girl who lives there and sings in its valleys. He regrets leaving them behind; he would live there if he could. But he has found work with the fishing fleet (?), and must stay where he is to live
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: work homesickness separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H646, p. 209, "The Coleraine Girl" (1 text, 1 tune)
File: HHH646
===
NAME: Coleraine Regatta
DESCRIPTION: The singer, and many others, set out for the races at Coleraine. The train ride witnesseswild partying. Before it's over, many are separated from those they traveled with. At the course, many things are for sale. The singer gets drunk and falls asleep
AUTHOR: James McCurry ?
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: racing train party drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H36, pp. 74-75, "Coleraine Regatta" (1 text, 1 tune)
Roud #2968
File: HHH036
===
NAME: Colin and Lucy
DESCRIPTION: "Of Leinster, fam'd for maidens fair, Bright Lucy was the grace.... Till luckless love, and pining care, Impair'd her rosy hue." A bell rings, a raven crows in the night; it tells of Colin's marriage to another. She dies; he dies when he learns
AUTHOR: Thomas Tickell
EARLIEST_DATE: 1716 (Rimbault)
KEYWORDS: love courting betrayal death marriage
FOUND_IN: 
REFERENCES: (2 citations)
Percy/Wheatley III, pp. 312-315, "Lucy and Colin" (1 text)
cf. Gardner/Chickering, p. 478, "Colin and Lucy" (source notes only)
Roud #13919
NOTES: This, from all I can see, is just a cheap rewrite of the "Lady Margaret" theme. But Gardner and Chickering claim to have two copies from manuscript. So it's indexed, though I am far from confident of its traditional status. - RBW
File: GC478b
===
NAME: Colin and Phoebe: see Corydon and Phoebe (File: K125)
===
NAME: Collard Greens: see Greens (File: San347)
===
NAME: Colleen from Coolbaun, The
DESCRIPTION: Singer meets Mary Ann O'Donovan, "the colleen from Coolbaun." He proposes marriage to her father, listing his possessions. Her father rejects him as "a rover and a rake" but Mary Ann speaks in his behalf. Her father agrees but with a meager dowry.
AUTHOR: unknown
EARLIEST_DATE: 1965 (Voice01)
KEYWORDS: courting dowry marriage wedding drink father
FOUND_IN: Ireland
REFERENCES: ()

Roud #9233
RECORDINGS:
Tommy McGrath, "The Colleen from Coolbaun" (on Voice01)
CROSS_REFERENCES:
cf. "The Star of County Down" (tune, on Voice01) and references there
NOTES: Coolbaun is in County Cork. At the end of Tommy McGrath's version on Voice01 we are invited to the wedding where "we'll drink long life to my charming wife She's the colleen from the Mullanbaun." Is that a surname? - BS
File: RcTCofCo
===
NAME: Colleen Oge Astore: see Callino Casturame (Colleen Og a Store; Cailin O Chois tSiure; Happy 'Tis, Thou Blind, for Thee) (File: HHH491)
===
NAME: Colleen Rue, The
DESCRIPTION: Singer meets and praises Colleen Rue. She rejects his "dissimulation and invocation." He says if he were Hector, Paris, or Orpheus he'd "range through Asia, likewise Arabia, Pennsylvania" to see her face.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: courting rejection beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 118, "The Colleen Rue" (1 text, 1 tune)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 258-259, "Colleen Rue"
Roud #2365
ALTERNATE_TITLES:
Colleen Ruadh
NOTES: As in "Lough Erne Shore" and "Sheila Nee Iyer," there is no resolution for the Tunney-StoneFiddle version. - BS
A curious set of literary references, this. Orpheus of course went to Hell to bring back Euridice (and then lost her at the end); this very loosely inspired the ballad/romance "King Orfeo" [Child 19]. Paris (Alexander) was the Trojan prince who abandoned his first wife Oenone to hook up with Helen of Sparta (married name: Helen of Troy; for this see especially Ovid's Letter from "Oenone to Paris" in the _Heroides_). And Hector, while faithful to his wife as far as we can tell from the legends, was not a significant traveler. - RBW
File: TSF118
===
NAME: Colley's Run: see Canaday-I-O/Michigan-I-O/Colley's Run I-O [Laws C17] (File: LC17)
===
NAME: Collier Lad, A: see The Collier Lad (Lament for John Sneddon/Siddon) (File: HHH110)
===
NAME: Collier Lad, The (Lament for John Sneddon/Siddon)
DESCRIPTION: The singer tells her tale of grief: Her love, John (Sneddon), is a collier. She dreams a dream of his death. In the morning, she learns that he has died in a cave-in. They were soon to be married and to travel to America. But he will return no more
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: mining death love separation marriage emigration dream mourning
FOUND_IN: Ireland Britain
REFERENCES: (2 citations)
SHenry H110, p. 144, "A Collier Lad" (1 text, 1 tune)
Morton-Maguire 25, pp. 64-65,114,166-167, "The Handsome Collier Lad" (1 text, 1 tune)
Roud #921
RECORDINGS:
John Maguire, "The Handsome Collier Lad" (on IRJMaguire01)
CROSS_REFERENCES:
cf. "The High Blantyre Explosion" [Laws Q35] (theme, characters?)
ALTERNATE_TITLES:
Lament for John Sneddon
Johnny Siddon
File: HHH110
===
NAME: Collier Laddie, The
DESCRIPTION: The singer (or someone) sees a bonnie lass, and steps up to court her. She rejects him; she loves a collier laddie. He goes to her father, offering land and wealth. She still says no. Years later, he turns up poor and begs at the door of girl and collier
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord); some of the verses were known to Burns, but it is possible they float
KEYWORDS: love courting beauty rejection marriage begging
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 40-42, "The Collier Laddie" (1 text, 1 tune)
DT, COLLAD COLLAD2*
Roud #3787
File: Ord040
===
NAME: Collier's Bonnie Lassie, The
DESCRIPTION: "The collier has a daughter" of great beauty. "A laird he was that sought her, Rich baith in lands and money." (She declares that she is too young and black to love a laird, and that she will have a man "the colour o' my daddie")
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scots Musical Museum, #47)
KEYWORDS: mining love rejection nobility
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacColl-Shuttle, p. 24, "The collier's bonnie lassie" (1 short text, 1 tune)
Roud #8410
NOTES: There are several early printed texts of this (reportedly Herd, Thomson, Johnson, etc.). Comparing the _Scots Musical Museum_ version with MacColl's version, I have to think they are recensionally different -- the _Museum_ version is a very flowery description of how the laird courts the girl, with no real ending; the MacColl text has her reject him.
I suspect the _Museum_ text is one of its rewrites (not by Burns), and a weak one. But it's possible that the folk process improved a weak song.
The tunes, apart from one measure in the middle, are note-for-note identical. - RBW
File: MacCS24
===
NAME: Collier's Rant, The
DESCRIPTION: As the singer and his marra/marrer (workmate) go to work, they meet the devil; the singer knocks off his horns and feet. The lights go out, the workmate goes the wrong way, and "Old Nick got me marra and I got the tram." He regrets the loss of his friend.
AUTHOR: Tommy Armstrong ?
EARLIEST_DATE: 1812 (Bell)
LONG_DESCRIPTION: As the singer and his marra/marrer/marrow (workmate) are going to work, they meet the devil; the singer knocks the devil's horns and feet off with his pick. He breaks his bottle and spills the drink; the lights go out, the workmate goes the wrong way, and "Old Nick got me marra and I got the tram." He regrets the loss of his friend. Cho: "Follow the horses, Johnnie me laddie...Hey, lad, lie away, me canny lad-o"
KEYWORDS: fight death mining work friend worker Devil
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
Stokoe/Reay, pp.  74-75, "The Collier's Rant" (1 text, 1 tune)
MacColl-Shuttle, p. 15, "The Collier's Rant" (1 text, 1 tune)
DT, COLRRANT
Roud #1366
RECORDINGS:
Bob Davenport, "The Collier's Rant" (on IronMuse1)
Pete Elliott, "The Collier's Rant" (on Elliotts01)
File: RcTColRa
===
NAME: Colonel Hay
DESCRIPTION: "He's a brave commander, Colonel Hay, An' I think it's him that we'll a' gang wi', He's enlistin' a body of fine young men, To fight the French." A good escape "if ye get a girl wi' child." He's a gentleman and has "plenty of everything you want"
AUTHOR: unknown
EARLIEST_DATE: 1903 (GreigDuncan1)
KEYWORDS: recruiting war Scotland France humorous nonballad soldier
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 75, "Colonel Hay" (3 texts, 3 tunes)
Roud #5796
NOTES: GreigDuncan1: "In 1794 Colonel Alexander Leith-Hay, who was also known simply as Colonel Hay, raised the 109th Regiment of Foot (The Aberdeenshire Regiment), and in 1798 Colonel Andrew Hay raised the Banffshire Fencibles which saw service in Gibraltar before being reduced in 1802. The song could refer to either of these men but perhaps the use of a tune with Banff connections may point to the second as the more likely. Of course, if the song had been composed in 1794 it might have been applied to the other colonel Hay in 1798." - BS
File: GrD1075
===
NAME: Colonel Sharp
DESCRIPTION: A girl tells her lover that she was seduced by Colonel Sharp. Both are humiliated; they agree Sharp must die. They pursue the colonel; the man kills Sharp. He is taken and condemned to die. The two kill themselves
AUTHOR: unknown
EARLIEST_DATE: 1915 (JAFL 28)
KEYWORDS: murder seduction suicide punishment
HISTORICAL_REFERENCES: 1824 - Murder of Colonel Sharp
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Leach, pp. 790-792, "Colonel Sharp" (1 text)
ADDITIONAL: _Sing Out_ magazine, Volume 38, #2 (1993), p, 33, "The Murder of Colonel Sharp" (1 text, 1 tune, the Douglas Wallin version)
Roud #4110
NOTES: This song is item dF38 in Laws's Appendix II.
Leach reports that this ballad is factually accurate except that the two lovers attempted suicide by poison rather than with a knife, and that the young man lived to be hung.
The _Sing Out!_ article adds information from the 1915 JAFL account, It says that the girl was Ann Cook and her fiancee was Jeroboam Beauchamp. Cook agreed to marry Beauchamp on the condition that he kill Sharp. They were married, and then Beauchamp set out to eliminate Sharp. According to that acount, "He and his wife both tried to commit suicide by drinking poison and the wife died an hour after her husband had been executed." - RBW
File: L790
===
NAME: Colonel Shelby
DESCRIPTION: "Colonel Shelby, Colonel Shelby, I do not think it right For you to charge on Dardanelle At such a time of night. This old coat, I don't want it, I guess I'll have to run, I've not got sword or pistol Nor even a shotgun"
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: Civilwar soldier desertion
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 247, "Colonel Shelby" (1 text)
Roud #7713
NOTES: Colonel (later Brigadier General) Joseph O. "Jo" Shelby (1830-1897) was one of those romantic figures so common in the Confederate cavalry. Born in Kentucky (see [no author listed; John S. Bowman, executive editor], _The Civil War Almanac_ World Almanac Publishing, 1983, p. 375), he cut his teeth in the Kansas conflict (see Shelby Foote, _The Civil War: A Narrative_, Volume I: Fort Sumter to Perryville, Random House, 1958, p. 784). He  first commanded cavalry under Sterling Price in Missouri, and served most of the war in the Trans-Mississippi.
His unit proved exceptional enough that it came to be called "Shelby's Iron Brigade" (see the entry on "Shelby's Iron Brigade" in the _Historical Times Illustrated Encyclopedia of the Civil War,_Patricia L. Faust, editor; Harper & Row, 1986; I use the 1991 Harper Collins edition).
When the war ended, Shelby fled to Mexico rather than surrender. According to the _Civil War Almanac_, he took about 600 troopers with him, and tried to prop up the French-backed government of the Emperor Maximilian. When Maximilian fell, Shelby returned to Missouri (1867).
Like so many cavalry officers, he deliberately cut a dashing figure. This may have led to the disillusionment shown by his subordinate here.
Shelby seems to have inspired at least one other fragment of a song. Fred W. Allsopp's _Folklore of Romantic Arkansas, Volume II_ (1931), p. 222, has a stanza "Jo Shelby's at your stable door, Hide your mule, hide your mule... There's something up and hell's to pay, When Shelby's on a raid...." This is said to be an addition to the Union song "Hide Your Mule," which does not seem to have entered tradition.
Dardanelle is near Russellville, Arkansas, a little north of the halfway point of a line between Fort Smith and Little Rock. It probably goes without saying that there was no major battle there. My guess is that this refers to some event in the summer or fall of 1862. In June of that year, Shelby was a colonel organizing a cavalry brigade in northwestern Arkansas to take part in an invasion of Missouri. He fought at the battle of Prairie Grove, still in northwestern Arkansas, in late 1862 (for background on that battle, see the notes to "Prairie Grove"). By the middle of 1863, he was wounded in fighting in Helena, Arkansas, far east of Dardanelle, and he was promoted Brigadier General that fall.
The picture of unarmed Confederates is all too accurate. Price's Missouri militia was initially armed mostly with fowling pieces brought by the soldiers themselves, and the Confederates never did manage to build much of a munitions industry. To a great extent they had to depend on captured Federal weapons. And the earlier in the war, the poorer their equipment. This adds to the impression that Randolph's fragment describes something that happened in 1862. - RBW
File: R247
===
NAME: Colonial Experience
DESCRIPTION: The singer, newly arrived in Sydney, sees sights unlike any he's seen before. He also experiences firsthand the heat and drought, and has to work very hard. The mosquitoes and ants are always pestering him. It's an uncomfortable, laborious life
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson, _Old Bush Songs_)
KEYWORDS: work Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 60-61, "Colonial Experience" (1 text, 1 tune -- a reworked version)
Paterson/Fahey/Seal, pp. 111-113, "Colonial Experience" (1 text)
Roud #9110
File: FaE060
===
NAME: Colorado Trail, The
DESCRIPTION: "Eyes like the morning star, Cheeks like a rose, Laura was a pretty girl, God almighty knows. Weep, all ye little rains, Wail, winds, wail, All along, along, along The Colorado trail."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love beauty nonballad
FOUND_IN: US(MW)
REFERENCES: (5 citations)
Sandburg, p. 462, "The Colorado Trail" (1 text, 1 tune)
Scott-BoA, p. 262, "The Colorado Trail" (1 text, 1 tune)
Lomax-FSNA 211, "Colorado Trail" (1 text, 1 tune)
Silber-FSWB, p. 45, "The Colorado Trail" (1 text)
DT, COLORADT*
Roud #6695
RECORDINGS:
Poplin Family, "Eyes Like Cherries" (on Poplin01, mixing verses of "The Colorado Trail," "Liza Up in a Simmon Tree," and others)
Pete Seeger, "Colorado Trail" (on PeteSeeger30)
NOTES: Lee Hays added several verses to this beautiful little tune, and many singers have recorded them, or added others of their own. The only traditional lyrics, however, are those given above, taken from a horse wrangler who was hospitalized in Duluth, Minnesota and printed by Sandburg. And even those were slightly dubious until confirmed by the Poplin recording. - RBW
The Poplin recording has a chorus which is almost identical to the verse of "Colorado Trail," and to a verse from Bradley Kincaid's recording of "Liza Up in a Simmon Tree." The rest of the song, however, is completely different; I put it here because I couldn't find a better place. - PJS
File: San462
===
NAME: Colored School Song: see Walkin' in the Parlor (File: Wa177)
===
NAME: Colour of Amber, The
DESCRIPTION: "The colour of amber was my true love's hair." "Many a time [his lips] they've been pressed to mine. I'd fish and catch him "with a line and hook" and never part. It's in vain. I'll never be a maid again.
AUTHOR: unknown
EARLIEST_DATE: 1974 (recording, Mary Ann Haynes)
KEYWORDS:  courting love betrayal hair floatingverses nonballad fishing lyric
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1716
RECORDINGS:
Mary Ann Haynes, "The Colour of Amber" (on Voice11)
NOTES: "The Colour of Amber" is the reverse of "Black Is the Color" with the usual floating verse from the woman's point of view. It is tempting to lump this with, say, "Fair and Tender Ladies," but the amber and fishing verses make it stand aside for me. Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 11" - 11.9.02, refers to John Ashton's _Real Sailor Songs_ "The Sailor Boy" [Ashton/Sailor *63] as another version; that does have the amber verse but is a version of "The Sailor Boy"(I) [Laws K12]. "Fair and Tender Ladies" would be a closer match than that. - BS
File: RcColAmb
===
NAME: Colter's Candy: see Coulter's Candy (File: MSNR154)
===
NAME: Columbia on Our Lee: see Britannia on Our Lee (File: SWMS049)
===
NAME: Columbia the Free
DESCRIPTION: The singer was born in America. His "pack is all over American earth. My blood is as Irish as Irish can be." He is ashamed that the "tyrants" control "our poor plundered Ireland." He waits for the summons to return to Ireland with his rifle.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: emigration America Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 2, pp. 2-3,99,155, "Columbia the Free" (1 text, 1 tune)
Roud #2926
NOTES: It is a curiosity that, in the late nineteenth century, the Irish in America were often more militant in favor of liberty than the Irish still at home. (Look at how many of the Fenian exploits were organized in America.) One can only speculate at the reasons: The Irish in America were not experiencing the slow liberalization that occurred in Ireland, they had more money and didn't have to scrabble as hard for a living -- and, of course, their ancestors included most of the worst troublemakers who simply could not stomach British rule.
For an example of such, see the notes to "Erin's Lovely Lee."
The Fenians would eventually plan an invasion of Ireland; as usual, nothing much came of it. - RBW
File: MoMa002
===
NAME: Columbia, the Gem of the Ocean (Britannia, the Pride of the Ocean)
DESCRIPTION: "Oh, (Columbia/Britania) the (gem/pride) of the ocean... Thy banners make tyranny tremble When borne by the red, white, and blue." The singer boasts of his nation's success in war and its liberty
AUTHOR: unknown
EARLIEST_DATE: 1843 (sheet music)
KEYWORDS: patriotic nonballad 
FOUND_IN: US Britain
REFERENCES: (2 citations)
Silber-FSWB, p. 44, "Columbia, the Gem of the Ocean" (1 text)
Fuld-WFM, pp. 176-177+, "Columbia, the Gem of the Ocean"
BROADSIDES:
Bodleian, Harding B 26(565), "Red, White and Blue", J. Moore ["Poet's Box"] (Belfast), 1846-1852 ; also Firth b.25(217) View 2 of 2 [difficult to read], Harding B 15(255b)[some lines illegible], Harding B 11(3246), Harding B 11(3401), "[The] Red, White, and Blue"; Firth b.26(377), "Britannia! the Pride of the Ocean"; Harding B 11(396), "Nelsons Last Sigh" or "The Red White & Blue"
LOCSheet, sm1844 410890, "Columbia the Gem of the Ocean", Osbourn's Music Saloon (Philadelphia), 1844; also sm1846 411040, "Columbia the Land of the Brave" (tune)
LOCSinging, cw104810, "Red, White & Blue" ("Oh, Columbia, the Gem of the Ocean"), J. Andrews (New York), 1853-1859; also sb40454a, "Red, White & Blue"; cw10102a, cw101030, cw101040, "Columbia the Gem of the Ocean"  
NLScotland, L.C.Fol.178.A.2(015), "Red, White, and Blue", 1849, Mclntosh (Calton[Glasgow?]); also L.C.1269(175a), "Britannia, the Pride of the Ocean"
CROSS_REFERENCES:
cf. "Dixie, the Land of King Cotton" (tune)
ALTERNATE_TITLES:
The Red, White and Blue
NOTES: Fuld reports considerable controversy about the origin of this song: It is probably not possible, at this time, to tell with certainty whether the original is the American "Columbia, the Gem of the Ocean" or the British "Britannia, the Pride of the Ocean."
The earliest printed version, called "Columbia the Land of the Brave," was printed in 1843 and credited to George Willig. In 1852, a copy of "Brittania the Gem of the Ocean" was filed at the British Museum; it credits the song to D[avid]. T. Shaw (who sang the American version). This version, however, was not filed in the stationer's register.
The song has also been credited to Stephen Joseph Meany (words) and Thomas E. Williams (music; died 1854) (cf. Spaeth, _A History of Popular Music in America_, p. 98, who dates their "Britannia" version to 1854), and to the performer Thomas A. Beckett, but substantiating evidence is lacking in both cases. If you want the full details, you'd best see both Spaeth and Fuld. - RBW
The 1844 sheet music, LOCSheet sm1844 410890 notes "A Popular Song as sung by Mr Blankman & Mr Shaw." The 1846 sheet music LOCSheet sm1846 411040, and broadside LOCSinging cw101030 make David T. Shaw the writer.
The 1849 broadside NLScotland L.C.Fol.178.A.2(015) third verse refers to "the memory of Nelson" (1758-1805). The 1856 broadside NLScotland L.C.1269(175a) third verse refers to "the mem'ry of Napier": "This could be either Naval Commander Charles Napier (1786-1860) or more likely, as the tribute appears to be posthumous, General sir Charles Napier (1782-1853), who achieved significant military victories in the Indian sub-continent." Broadside Bodleian Harding B 26(565) refers to "the memory of heroes." Broadside Bodleian Firth b.25(217) View 2 of 2 appears to refer to Charlie Napier. The remaining Bodleian broadsides -- Harding B 15(255b), Harding B 11(3246), Harding B 11(3401), Firth b.26(377) and Harding B 11(396) -- refer to Nelson. The "Columbia" versions refer to "they."
Broadside LOCSinging cw104810: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: FSWB044
===
NAME: Columbus Stockade Blues
DESCRIPTION: "Way down in Columbus, Georgia, I want to go back to Tennessee. Way down in Columbus stockade, my friends all turned their backs on me. So you can go and leave me if you want to...." The singer laments his imprisonment and the loss of his love
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Tom Darby & Jimmie Tarlton)
KEYWORDS: prison separation chaingang
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Warner 137, "'Way Down in Columbus, Georgia" (1 text, 1 tune)
Silber-FSWB, p. 65, "Columbus Stockade Blues" (1 text)
DT, COLSTKD
Roud #7480
RECORDINGS:
Bud & Joe Billings [pseud. for Frank Luther & Carson Robison], "Columbus Stockade Blues" (Victor V40031, 1929)
Cliff Carlisle, "Columbus Stockade Blues" (Champion 45186, c. 1935)
Tom Darby & Jimmie Tarlton, "Columbus Stockade Blues" (Columbia 15212-D, 1927)
Flannery Sisters, "Columbus Stockade" (Decca 5256, 1936)
J. E. Mainer Band, "Columbus Stockade" (on LomaxCD1705)
CROSS_REFERENCES:
cf. "Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection)" (tune)
NOTES: Apparently a rework of an English lost love song, "Go and Leave Me" [which we have indexed as "Dear Companion" - PJS]. Frank Proffitt heard it sung by Blacks on a chain gang, and it has become a staple of the bluegrass repertoire. Its English origin has been completely forgotten in these traditions, even though the original lost love song is said to be widely known in the British Isles.
Silber credits this to Woody Guthrie; while Guthrie may have played with it a bit, clearly he was not the sole author. - RBW
Given the various 78 recordings, Silber's clearly wrong.... I'd guess Carlisle's recording was the source of the song's popularity in bluegrass. - PJS
File: Wa137
===
NAME: Comber Ballad, The: see The Next Market Day (File: FSWB158B)
===
NAME: Come A' Ye Buchan Laddies
DESCRIPTION: "... the news That's come frae Aberdeen. Hoo Tully's men ha'e gained the day, And Tully's lost it clean; Hoo stinkin' sowens [oatmeal husks] and buttermilk Ha'e forced his men awa"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: farming work food
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 393, "Come A' Ye Buchan Laddies" (1 text)
Roud #5826
CROSS_REFERENCES:
cf. "There's Nae Luck at Tullo's Toon" (some lines)
File: GrD3393
===
NAME: Come A' Ye Jolly Ploo'men Lads
DESCRIPTION: "O come a' ye jolly ploomen lads That works amang the grun'." The singer tells of his happy life and work. He attends a hiring fair, works six months in a bothy, and shocks the minister by singing out when he weds Mary-Anne
AUTHOR: unknown
EARLIEST_DATE: 1985 (recording, the Stewarts of Blair)
KEYWORDS: work food humorous marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

Roud #6855
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "Come A' Ye Jolly Ploo'men Lads" (on SCStewartsBlair01)
File: RcCAYJPL
===
NAME: Come All Good People: see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Come All My Old Comrades: see A Health to the Company (Come All My Old Comrades) (File: CrSe222)
===
NAME: Come All Ye Blubber Hunters: see Eelie Bob (File: GrD1013)
===
NAME: Come All Ye British Tars: see Admiral Byng (File: GrD1140)
===
NAME: Come All Ye Fair: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Fair and Tender Ladies: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Fair and Tender Ladies (II): see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Come All Ye False Lovers
DESCRIPTION: "Come all ye false lovers That love all alike; Give love-ly attention, And my counsel take." The singer will wait for Johnny to return, however long it takes. He eventually arrives, and they are married.
AUTHOR: unknown
EARLIEST_DATE: 1967
KEYWORDS: love separation return
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 135, pp. 147-148, "Come All Ye False Lovers" (1 text)
Roud #4297
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
NOTES: This piece is clearly composite; there are many floating lyrics, and it shifts from first to third person in the middle. It appears to be a pastiche of Riley ballads (though the theme of disguise has been lost), with the moral ("Beware of false lovers; (don't ever give up on your true love") at the beginning.
Since it cannot be identified with any particular Riley ballad, I have perforce given it its own classification. - RBW
File: CW147
===
NAME: Come All Ye Jolly Ice-Hunters
DESCRIPTION: "Come all ye jolly ice-hunters and listen to my song; I hope I won't offend you; I don't mean to keep you long." The sealer Daniel O'Connell leaves Tilton Harbour March 14, 1833. Captain William Burke gets the badly damaged ship through a storm
AUTHOR: unknown
EARLIEST_DATE: 1927 (Doyle)
KEYWORDS: hunting sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 122, "Come All ye Jolly Ice-Hunters" (1 text)
Ryan/Small, p. 17, "Come All Ye Jolly Ice-Hunters" (1 text, 1 tune)
ST GrMa122 (Partial)
Roud #6345
CROSS_REFERENCES:
cf. "The Wreck of the Steamship Ethie" (theme)
NOTES: Greenleaf/Mansfield notes, per G.S. Doyle that "This song was written in 1833. It is about the oldest song of a sealing nature now in existence." - BS
Roud lumps this with "The Wreck of the Steamship Ethie." The two of course share plot components as well as some stylistic elements, but this one is apparently about a much older incident. Still, I have been cautious; I don't think we can trust Doyle's 1833 date for the song; it appears to be derived from a date found in Doyle's first stanza. - RBW
File: GrMa122
===
NAME: Come All Ye Lonesome Cowboys
DESCRIPTION: "Come all you (lonesome/jolly) cowboys... Now I'm going to leave you, To never return again." He recalls the sad parting from his mother, and  the girl who promised to marry him. After all his rambling, he is leaving the boys forever (dying? going home?)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph; recordings, Frank Jenkins, Buell Kazee)
KEYWORDS: cowboy parting separation farewell
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 180, "Come All Ye Lonesome Cowboys" (2 texts, 2 tunes)
Ohrlin-HBT 58, "Come All Ye Western Cowboys" (1 text, 1 tune)
Fife-Cowboy/West 59, "Roving Cowboy" (1 text, 1 tune, Kazee's text, which is short)
Roud #5482 and 11077
RECORDINGS:
Frank Jenkins, "Roving Cowboy" (c. 1927; on BefBlues2)
Buell Kazee, "The Roving Cowboy"(Brunswick 156, 1927; Brunswick 436, 1930; Supertone S-2043, 1930; on KMM)
Clay Walters, "Come All You Roving Cowboys" (AFS, c. 1937; on KMM)
Jack Webb, "The Roving Cowboy" (Victor V-40285, 1930)
ALTERNATE_TITLES:
The Jolly Cowboy
NOTES: This is a definite problem piece. Roud splits it in two: #5482, which we might call "Come All You Lonesome Cowboys," (represented e.g. by the Randolph texts) and #11077, "Come All You Roving Cowboys" (represented by the Fife/Kazee text).
The problem is the Clay Walters version, which is a mish-mash of everything including perhaps some "Texas Rangers" material. Paul Stamler couldn't decide what to do with it; neither could I. So I'm lumping two songs until we get some better samples. - RBW
File: R189
===
NAME: Come All Ye Maids and Pretty Fair Maidens: see Fair and Tender Ladies (File: R073)
===
NAME: Come All Ye Melancholy Folks: see Old Time Cowboy (Melancholy Cowboy) (File: TF19)
===
NAME: Come All Ye Southern Soldiers: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Come All Ye Tramps and Hawkers: see Tramps and Hawkers (File: K358)
===
NAME: Come All Ye Unmarried Men: see William and Nancy (II) (Courting Too Slow) [Laws P5] (File: LP05)
===
NAME: Come All Ye Western Cowboys: see Come All Ye Lonesome Cowboys (File: R189)
===
NAME: Come All You Bold Canadians: see Brave General Brock [Laws A22] (File: LA22)
===
NAME: Come All You Fair and Handsome Girls: see Come All You Fair and Tender Girls (File: WB2080)
===
NAME: Come All You Fair and Tender Girls
DESCRIPTION: Willie courts the narrator, asks her to go with him. She consents, but when they are far from home, he sends her back, saying it's his nature to ramble
AUTHOR: unknown
EARLIEST_DATE: 1908 (collected by Olive Dame Campbell, in SharpAp)
KEYWORDS: courting elopement abandonment
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
SharpAp 103, "Come All You Young and Handsome Girls" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 321-326, "Come All You Fair and Handsome Girls" (5 texts, with local titles "Come All You Fair and Handsome Girls," (no title), "Fair and Handsome Girls," "Fair and Handsome Girls," (no title); the "E" text appears likely to be some other song, of the vast "Rye Whiskey/Wagoner's Lad" type; 1 tune on p. 442)
Wyman-Brockway II, p. 80, "Come All You Young and Handsome Girls" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 49, "Sweet Willie" (1 text, 1 tune)
ST WB2080 (Partial)
Roud #3606
RECORDINGS:
Banjo Bill Cornett, "Sweet Willie" (on MMOK, MMOKCD)
Green Maggard, "Come All You Fair and Handsome Girls" (AFS, 1934; on KMM)
CROSS_REFERENCES:
cf. "The Fair Flower of Northumberland" [Child 9] (plot)
cf. "Fair and Tender Ladies" (lyrics)
NOTES: Is it possible this is a ballad from which "Fair and Tender Ladies" has descended, with the narrative removed? It has warning verses at the beginning, although not those normally associated with "Fair and Tender Ladies." -PJS
File: WB2080
===
NAME: Come All You Fair and Tender Ladies: see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Fair and Tender Ladies (I): see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Friends and Neighbors
DESCRIPTION: "Come all you friends and neighbours, For you know that you are born to die, Come view my situation As helpless here I lie." The singer, in a "weakened condition," asks "never let me seek in vain." He hopes to be where "consumption And fever is no more."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death religious disease
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 561, "Come All You Friends and Neighbors" (1 short text)
Roud #11884
CROSS_REFERENCES:
cf. "Lonesome Dove (I - The Minister's Lamentation)" (theme)
File: Br3561
===
NAME: Come All You Jack-Pine Savages
DESCRIPTION: Singer describes a visit to "Dr. Jones" (probably not a real doctor). He has a toothache; "Dr. Jones" gives him six prescriptions, he eats sixteen potatoes and a couple of loaves of bread, and he's cured. He tells listeners to take ills to "Dr. Jones."
AUTHOR: Probably Dent Bailey
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: disease medicine healing doctor
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 20, "Come All You Jack-Pine Savages" (1 text)
Roud #4064
NOTES: As "Come All You Jack Pine Savages," this song is item dC43 in Laws's Appendix II. - RBW
File: Be020
===
NAME: Come All You JackPine Savages: see Come All You Jack Pine Savages (File: Be020)
===
NAME: Come All You Jolly Ploughboys
DESCRIPTION: The singer praises the plowman's work he does. Masons, shoemakers, blacksmiths and millers are useful; the miller's needs "the sacks o' corn the plooboy does supply." If not for the soldier and plowman "what would our poor nation do"?
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: farming worker nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 450, "Come, All Ye Jolly Plooboys" (1 text, 1 tune)
Roud #5958
CROSS_REFERENCES:
cf. "We Poor Labouring Men" (theme, lyrics)
cf. "The Laddie That Handles the Ploo" (theme)
cf. "The Praise of Ploughmen" (theme)
ALTERNATE_TITLES:
The Plooman
NOTES: GreigDuncan3: "'Learnt about thirty years [ago] from a Lumphanan shepherd. Noted 26th August 1908.'" - BS
This song and "We Poor Labouring Men" appear to be sisters; I've no idea which came first. This one was collected earlier, but is less well attested. - RBW
File: GrD3450
===
NAME: Come All You Maidens: see Fair and Tender Ladies (File: R073)
===
NAME: Come All You Poor Men of the North
DESCRIPTION: "Come all you poor men of the north... There is easier ways of gaining wealth... Go and dig the gold that lies in California."  The singer describes California's wondrous climate and asks why poor can't have gold as well as rich
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: travel nonballad gold
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 348-349, "Come All You Poor Men of the North" (1 text)
Roud #7772
NOTES: Belden's informant claimed that California miners sang this piece. I find this close to unbelievable. (Of course, that might explain why no one else has recorded the piece in tradition: It bears no relationship to reality.) I'm almost tempted to suggest that it was written by a land speculator eager to latch onto stupid people's property by inducing them to head west. - RBW
File: Beld348
===
NAME: Come All You Roman Catholics
DESCRIPTION: Father McFadden is in Derry jail. Sub-inspector Martin had arrested him after Sunday Mass. "David ... by the Lord's command" killed Martin by sling shot "The people laughed and cheered" to see Martin taken away. "The Devil met him at the gates"
AUTHOR: unknown
EARLIEST_DATE: 979 (Tunney-StoneFiddle)
KEYWORDS: violence murder prison clergy police Devil
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 13-14, "Come All You Roman Catholics" (1 text)
McBride 28, "Father McFadden" (1 text, 1 tune)
Roud #9459
NOTES: McBride: "[Father McFadden] formed local branches of the Land League in West Donegal."
See the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). The description there has no "David" and sling shot. Instead, thinking that Martin had struck McFadden with his drawn sword, the congregants rooted up the pailing from McFadden's garden and "battered in Martin's skull." Some of the attackers were arrested with McFadden. The story of the convictions, plea bargaining and sentencing is told there from the defense attorney's viewpoint. - BS 
File: TSF013
===
NAME: Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.)
DESCRIPTION: "Come all you (Virginia) girls and listen to my noise; Don't you court no West Virginia boys; If you do, your fortune will be Johnny cake and venison and sassafras tea." Concerning the dangers of courting and marrying boys from (somewhere)
AUTHOR: unknown
EARLIEST_DATE: 1841 (sheet music)
KEYWORDS: courting hardtimes warning humorous
FOUND_IN: US(Ap,Ro,So)
REFERENCES: (14 citations)
Belden, pp. 426-428, "Texan Boys" (1 text plus a fragment probably not part of this song)
Randolph 342, "The Arkansas Boys" (3 texts, 2 tunes); also (perhaps with some mixture) 466, "The Old Leather Bonnet" (1 text, 1 tune)
Randolph/Cohen, pp. 277-278, "The Arkansas Boys" (1 text, 1 tune -- Randolph's 342A)
BrownIII 328, "The Carolina Crew" (1 fragment, thought by the editors to be this song); 336, "If You Want to Go A-Courtin'" (1 text, clearly mixed; the first three stanzas are this song, the next four something completely unrelated about a fight and a very bad meal)
Sandburg, pp. 128-129, "Hello, Girls"; "Kansas Boys" (2 texts, 1 tune)
MHenry-Appalachians, p. 95, "The Hunter's Song" (1 fragment)
Lomax-FSUSA 11, "When You Go A-Courtin'"; 12, "The Texian Boys" (2 texts, 2 tunes)
Fife-Cowboy/West 9, "Johnny Cake" (4 texts, 1 tune, though the "B" text is clearly "Little Fight in Mexico" and the "C" text is also quite distinct)
LPound-ABS, 81, pp. 175-176, "Cheyenne Boys" (1 text)
JHCox 58, "The Tucky Ho Crew" (1 text -- a very mixed version which is only partly this song, but the rest doesn't look like anything I know. It may be a conflation with an otherwise lost ballad)
SharpAp 75, "If You Want to Go A-courting" (4 texts, 4 tunes)
Silber-FSWB, p. 173, "Kansas Boys" (1 text)
DT, WHNCORT1* WHNCORT2* WHNCORT3* WHNCORT4* WHNCORT5*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 207, "The Old Leather Bonnet" (1 text, fairly full but missing the opening verse)
Roud #4275
RECORDINGS:
Al Hopkins & his Buckle Busters, "West Virginia Gals" (Brunswick 318, 1929; rec. 1928)
Cousin Emmy, "Cousin Emmy's Blues" (also issued as "Come All You Virginia Gals")  (Decca 24213, 1947)
Riley Puckett, "The Arkansas Sheik"  (Columbia 15686-D, 1931; rec. 1928)
New Lost City Ramblers, "The Arkansas Sheik" (on NLCR14)
Pete Seeger, "Texian Boys" (on PeteSeeger07, PeteSeeger07a)
SAME_TUNE:
Ballad of Harriet Tubman (by Woody Guthrie) (Greenway-AFP, pp. 90-92)
ALTERNATE_TITLES:
California Boys
East Virginia Girls
Missouri Boys
Hello Girls
Mississippi Gals
The Mormon Boys
Free Nigger (title used in the 1841 sheet music)
De Free Nigger
NOTES: Randolph's "Old Leather Bonnet" text at first appears independent of the other versions of this song. But if one simply assumes that it has lost the first verse, the rest fits well.
The Fifes offer deep psychological explanations for some parts of this piece. I incline to believe it means what it says. - RBW
File: R342
===
NAME: Come All You Warriors
DESCRIPTION: Lay down your arms! Father Murphy will "cut down cruel Saxon persecution" He excels Caesar, Alexander and Arthur. His victories are listed until Enniscorthy. If the French had come we would have won. But we still have our pikes and guns.
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: battle rebellion Ireland clergy patriotic
HISTORICAL_REFERENCES: May 26, 1798 - Beginning of the Wexford rebellion
May 27, 1798 - The Wexford rebels under Father John Murphy defeat the North Cork militia
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 10, "Come All You Warriors" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Father Murphy (I)" (subject of Father Murphy) and references there
NOTES: The claim that the Irish would have won is sadly typical of the 1798. But the real problem is that the Irish rebels of the time did *not* have many guns; they often fought nearly unarmed. For examples of this, see the notes to "Father Murphy."
File: Zimm010
===
NAME: Come All You Worthy Christian Men
DESCRIPTION: The singer warns Christians to behave properly, remembering Job and Lazarus. First verse: "Come all you worthy Christian men That dwell upon this land, Don't spend your time in rioting, Remember you're but man...."
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: warning religious Bible
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Sharp-100E 91, "Come All You Worthy Christian Men" (1 text, 1 tune)
OBC 60, "Job" (1 text, 4 tunes)
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 47, "Come All You Worthy Christian Men" (1 text, 1 tune)
Roud #815
CROSS_REFERENCES:
cf. "Rounding the Horn" (tune)
NOTES: The story of Lazarus is a parable of Jesus, recounted in Luke 16:19-31  (the Lazarus of John 11, 12 is unrelated). Thus there never was an actual Lazarus who lay at a rich man's door; he was simply an example.
The case of Job is, to say the least, more complicated. The Bible does indeed report that he was "the richest [man] in the east" (Job 1:3), that "he was brought to poverty" (Job 1:13-19), and that he "soon got rich again" (Job 42:10f.). But it can hardly be said that Job bore all this uncomplainingly; most of Job chapters 3-30 are devoted to his complaints! - RBW
File: ShH91
===
NAME: Come All You Young Men
DESCRIPTION: "Come all you young men and listen unto me, Never hang your shirt on a green briar tree, The leaves they will wither and the branches decay, And the graybacks will hatch out and pack your shirt away." A series of humorous warnings
AUTHOR: unknown
EARLIEST_DATE: 1938 (Randolph)
KEYWORDS: humorous parody clothes bug
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 418, "Come All You Young Men" (1 text plus 1 fragment, 2 tunes)
Roud #7684
NOTES: This gives all the evidence of being a parody of one of the "rejected lover" type songs -- but there are other elements mixed in, so it's hard to say if there was only *one* source. - RBW
File: R418
===
NAME: Come All You Young of Wary Age
DESCRIPTION: "Come all you young of wary (every) age, Give hearing to my song." A young man sets out to visit a friend, but falls from his horse and dies. He was alone, so no other details are known. His family and neighbours grieve; his mother says "his work is done"
AUTHOR: unknown
EARLIEST_DATE: 1936 (Randolph)
KEYWORDS: horse death family funeral grief
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 705, "Come All You Young of Wary Age" (1 text)
BrownII 285, "Man Killed by Falling From a Horse" (1 text)
Roud #7373 and 6640
NOTES: There was a note attached to Brown's transcript of this song saying that it happened in Richmond county, but given the song's appearance in Randolph (and it is certainly the same song) implies that this is just folklore. Particularly since Randolph's informant also claimed the event was local. - RBW
File: R705
===
NAME: Come All Young People (The Dying Lovers)
DESCRIPTION: Listeners are called to hear the story of two lovers. He comes to her door, but her parents turn him away. She mourns, and no doctor can cure her. At last the parents let him come, but she dies for love and is buried. He then dies also
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown)
KEYWORDS: love separation death mourning doctor warning
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 73, "Come All Young People" (1 text)
Roud #563
NOTES: The theme of this song, obviously, is commonplace, but the editors of the Brown collection cannot trace it to any particular song (they suspect broadside origin), and I am similarly unable to find a relative. (Roud lumps it with Laws P12, but Laws does *not* equate them.)
The first stanza, for what it's worth, runs
Come all young people far and near,
A lamentation you shall hear
Of a young man and his true love
Whom he adored and sworn to love.
The song ends with the usual warning to parents against separating lovers. - RBW
File: BrII073
===
NAME: Come Along, Moses
DESCRIPTION: "Come along, (Moses/Aaron/judy), Don't get lost (x3) Come along, Moses, don't get lost. We are the (people/children) of God." "We have a just God to please our cause." "He sits in heaven and answers prayer." "Stretch out your rod and come across."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 104, "Come Along, Moses" (1 text, 1 tune)
Roud #12060
NOTES: When Moses met God at the burning bush, Moses's staff  became an object of power (Exodus 4;2-3) -- e.g. he turned it into a snake before the Egyptians, though in that instance, it was Aaron, not Moses, who threw it down (Exodus 7:8-11). The confusion over who had the Super De Luxe Staff continues throughout the Pentateuch, but it is certainly Moses's staff which was used to part the Red Sea (Exodus 14:16). - RBW
File: AWG104
===
NAME: Come Along, My Own True Love: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Come and Go with Me to That Land
DESCRIPTION: "Come and go with me to that land (x3)... where I'm bound." "There ain't no moanin' in that land." "There ain't no bowin' in that land." "There ain't no kneelin' in that land." "There ain't no Jim Crow in that land."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 371, "Come And Go With Me To That Land" (1 text)
DT, COMEGO
File: FSWB371
===
NAME: Come and Kiss Me, Robin
DESCRIPTION: "Come and kiss me, Robin, Come and kiss me now, Oh he came and kissed me, And he came and kissed me With my hands milking the cow!"
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 785, "Come and Kiss Me, Robin" (1 fragment)
Roud #5521
NOTES: Randolph speculates that this may be related to Sandburg's item "The Pretty Girl Milkin' the Cow." They're both fragments, so it's possible -- but I don't see any clear links.
Similarly, Roud links this with the fragment "John, Come Kiss Me Now" in Chappell/Wooldridge II (pp. 268-269). Possible, but I need a lot more evidence. - RBW
File: R785
===
NAME: Come Ashore Jackie Tar
DESCRIPTION: "Come ashore, Jackie Tar, an' yer trousers on." "Kiss a bonnie lass." "Hae a biscuit" "hae a dram." "Captain Charles" or "boats o' Boddam come ashore." "Hear cannons roar on the coasts of Labrador" or "the Bay of Baltimore."
AUTHOR: unknown
EARLIEST_DATE: 1909 (GreigDuncan1)
KEYWORDS: nonballad sailor
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #73, p. 2, "Jacky Tar" (1 text)
GreigDuncan1 60, GreigDuncan8 Addenda, "Come Ashore Jackie Tar" (3 texts)
Roud #5812
CROSS_REFERENCES:
cf. "Jacky Tar With His Trousers On" (some verses)
NOTES: The GreigGreigDuncan1 verses are pretty much disconnected from each other and probably float, though I haven't seen that.
Greig: .".. pretty much a vocalise, like the extemporised verses so often used for a dance when, in default of an instrument, the tune had to be sung." - BS
File: GrD1060
===
NAME: Come Away from that Old Man
DESCRIPTION: "Come away from that old man! He will kill you if he can. Come away, o-oh!"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death age
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 208, "Come Away from that Old Man" (1 fragment)
NOTES: This was given to Brown as a hog-call, but I have this feeling in my gut that this is a fragment of "Matty Groves" -- that these are the words Musgrave/Matty hears when Lord Arnold's horn sounds. But with only three lines, this can't be proved. - RBW
File: Br3208
===
NAME: Come Back to Erin
DESCRIPTION: The singer's sweetheart has left Killarney for England. He seems surprised that "my heart sank when clouds came between us... Oh, may the angels, oh, waking and sleeping Watch o'er my bird in the land far away." Does she think of me?
AUTHOR: Charlotte Alington Barnard ("Claribel") (1830-1869)
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(965)) 
KEYWORDS: courting emigration separation nonballad Ireland
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Dean, pp. 79-80, "Come Back to Erin" (1 text)
O'Conor, p. 103, "Come Back to Erin" (1 text)
Roud #13846
BROADSIDES:
Bodleian, Harding B 11(965), "Come Back to Erin", J. Harkness (Preston), 1840-1866; also Firth c.12(253), 2806 c.8(238), Harding B 15(49a), Johnson Ballads 1898, 2806 b.11(224), Firth c.12(253), "Come Back to Erin"; 2806 c.8(237), "Come Back to Erin, Mavourneen, Mavourneen"
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_, p. 143, Claribel "managed to turn out both words andmusic of a great many ballads that found immediate favor on both sides of the Atlantic. Her first song to make it mark here was called _Janet's Choice_, appearing in London in 1860, although its American publication was delayed until 1871.... [She] made her most lasting impression with _Come Back to Erin_ (1868), which is still heard with honest preasure and often regarded as an Irish folk-song. Mrs. Barnard was a woman of some musical education, but depended chiefly on her intuitive expression of the sentimentality of her day."
I do not know how to reconcile Spaeth's statement that the song was published in 1868 with the broadside which seems to come from at least two years earlier. Perhaps the broadside was pirated from one of Claribel's performances? - RBW
File: OCon103
===
NAME: Come Back, Paddy Reilly: see Ballyjamesduff (File: RcBalJDu)
===
NAME: Come By Here
DESCRIPTION: 'Someone's sick; Lord, come by here (x3), Oh, Lord, won't you come by here." "Someone's dying; Lord, come by here." "Someone's in trouble...." 
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious disease death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 621, "O Lord, Won't You Come by Here?" (1 text)
Roud #11924
CROSS_REFERENCES:
cf. "Kum By Yah" (form)
File: Br3621
===
NAME: Come Down to Tennessee
DESCRIPTION: "Come down to Tennessee (Ride er ole grey horse). Yaller gal's de gal for me (Ride er ole grey horse). Kiss her under de mulberry tree (Ride er ole grey horse). Oh my, nigger, don't you see, Better come to Tennessee?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting horse
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 183, (no title) (1 fragment)
File: ScaNF183
===
NAME: Come Down with the Killock
DESCRIPTION: "Come down with the killock And out with the line; Of fish about here, boys, There is a good sign." The ship sails; it's "not like the fools Who are hunting for fat." The singer decides fishing is better than sealing: "Off to the ice Go fools in a rush."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Murphy, The Seal Fishery)
KEYWORDS: ship hunting fishing nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 26, "Come Down with the Killock" (1 text)
File: RySm026B
===
NAME: Come Down, You Bunch of Roses, Come Down: see Blood Red Roses (File: Doe022)
===
NAME: Come Go With Me
DESCRIPTION: "Old Satan is a busy old man, He roll stones in my way; Mass' Jesus is my bosom friend, He roll 'em out of my way, O come-e go with me (x3), A-walking in the heaven I roam." "I did not come here myself, my Lord, It was my Lord who brought me here...."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 57-58, "Come Go With Me" (1 text, 1 tune)
Roud #12017
File: AWG057B
===
NAME: Come Hame to Yer Lingles
DESCRIPTION: Wife tells her drunk husband to come home from his Monday morning drinking among his cronies. She and the children are in tatters. He tells her to leave him and his friends in peace. She will follow him from inn to inn. He concedes; he must quit.
AUTHOR: Tannahill and Alexander Rodger (1784-1846) (source: Whitelaw)
EARLIEST_DATE: 1838 (Alexander Rodger, _Poems and Songs_)
KEYWORDS: poverty drink dialog husband wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
GreigDuncan3 588, "Come Hame to Yer Lingles" (1 fragment, 1 tune)
ADDITIONAL: Alexander Rodger, Poems and Songs (Glasgow, 1838), pp. 103-104, "Come Hame to Your Lingels"
Alexander Whitelaw, A Book of Scottish Song (Glasgow, 1845), p. 335, "Come Hame to Yer Lingles"
Roud #5892
CROSS_REFERENCES:
cf. "Jock Robb" (tune, per GreigDuncan3)
cf. "O, Whistle and I'll Come to You, My Lad" (tune, per Whitelaw)
cf. "Farewell to Whisky (Johnny My Man)" (theme)
NOTES: Whitelaw: "The first verse of this song was a fragment by Tannahill; the rest has been happily added by Alex. Rodger" - BS
File: GrD3588
===
NAME: Come Home, Father: see Father, Dear Father, Come Home with Me Now (File: R308)
===
NAME: Come List to a Ranger (The Disheartened Ranger)
DESCRIPTION: "Come list to a ranger, you kind-hearted stranger... Who fought the Comanches away from your ranches And followed them far o'er the Western frontier." He complains of the hard conditions he suffered, and warns the listener to keep watch for Comanches
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: Indians(Am.) fight hardtimes
FOUND_IN: US(So,SW)
REFERENCES: (3 citations)
Randolph 181, "Come List to a Ranger" (1 text, 1 tune)
Logsdon 7, pp. 55-57, "Texas Ranger's Lament" (1 text, 1 tune)
DT, COMELIST*
Roud #5481
ALTERNATE_TITLES:
Disheartened RangerThe 
NOTES: The Texas Rangers were initially founded during the period of the Texas Rebellion, as the defense force of the new county. And Texas, from the moment it declared independence to the time it joined the United States, had budget problems. So it would be little surprise to find a particular soldier ill-paid.
Several of the versions, such as Logsdon's, seem to go back to this period; the Ranger declares that he is quitting and going back to the "States." Other versions just sound like standard soldier complaints. It's not really clear which is original. - RBW
File: R181
===
NAME: Come listen, all ye ploughman lads: see The Fyvie Ploughmen (File: GrD3420)
===
NAME: Come On Up to Bright Glory
DESCRIPTION: "You don't hear me prayin' here, you can't find me nowhere/Come on up to bright glory, I'll be waitin' up there" Other verses zip in "when I preach," "when I shout," etc.
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson)
KEYWORDS: 
FOUND_IN: US(SE)
REFERENCES: ()

Roud #10977
RECORDINGS:
Rich Amerson, "Come On Up to Bright Glory" (on NFMAla4)
CROSS_REFERENCES:
cf. "If You Miss Me at the Back of the Bus" (tune, structure)
NOTES: This is, of course, the song from which the freedom song "If You Miss Me at the Back of the Bus" was adapted; interestingly enough, the latter seems to have originated in Alabama, where this song was collected. - PJS
File: RcCOUtBG
===
NAME: Come on, Boys, and Let's Go to Hunting
DESCRIPTION: Chorus: "Come on, boys, let's go to huntin', Dog in the Woods, and he done treed sump'n."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: hunting dog
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-SoFolklr, p. 743, "Come on, Boys, and Let's Go to Hunting" (1 text, 1 tune)
File: BSoF743
===
NAME: Come On, My Pink, an' Tell Me What You Think: see Late Last Night When Willie Came Home (Way Downtown) (File: CSW166)
===
NAME: Come Over and See Me Sometime
DESCRIPTION: Floating-verse song, known mostly by the chorus: "Won't you come over and see me sometime (x2). Eat your breakfast 'fore you start, take your dinner in your hand, and leave before it's suppertime."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: food nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 48, (no title) (1 fragment)
Roud #4947
File: ScaSC048
===
NAME: Come Raise Me in Your Arms, Dear Brother
DESCRIPTION: The  singer has been mortally wounded in battle by his brother. The singer (apparently a Unionist) asks how his brother could oppose his father (also a Unionist). He asks his brother to bring the news to mother -- but not reveal who did the killing
AUTHOR: E. Bowers and P. B. Isaacs
EARLIEST_DATE: c. 1928 (recording, James Ragan & Oliver Beck)
KEYWORDS: Civilwar battle death brother farewell
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 235, "Come Raise Me in Your Arms, Dear Brother" (1 text, 1 tune)
Randolph/Cohen, pp. 208-210, "Come Raise Me in Your Arms, Dear Brother" (1 text, 1 tune -- Randolph's 235)
MHenry-Appalachians, pp. 214-215, "Write a Letter to Mother" (1 text)
Rorrer, p. 91, "Write a Letter to My Mother" (1 text)
Roud #7708
RECORDINGS:
Charlie Poole and the North Carolina Ramblers, "Write a Letter to My Mother" (Columbia 15711-D, 1930)
James Ragan & Oliver Beck, "Write a Letter to My Mother" (Challenge 390, c. 1928)
File: R235
===
NAME: Come Sweet Jane: see Sweet Jane [Laws B22] (File: LB22)
===
NAME: Come Thou Fount of Every Blessing (I)
DESCRIPTION: "Come thou fount of every blessing, Tune my heart to sing thy praise. Streams of mercy, never ceasing, Call for songs of loudest praise." "Teach me some melodious sonnet, Sung by flaming tongues above." etc.
AUTHOR: Words: Robert Robinson (1735-1790)
EARLIEST_DATE: 1835 (Sacred Harp)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 66-67, "Come Thou Fount of Every Blessing" (1 text, 1 tune)
Roud #15066
CROSS_REFERENCES:
cf. "We Will Walk Through the Streets of the City"
cf. "This Old World" (tunes)
NOTES: This text by Robinson (1735-1790) is among the most popular of all shape note lyrics; in the Sacred Harp, for instance, we find it used with "Olney," "Family Circle," "Restoration," and "Warrenton" -- plus, with the first line "Come THY fount of every blessing," the tune "Rest for the Weary."
In the Missouri Harmony, it has the tunes "Olney," "New Monmouth," and "Hallelujah."
The standard tune seems to be "Olney;"  in Jackson's White Spirituals in the Southern Uplands, it occurs only with "Olney" (#40), as one of two possible texts for that tune. Nonetheless, the text travels a lot, and has acquired various tunes and choruses; see the cross-references.
If I undertand Johnson correctly, he believes the original tune to have been "Nettleton," which he credits to John Wyeth (1770-1858), though "Nettleton" of course is also associated with the name of Asahel Nettleton.
The scriptural references are interesting. "Flaming tongues" is almost certainly related to the Pentecost incident of speaking in tongues (Acts 2:3).
The second verse says, "Here I'll raise my Ebenezer." There are three mentions of Ebenezer in 1 Samuel. In 4:1, the Israelites gather at Ebenezer to fight the Philistines -- and, as the following verses tell, are roundly defeated. The Ark of the Covenant is captured, an the Philistines take it from Ebenezer to Ashdod (5:1). Later, after an Israelite victory over the Philistines, Samuel sets up a stone near Ebenezer, which the Bible renders "stone of help" (7:12; P. Kyle McCarter, in the Anchor Bible volume _1 Samuel_, p. 146, notes that the root, and hence the meaning, is not entirely clear at this time,but "stone of the helper" and "stone of the warrior," both possible, also would be good cultic terms for someone with Samuel's militant theology). Both sites could have suited Robinson's purpose; the battle in 1 Samuel 3 was a last stand by the Israelites, which fits someone "making [his] Ebenezer," and of course the symbolism of 7:12 is obvious.
It is not obvious that the two are the same place. It is, of course, possible that 4:1 and 5:1 call the spot "Ebenezer" after the name Samuel later gave it -- in fact, since Ebenezer sounds rather deserted, it would seem likely. Except that the Philistines generally beat up on the Israelites until the time of Saul. Samuel seems to have been something of a Skanderbeg: He could protect the land the Israelites held, and maintain a scratchy independence, but he could not regain territory. Odds are that the two Ebenezers are distinct. - RBW
File: NEctfoeb
===
NAME: Come Thou Fount of Every Blessing (II): see We Will Walk Through the Streets of the City (File: Br3562)
===
NAME: Come to Shuck Dat Corn Tonight
DESCRIPTION: "Come to shuck dat corn tonight, Come to shuck with all your might, Come for to shuck all in sight, Come to shuck dat corn tonight." "Come to shuck dat golden grain, Where dere's enough dere ain't no pain...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 198, "Come to Shuck Dat Corn Tonight" (1 short text)
File: Br3198
===
NAME: Come to the Bower
DESCRIPTION: Come to the land of the Irish heroes: O'Neill, O'Donnell, Lord Lucan, O'Connell, Brian and St Patrick. Visit Dublin and the battlefields. "Will you come and awake our lost land from its slumber and her fetters we will break ... come to the bower"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland nonballad patriotic
HISTORICAL_REFERENCES: June 5, 1646 - Battle of Benburb. Owen Roe O'Neill defeats Robert Munroe
June 5, 1798 - Battle of New Ross - Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 96, "Come to the Bower" (1 text, 1 tune)
DT, COMEBOWR
Roud #3045
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Among the historical characters mentioned in this song:
O'Donnell - Probably "Red Hugh" O'Donnell, leader of the 1594 war against the English; for his career see, e.g., "O'Donnell Aboo (The Clanconnell War Song)."
O'Neill - There were many O'Neills of significance for Irish history; the likeliest, given the context, is Hugh O'Neill, Earl of Tyrone, ally of Red Hugh O'Donnell (again, see the notes to "O'Donnell Aboo (The Clanconnell War Song)").
O'Connell - Obviously Daniel O'Connell, the campaigner for Irish rights; there are at least two songs bearing his name, and many more which allude to him, e.g. "By Memory Inspired" and "A Nation Once Again."
Brian -  Brian Boru, winner of the Battle of Clontarf; see "Remember the Glories of Brian the Brave."
Owen Roe - Owen Roe O'Neill (c. 1582-1649), nephew of Red Hugh O'Neill; he served for a time in the Netherlands, then fought against the English in Ireland in the 1640s, though he did not cooperate very well with other Nationalist leaders.
Munroe - Robert Munroe, a Scottish general who was defeated by Owen Roe O'Neill at Benburb. - RBW
File: OLoc096
===
NAME: Come to the Fair
DESCRIPTION: "The sun is a-shining to welcome the day" of the fair. The happy time is described. Listeners are encouraged: "Hey, ho, come to the fair."
AUTHOR: Words: Helen Taylor / Music: Easthope Martin
EARLIEST_DATE: 1917 (sheet music)
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Fuld-WFM, p. 178, "Come to the Fair"
NOTES: Fuld notes that this is "[f]requently mistaken for a folksong"; it is on this basis that I include the piece. - RBW
File: Fuld178
===
NAME: Come to the Hiring: see The Hiring of the Servants (File: RcHirOTS)
===
NAME: Come Write Me Down (The Wedding Song)
DESCRIPTION: Man offers gold and pearls; woman refuses, saying she'll never be at any young man's call. He tells her t he'll find another. He picks up his hat to leave, but she changes her mind. They are married the next day; "she'll prove his comfort day and night"
AUTHOR: unknown
EARLIEST_DATE: 1891 (Baring-Gould MS, as "The Scornful Dame")
LONG_DESCRIPTION: "Come write me down the powers above/That first created a man to love." Man offers gold and pearls; woman refuses, saying she'll never be at any young man's call. He tells her to "go your way, you scornful dame"; he'll find another. He picks up his hat to leave, but, as could be predicted, she changes her mind. They are married the next day; "she'll prove his comfort day and night"
KEYWORDS: courting love marriage wedding dialog lover
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 126, "Come Write Me Down the Powers Above" (1 text, 1 tune)
Peacock, pp. 571-572, "Oh Write Me Down, Ye Powers Above" (1 text, 1 tune)
DT, COMWRIT1
Roud #381
CROSS_REFERENCES:
cf. "Corydon and Phoebe" (plot)
ALTERNATE_TITLES:
Oh Write Me Down, Ye Powers Above
The Scornful Dame
NOTES: Like "Corydon and Phyllis," whose plot is virtually identical, this no doubt began life as a minstrel piece or "rural romance" broadside. But it's entered tradition, with over half-a-dozen collections cited by Kennedy. The song has long been associated with the Copper family of Rottingdean, Sussex, having been collected from them as early as 1899, but it is also found in Dorset, Hampshire, Devon -- and Newfoundland.
It is distinguished from "Corydon and Phyllis" by the characteristic phrases quoted in the [long description]. - PJS
File: K126
===
NAME: Come Write Me Down The Powers Above: see Come Write Me Down (The Wedding Song) (File: K126)
===
NAME: Come Ye That Fear the Lord
DESCRIPTION: "Come ye that fear the Lord (x2), I have something for to say about the narrow way, For Christ the other day saved my soul (x2)." The singer recalls how Jesus came to free him, how others call him "undone," but how he looks forward to salvation 
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, pp. 201-202, "Come Ye That Fear the Lord" (1 text)
ST Fus201 (Partial)
Roud #16371
File: Fus201
===
NAME: Come, All Ye Roving Rangers: see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: Come, Butter, Come
DESCRIPTION: "Come, butter, come! De King and de Queen Is er-standin' at de gate, Er-waitin' for some butter An' a cake. Oh, come, butter, come!" A different version: "Come, butter come (x2), Peter stands at the gate, Waiting for a butter cake, Come, butter, come"
AUTHOR: unknown
EARLIEST_DATE: 1656 (Ady's A Candle in the Dark, according to Opie-Oxford2)
KEYWORDS: worksong nonballad food royalty
FOUND_IN: US
REFERENCES: (3 citations)
Scarborough-NegroFS, p. 215, (no title) (1 short text); p. 287, (no title) (1 short text, from Brand's Antiquities)
Opie-Oxford2 85, "Come, butter, come" (1 text)
Baring-Gould-MotherGoose #491, p. 213, "(Come, butter, come)"
Roud #18167
NOTES: The reference to Peter at the gate is sometimes interpreted as referring to Peter trying to get into heaven. But the logical assumption is surely that it is a reference to Acts chapter 12. Peter had been imprisoned by Herod Agrippa I, and was freed by an angel. He went to the home of Mary mother of John Mark, and knocked at the gate (12:13). The maid Rhoda was so shocked that she was very slow to answer. - RBW
Opie-Oxford2: "Although this centuries-old charm was still in superstitious use at the time, it was set to music in 1798 as a 'Bagatelle for Juvenile Amusement.'" - BS
File: ScNF215B
===
NAME: Come, Dear, Don't Fear: see The Dolly Varden Hats (File: GrD3652)
===
NAME: Come, Emily: see The Jealous Lover (II) (File: E104)
===
NAME: Come, Gang Awa' With Me
DESCRIPTION: "Oh come, my love, the moon shines bright Across the rippling sea... Come gang awa' with me. 'Tis many a night since last we met... Then say ere yonder stars shall set You'll gang awa' with me. "...I pledge myself to thee... Forever thine I'll be"
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: love courting travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 783, "Come, Gang Awa' With Me" (1 short text, 1 tune)
Roud #7415
File: R783
===
NAME: Come, Landlord, Fill a Flowing Bowl: see Landlord, Fill the Flowing Bowl (File: FSWB229A)
===
NAME: Come, Life, Shaker Life
DESCRIPTION: "Come, life, Shaker life, come, life eternal, Shake, shake out of me all that is carnal. I'll take nimble steps, I'll be a David, I'll show Michael twice how he behaved."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: Bible religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 37, "Come, Life, Shaker Life" (1 text, 1 tune)
Roud #6669
NOTES: Although every text of this song I have seen refers to "Michael," the correct name is "Michal." Michal was the younger daughter of Saul, who loved and was married to David (1 Samuel 18:20f.) and saved him from her father (1 Sam. 19:11f.).
Later, however, when David had become king, David brought the Ark of the Covenant to Jerusalem. During its progress, "David danced before YHWH with all his might" (2 Sam. 6:14). And "Michal daughter of Saul looked out... and saw King David leaping and dancing... and she despised him in her heart" (2 Sam. 6:16).
David and Michal apparently were never reconciled; when she scolded him, David's response was that the girls would like what he was doing (! - 2 Sam. 6:22). "And Michal the daughter of Saul had no child until the day of her death" (2 Sam. 6:23). - RBW
File: LoF037
===
NAME: Come, Love, Come, the Boat Lies Low
DESCRIPTION: "Come, love, come, and go with me, I'll take you down about Tennessee. Open up the window, oh love do, Listen to the music I'm playing for you, Come, love, come, the boat lies low,...."  The girl is urged to float "on the Old Ben Joe"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: love courting home river floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 90-91, "Come, Love, Come, the Boat Lies Low" (1 text, 1 tune)
Roud #10033
RECORDINGS:
Eleazar Tillet, "Come Love Come" (on USWarnerColl01) [a true mess; the first verse is "Nancy Till", the chorus is "Come, Love, Come, the Boat Lies Low," and it uses part of "De Boatman Dance" as a bridge.)
NOTES: Another collection -- at least in Wheeler's version -- of mostly floating material. But I suspect the chorus ("Come, love, come, the boat lies low, Lies high and dry on the Ohio...") is characteristic of something rather longer. - RBW
File: MWhee090
===
NAME: Come, My Little Roving Sailor: see Wheel of Fortune (Dublin City, Spanish Lady) (File: E098)
===
NAME: Come, My Love: see Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)
===
NAME: Come, Polly, Pretty Polly: see Pretty Polly (II) [cf. Laws P36] (File: LP36B)
===
NAME: Come, Pretty Polly: see Pretty Polly (II) [cf. Laws P36] (File: LP36B)
===
NAME: Come, Rain, Come
DESCRIPTION: The singer hopes, "Come, rain, come, rain, come... To keep back the Yankees Until our ranks are filled up by recruits." The hungry singer complains, "I'm alone in my shanty, And rations they are scanty." He hopes for more and better food
AUTHOR: unknown
EARLIEST_DATE: 1943 (Brown)
KEYWORDS: food Civilwar
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 385, "Come, Rain, Come" (1 text)
Roud #11753
NOTES: Mud is, of course, the soldier's constant foe, but worse for the side on the offensive; hence the Confederates would appreciate bad weather more than the Unionists. There is no hint that this is a reference to the Army of the Potomac's "Mud March" of December 1862, but it would fit -- the weather stopped General Ambrose Burnside's advance cold.
Neither side had very good rations; the transportation systems of the time just weren't up to it. But at least the Union troops usually had enough to eat. Not so the Confederates, who were constantly hungry, especially as the war dragged on (which resulted in the loss of much farming land, the ruin of still more land, and the breakdown of the southern railroads). The hunt for food described here is quite true-to-life. - RBW
File: Br3385
===
NAME: Come, Ye Sinners
DESCRIPTION: "Come ye sinners poor and needy, Weak and wounded, sick and sore, Jesus ready stands to save you, Full of pity, love and pow'r. He is able, he is willing, He is able, doubt no more."
AUTHOR: Joseph Hart?
EARLIEST_DATE: 1926 (Randolph; dated to 1759 in the Sacred Harp)
KEYWORDS: religious Jesus
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 623, "Come, Ye Sinners" (1 text, 1 tune)
Roud #7555
NOTES: Randolph states that this is sung to the tune of "Go Tell Aunt Rhody." There is a similarity, but it is not the same tune (for one thing, this has two parts).
In the Sacred Harp, this appears with the tune "Beach Spring," which isn't even close to "Aunt Rhody." - RBW
File: R623
===
NAME: Comely Young Dame, The: see My Bonny Brown Jane (File: HHH613)
===
NAME: Comet
DESCRIPTION: "Comet! It makes your teeth turn green. Comet! It tastes like gasoline. Comet (it/will) make you vomit, So get some Comet and vomit today."
AUTHOR: Music: "Colonel Bogey March" by Kenneth J. Alford, 1916
EARLIEST_DATE: 1986
KEYWORDS: nonballad parody humorous
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 38, "Comet" (1 text, tune referenced)
NOTES: I make the assumption that, if I learned a kids's song from a source other than my parents or school, it qualifies as a folk song. This seems to fit that bill. - RBW
File: PFCF038a
===
NAME: Comfort and Tidings of Joy: see Somerset Carol (File: FSWB377B)
===
NAME: Comical Ditty, A (Arizona Boys and Girls)
DESCRIPTION: "Come all you good people, I pray you draw near... A comical ditty you shortly shall hear." The song notes how the boys dress up to court the ladies, and the girls dress up to court the men, but neither can get married of their own power
AUTHOR: unknown
EARLIEST_DATE: 1913 (Belden)
KEYWORDS: courting poverty clothes family
FOUND_IN: US(Ap,MW,SE,So,SW)
REFERENCES: (5 citations)
Belden, p. 430, "Comical Ditty" (1 text)
Randolph 461, "The Boys Around Here" (1 text, 1 tune)
JHCox 57, "A Comical Ditty" (1 text)
Logsdon 20, pp. 133-135, "They're Down and They're Down" (1 text, 1 tune)
DT, COMDITTY
Roud #4868
CROSS_REFERENCES:
cf. "Putting on Airs" (theme)
NOTES: Despite the title, this song does not strike me as in any way comic -- bitterly pathetic is more like it. Such slight humor as it has derives from its snarling sarcasm, but even this is too strong to be really effective.
I did not initially link the Randolph song with Cox's; they are shown with distinctly different metrical patterns, and Randolph's text isn't quite as sarcastic. But upon seeing more versions, it appears that they are just extremes of a constellation of forms. - RBW
File: JHCox057
===
NAME: Coming Around the Horn
DESCRIPTION: "Now, miners, if you listen, I'll tell you quite a tale." The singer goes around Cape Horn to California, and describes the seasickness, bad food, long calms, and other poor conditions. Arriving in California, he finds his money was left in the States
AUTHOR: unknown
EARLIEST_DATE: 1855 ("Put's Original California Songster")
KEYWORDS: ship travel hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 429-420, "Coming Around the Horn" (1 text)
Roud #15539
CROSS_REFERENCES:
cf. "Dearest May" (tune)
File: LxA429
===
NAME: Coming Down the Flat
DESCRIPTION: "If a body meet a body coming down the flat, Should a body 'Joe' a body, for having on a hat? Some wear caps, some wise-awakes, but I prefer a hat, Yet everybody cries out 'Joe!' coming down the flat." About the types of hats Australians wear
AUTHOR: Charles Thatcher?
EARLIEST_DATE: 1984
KEYWORDS: clothes parody Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 96-97, "Coming Down the Flat" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Coming Through the Rye" (tune & meter)
File: FaE096
===
NAME: Coming Round the Mountain (I): see She'll Be Coming Round the Mountain (File: San372)
===
NAME: Coming Round the Mountain (II -- Charming Betsey)
DESCRIPTION: "She'll be coming round the mountain, charming Betsey; She'll be coming round the mountain, Cora Lee; If I never see you any more, Pray God remember me." The song usually compares the homes, vehicles, etc. of the rich and poor
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: separation money nonballad
FOUND_IN: US(Ap,SE,So)
REFERENCES: (4 citations)
Randolph 436, "Charming Betsey" (1 text, 1 tune)
Randolph/Cohen, pp. 335-336, "Charming Betsey" (1 text, 1 tune -- Randolph's 436)
BrownIII 256, "All Around the Mountain, Charming Betsy" (2 short texts); also 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "the "A" text appears to mix this with "I Won't Marry an Old Maid" and "Raccoon")
DT, COMRNDMT*
Roud #7052
RECORDINGS:
Fiddlin' John Carson, "Charming Betsy" (OKeh 40363, 1925)
Cleve Chaffin & the McClung Brothers, "Rock House Gamblers" (c. 1930; on RoughWays1)
Georgia Organ Grinders, "Charming Betsy" (Columbia 15415-D, 1929)
Davis & Nelson, "Charming Betsy" (QRS 9011, c. 1929)
Land Norris, "Charming Betsy" (OKeh 45033, c. 1926; rec. 1925)
Virgil Perkins & Jack Sims, "Goin' Around the Mountain" (on AmSkBa)
Henry Thomas, "Charming Betsy" (Vocalion 1468, 1930 [rec. 1929]; on Cornshuckers2)
CROSS_REFERENCES:
cf. "She Gets There Just the Same (Jim Crow Car)" (floating verses)
File: R436
===
NAME: Coming Through the Rye
DESCRIPTION: "Gin a body meet a body comin' through the rye, Gin a body kiss a body, need a body cry?" The singer remarks that no one knows her swain, but notes that all the lads smile at her in the rye. She observes that she has a love whom she keeps secret
AUTHOR: unknown (adapted by Robert Burns)
EARLIEST_DATE: 1796 (Stationer's Register)
KEYWORDS: love courting bawdy nonballad farming
FOUND_IN: Britain
REFERENCES: (4 citations)
Silber-FSWB, p. 140, "Comin' Through the Rye" (1 text)
Fuld-WFM, pp. 178-179, "Comin' Thro' the Rye"
DT, COMTHRYE*
ADDITIONAL: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #560, pp. 664-665, "Comin thro; the rye" (1 text, 1 tunes, from 1796)
Roud #5512
RECORDINGS:
Edith Helena, "Comin' Thro' the Rye" (Gramophone & Typewriter Co. 3348, n.d. but pre-1907)
Nevada Vanderveer, "Comin' Through the Rye" (Bell 1117/Bell S-77, c. 1923)
Ruth Vincent, "Comin' Thro' the Rye" (Columbia 30024, c. 1906)
SAME_TUNE:
Coming Through the Rye (Cold Cuts) (Pankake-PHCFSB, p. 11; DT, COMTHRY2)
NOTES: Fuld observes that the earliest copies of this song (including the text known to Burns) were bawdy, and the Digital Tradition text is one of these.
The Burns version from the Scots Musical Museum opens with an eight-line stanza that is rarely if ever heard, followed by the familiar "Gin a body meet a body" stanzas.
There is a version of this in the Wilder family tradition (_By the Shores of Silver Lake_, chapter 15), but it looks imperfectly Scottish, as if learned from print. - RBW
File: FSWB140B
===
NAME: Commend Me to the Plooman: see The Ploughman (I) (File: Ord217)
===
NAME: Common Bill
DESCRIPTION: The singer says Bill "isn't charming," and is "altogether green." He courts her relentlessly, to her scorn. At last he says that he will kill himself if she does not wed him. Citing the Bible's injunction against killing, she consents
AUTHOR: unknown
EARLIEST_DATE: 1893 (Broadwood & Maitland)
KEYWORDS: courting marriage
FOUND_IN: US(MW,NE,SE,So) Britain(England)
REFERENCES: (13 citations)
Randolph 119, "Common Bill" (2 texts)
Eddy 57, "Common Bill" (2 texts, 1 tune)
Gardner/Chickering 178, "Common Bill" (1 text, 1 tune)
Linscott, pp. 187-188, "Common Bill" (1 text, 1 tune)
BrownII 195, "Common Bill" (1 text plus 1 excerpt and mention of 3 more)
Hudson 57, pp. 173-174, "Common Bill" (1 text)
Scarborough-SongCatcher, pp. 308-310, "Common Bill" (2 texts, 1 tune on pp. 437-438)
Sandburg, pp. 62-63, "Common Bill" (1 text, 1 tune)
Lomax-ABFS, pp. 325-326, "Hardly Think I Will" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 76, "Silly Bill" (1 text, 1 tune)
LPound-ABS, 104, pp. 214-215, "I Will Tell You of a Fellow" (1 text)
Silber-FSWB, p. 172, "Common Bill" (1 text)
DT, CMMNBILL*
Roud #442
RECORDINGS:
I. G. Greer w. Mrs. I. G. Greer, "Common Bill" (AFS; on LC14)
Hill Billies, "Silly Bill" (OKeh 40294, 1925)
McGee Brothers, "Charming Bill" (Vocalion 5166, 1927)
McGee Brothers & Todd, "Common Bill" (on CrowTold02)
New Lost City Ramblers, "Common Bill" (on NLCR10)
Ernest Thompson & Connie Sides, "Silly Bill" (Columbia 15002-D, rec. 1924)
CROSS_REFERENCES:
cf. "Barney O'Hea" (theme)
File: R119
===
NAME: Common Sailors
DESCRIPTION: "Don't you call us common men, We're as good as anybody that's on shore." We bring "silks and satins" for girls, cigars for "young gents," and no one appreciates us.
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: commerce pride sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 24, "Common Sailors" (1 text, 1 tune)
File: LeBe024
===
NAME: Companions, Draw Nigh: see Dying From Home and Lost (Companions, Draw Nigh) (File: R609)
===
NAME: Company Cook, The
DESCRIPTION: "The company cook had a greasy look, A nasty galoot was he, His only shirt was stiff with dirt...." The cook is "an autocrat," but "the stuff we got to put in the pot Was too often fit for swill." One day he dies and is buried; they expect he is in hell
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: cook death army
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 551-552, "The Company Cook" (1 text)
Roud #15544
NOTES: Makes me think of "The Bastard King of England," but the dependence seems to be merely a matter of vague allusions. - RBW
File: LxA551
===
NAME: Compass and Square, The
DESCRIPTION: Scottish Freemasons meet "the blessings of freedom and plenty to share, and walk by the rules of the compass and square." Kings and prophets have been Freemasons. "The Great Architect ... Instructed our sires in the great building scheme"
AUTHOR: unknown
EARLIEST_DATE: 1910 (GreigDuncan3)
KEYWORDS: nonballad religious ritual
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #155, p. 1, "The Compass and Square" (1 text) 
GreigDuncan3 469, "The Compass and Square" (1 text)
Roud #5966
CROSS_REFERENCES:
cf. "Jocky the Ploughboy" (tune, per Greig)
File: GrD3469
===
NAME: Complainte de Springhill, La (The Lament of Springhill)
DESCRIPTION: French. February 21, 1891: In Nova Scotia you will never forget the underground devastation in the Springhill mine. We are told that one hundred and thirty appeared before God.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Creighton-Maritime)
KEYWORDS: foreignlanguage grief death mining disaster
HISTORICAL_REFERENCES: Feb 21, 1891 - Springhill Disaster
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Creighton-Maritime, p. 183, "La Complainte de Springhill" (1 text, 1 tune)
DT, SPRINGH3*
CROSS_REFERENCES:
cf. "Springhill Mine Disaster (1891)" (subject)
NOTES: February 21, 1891: Springhill Coal Mine explosion kills 125 men. (Source: our roots/nos racines (Canada's local histories online) _Story of the Springhill Colliery Explosion_ : comprising a full and authentic account of the great coal mining explosion at Springhill Mines, Nova Scotia, February 21st, 1891, including a history of Springhill and its collieries_ by R.A.H. Morrow.) - BS
This was not the last disaster in the Springhill coal mines; Peggy Seeger and Ewan MacColl documented the 1958 tragedy in "Springhill Mine Disaster." - RBW
File: CrMa183
===
NAME: Complications of Life, The
DESCRIPTION: "This life here is a mixture of its troubles and its joys, All the way to ripe old age from tiny girls and boys; With many complications...." The singer tells of courting girls, of music, of toys, farm animals, a bad marriage, life's other trials
AUTHOR: probably assembled by John Daniel Vass
EARLIEST_DATE: 1958 (collected by Shellans from John Daniel Vass)
KEYWORDS: hardtimes animal dog chickens mother humorous wife marriage separation army farming
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, pp. 45-46, "The Complications of Life" (1 text, 1 tune)
Roud #7328
File: Shel045
===
NAME: Concerning Charlie Horse
DESCRIPTION: Nine men go to pull Charlie horse's drowned body from Angle Pond where he had fallen through the ice. The men braved hunger to do the job "with two stout dories and a couple of ropes" and "gave him a decent send-off." The crew are all named.
AUTHOR: Omar Blondahl
EARLIEST_DATE: 1959 (NFOBlondahl03)
KEYWORDS: burial drowning moniker horse
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Blondahl, pp. 18-19, "Concerning Charlie Horse" (1 text, 1 tune)
RECORDINGS:
Omar Blondahl, "Concerning Charlie Horse" (on NFOBlondahl03)
CROSS_REFERENCES:
cf. "The Return of Charlie Horse" (subject)
NOTES: From _Omar Blondahl's Contribution to the Newfoundland Folksong Canon_ by Neil Rosenberg in Canadian Journal for Traditional Music (1991):
"Another single paired 'Concerning Charlie Horse' and 'The Return of Charlie Horse,' two songs about a party involving the retrieval and burial of Charlie, the horse who fell through the ice of Angle Pond in Mahers near St. John's in the spring of 1956. 'Concerning Charlie Horse,' which Blondahl co-authored along with a local man, who along with Blondahl was one of ten named in the song, was a hit in St. John's and is a good example of a moniker song which achieved popularity in part because listeners could identify the names and nicknames of the men in it." - BS
File: Blon018
===
NAME: Concerning One Summer in Bonay I Spent
DESCRIPTION: The singer -- and others from all over Newfoundland -- congregated in "Bonay" one summer for wood "rhind" and fishing. The singer pokes fun at the girls that went along and at the men dressing up to meet them.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: courting work fishing
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Doyle2, p. 33, "Concerning One Summer in Bonay I Spent" (1 text, 1 tune)
Doyle3, p. 21, "Concerning One Summer in Bonay I Spent" (1 text, 1 tune)
Blondahl, p. 29, "Concerning One Summer in Bonay" (1 text, 1 tune)
Roud #7292
RECORDINGS:
Omar Blondahl, "Concerning One Summer in Bonay" (on NFOBlondahl03)
NOTES: Doyle mentions that the song was written by a "simple fisherman" and that "Bonay" is in the Strait of Belle Isle which separates Newfoundland from Labrador. - SH
File: Doy33
===
NAME: Condemned Men for the Phoenix Park Murders, The
DESCRIPTION: "On the evidence of a notorious wretch Far worse than they have been, Those men they are condemned to die" "Counsels for the Crown ... have well succeeded in their plan ... For basely British gold" Carey is cursed as "the cause of all this woe"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: execution murder trial Ireland political
HISTORICAL_REFERENCES: Chronology of the Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann, pp. 28,63, "Lines Written on the Condemned Men for the Phoenix Park Murders" (2 fragments)
BROADSIDES:
Bodleian, Harding B 26(364), "Lines Written on the Condemned Men for the Phoenix Park Murders" ("Miserable indeed must those poor men be"),unknown, n.d.
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
NOTES: Zimmermann p. 62: "The Phoenix Park murders and their judicial sequels struck the popular imagination and were a gold-mine for ballad-writers: some thirty songs were issued on this subject, which was the last great cause to be so extensively commented upon in broadside ballads."
Zimmermann pp. 28 and 63 are fragments; broadside Bodleian Harding B 26(364) is the basis for the description. - BS
File: BrdCMPPM
===
NAME: Condescending Lass, The: see I Am a Pretty Wench (File: BGMG082)
===
NAME: Coney Isle
DESCRIPTION: Verses that ought to be floating if they aren't already: "Some folks say that a preacher won't steal/I caught three in my corn field"; "Make that feather bed... Old man Brown gonna stay all night." Chorus: "I'm on my way, I'm going back to Coney Isle."
AUTHOR: Frank Hutchison
EARLIEST_DATE: 1927 (recording, Frank Hutchison)
KEYWORDS: humorous nonballad floatingverses
FOUND_IN: 
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 181, "Coney Isle" (1 text, 1 tune)
RECORDINGS:
Lester Pete Bivins, "I'm Goin' Back to Coney Isle" (Bluebird B-6950, 1937)
Roscoe Holcomb, "Coney Isle" (on Holcomb1, MMOKCD)
Frank Hutchison, "Coney Isle" (OKeh 45083, 1927)
CROSS_REFERENCES:
cf. "Rosie, Darling Rosie" (floating lyrics)
cf. "Take a Drink On Me" (words)
cf. "Uncle Eph's Got the Coon" (words)
cf. "Some Folks Say that a Preacher Won't Steal" (lyrics)
ALTERNATE_TITLES:
Alabam
NOTES: The "Coney Isle" referred to was Coney Island amusement park in Cincinnati, Ohio, not the better-known Coney Island in New York. - PJS
File: CSW181
===
NAME: Confederate "Yankee Doodle"
DESCRIPTION: "Yankee Doodle had a mind to whip the southern traitors Because they didn't choose to live on codfish and potatoes... And so to keep his courage up he took a drink of brandy." The song notes that even the brandy didn't help at Bull Run
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: Civilwar battle parody derivative
HISTORICAL_REFERENCES: July 21, 1861 - First battle of Bull Run fought between the Union army of McDowell and the Confederates under Johnston and Beauregard
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 249, "Confederate 'Yankee Doodle'" (1 text)
Lomax-ABFS, pp. 521-525, "Yankee Doodle" (4 texts, 1 tune, of which the third is this version)
Hudson 122, pp. 262-263, "Yankee Doodle" (1 text)
DT, YNKDOOD2*
Roud #7715
CROSS_REFERENCES:
cf. "Yankee Doodle" (tune) and references there
File: R249
===
NAME: Connaught Man, the
DESCRIPTION: The singer rambles from Connaught to the big cities of Ulster. He has various confrontations with city slickers, assumes a pub will give him credit, and winds up in a fight. He lands in prison. Once released, he vows to roam no more
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: rambling prison home fight drink money
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H219, pp. 177-178, "The Connaught Man" (1 text, 1 tune)
Roud #13538
File: HHH219
===
NAME: Connaught Man's Trip to Belfast, The: see The Poor Chronic Man (File: FSC118)
===
NAME: Connecticut Peddler, The
DESCRIPTION: "I'm a peddler, I'm a peddler, I'm a peddler from Connecticut... And don't you want to buy?" He offers "many goods you never saw before," such as pins, "tracts upon popular sins," and many sorts of seeds.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: commerce money travel nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 317-320, "The Connecticut Peddler" (1 text, 1 tune)
Roud #15533
File: LxA317
===
NAME: Connla
DESCRIPTION: In Irish Gaelic; dialog; woman asks, "Who's that down there tapping the window?", "...kindling the fire?", "...drawing the blanket off me?", "...breaking down fences?". In every case the reply is "'It's I, myself', says Connla"
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Mary Joyce)
KEYWORDS: sex dialog foreignlanguage
FOUND_IN: Ireland
REFERENCES: (2 citations)
DT, CUNNLDR
ADDITIONAL: _Sing Out_ magazine, Volume 24, #4 (1975), p, 21, "Cunnla" (2 texts, 1 Gaelic, 1 Engish, 1 tune, as sung by Joe Heaney)
RECORDINGS:
Mary Joyce, "Connla" (on Lomax42, LomaxCD1742)
ALTERNATE_TITLES:
Cunnla
NOTES: I haven't used the keyword "bawdy", despite the subject matter, because it isn't. - PJS
File: DTcunnld
===
NAME: Connlach Ghlas an Fhomhair (Green Harvest Stubble, The)
DESCRIPTION: Gaelic. Singer wishes he and his sweetheart were wed and on a ship sailing west. Everyone has other plans for her but he would oppose even the King of Spain. He sent her a letter to complain. "She promptly replied that her heart's love was truly mine" 
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: foreignlanguage love nonballad emigration royalty
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 166-167, "Connlach Ghlas an Fhomhair" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 113-114, "Coinligh Ghlas' An Fhomhair" ("Green Harvest Stubble") [Gaelic and English]
NOTES: Tunney-StoneFiddle includes both the Gaelic and Paddy Tunney's English translation. However, I used Bell/O Conchubhair for the description because I thought I understood it better.
The text of the last verse, in both Gaelic and English, differ between Tunney-StoneFiddle and Bell/O Conchubhair. Tunney has the singer hear from gossips that she will wed soon; his advice is to delay "till Easter day When we'll be safe beyond their sight and wicked spite far, far away." - BS
The reference to the King of Spain is interesting. The Kings of Spain were the "Most Catholic Monarchs," and hence potentially the most likely to be helpful to the Catholics of Ireland, so opposing them would be particularly galling to a fervent Catholic -- but by the time emigration to America was common, Spain had fallen into extreme weakness and was no useful ally to anyone. Maybe the reference is just a leftover memory of the days of the Armada and the English/Spanish wars. - RBW
File: TSF166
===
NAME: Conroy's Camp
DESCRIPTION: (The company sets out for camp and) arrives at Waltham, where they stop to drink. The singer describes the several men in the crew.
AUTHOR: unknown
EARLIEST_DATE: 1966 (Fowke)
KEYWORDS: travel drink logger moniker
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke-Lumbering #46, "Conroy's Camp" (1 text, tune referenced)
Roud #4558
CROSS_REFERENCES:
cf. "How We Got Up to the Woods Last Year" (tune, lyrics, theme)
NOTES: Like so many lumbering songs, this is a "moniker song" devoted mostly to listing the men in the crew-- though, in this case, it catalogs their behavior on their way to camp rather than their behavior *in* camp. - RBW
File: FowL46
===
NAME: Constant Farmer's Son, The [Laws M33]
DESCRIPTION: Her parents consent to let their daughter marry a farmer, but her brothers will not agree. The brothers take the farmer out and murder him, claiming he has fled with another girl. The daughter finds the body, has her brothers executed, and dies of grief
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(3995))
KEYWORDS: murder family
FOUND_IN: Britain(England(South),Scotland(Aber)) US(MA,MW) Canada(Mar,Newf) Ireland
REFERENCES: (11 citations)
Laws M33, "The Constant Farmer's Son"
GreigDuncan2 221, "The Constant Farmer's Son" (2 fragments, 2 tunes)
FSCatskills 47, "The Constant Farmer's Son" (1 text, 1 tune)
SHenry H806, pp. 434-435, "The Constant Farmer's Son" (1 text, 1 tune)
Morton-Maguire 17, pp. 40-41,108,163, "The Constant Farmer's Son" (1 text, 1 tune)
LPound-ABS, 32, pp. 76-78, "The Constant Farmer's Son" (1 text)
Creighton/Senior, pp. 141-142, "Constant Farmer's Son" (1 text, 1 tune)
Creighton-Maritime, p. 118, "The Constant Farmer's Son" (1 text, 1 tune)
Lehr/Best 25, "Constant Farmer's Son" (1 text, 1 tune)
Mackenzie 26, "The Constant Farmer's Son" (1 text)
DT 309, CONSTFRM  (JEALBRO5 incorrectly listed as Laws M32)
Roud #675
RECORDINGS:
Josie Connors, "Constant Farmer's Son" (on IRTravellers01)
Tom Lenihan, "Constant Farmer's Son" (on IRClare01)
John Maguire, "The Constant Farmer's Son" (on IRJMaguire01)
James McDermott, "The Constant Farmer's Son" (on IRHardySons)
BROADSIDES:
Bodleian, Harding B 11(3995), "The Merchant's Daughter and Constant Farmer's Son," J. Pitts (London), 1819-1844; also Johnson Ballads 1223, Harding B 16(148a), Firth c.18(183), Johnson Ballads 1947, Harding B 11(2402), "The Merchant's Daughter and Constant Farmer's Son"; Johnson Ballads 2675, "Merchant's Daughter" or "Constant Farmer's Son" ("It's of a merchant's daughter in London town did dwell"); 2806 b.9(265), "The Constant Farmer's Son"
CROSS_REFERENCES:
cf. "The Bramble Briar (The Merchant's Daughter; In Bruton Town)" [Laws M32]
NOTES: At the end of Tom Lenihan's version on IRCLare01, the brothers' bodies are given to doctors "for to practice by" "but Mary's thoughts both night and day On her dead love did run; In the madhouse cell poor Mary dwells For her constant farmer's son." See the notes to "A Maid in Bedlam" for other women driven to the asylum. - BS
File: LM33
===
NAME: Constant Lover, The
DESCRIPTION: "Although my parents me disdain, For loving of my own dear honey," the singer vows to be faithful. He lists all the things he would disdain were he allowed to woo the girl. He concludes that not even the honeycomb is as sweet as she
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 86, "The Constant Lover" (1 text)
Roud #5564
NOTES: This song, literary in a rather obnoxious way, mentions both King Caesar's rents (though the Roman Empire did not use landrents as such) and Hero and Leander. The latter story tells of the young man Leander who swam every night to meet his love Hero, but who one night became lost and drowned; when she found his body, she drowned herself. The story comes from an ancient Greek poem, but was more popular in recent times; Marlowe, Byron, and Chapman were among the many who wrote on the theme. - RBW
File: Ord086
===
NAME: Constant Lovers (II), The: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Constant Lovers, The [Laws O41]
DESCRIPTION: The sailor promises to marry the girl after he makes one more trip. His mother threatens to disinherit him for this, but he points out that she had been a serving girl herself until his father had raised her. He promises to be faithful to the girl
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(166))
KEYWORDS: sailor travel mother promise
FOUND_IN: Canada(Mar,Newf) Ireland
REFERENCES: (7 citations)
Laws O41, "The Constant Lovers"
SHenry H634, p. 472, "One Penny Portion" (1 text, 1 tune)
OLochlainn-More 4, "One Penny Portion" (1 text, 1 tune)
Lehr/Best 95, "A Sailor Courted" (1 text, 1 tune)
Creighton-NovaScotia 49, "A Sailor Courted" (1 text, 1 tune)
Creighton-Maritime, pp. 44-45, "A Sailor Courted a Farmer's Daughter" (1 text, 1 tune)
DT 595, SAILCOUR
Roud #993
BROADSIDES:
Bodleian, Harding B 28(166), "The Constant Lovers" ("A sailor courted a farmer's daughter"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3519), Firth c.13(259), 2806 c.17(79), 2806 c.17(78), Harding B 11(146), Harding B 11(147), Johnson Ballads 2079, Harding B 20(235), Firth c.26(62), Firth c.12(195), Firth c.12(290), Harding B 11(678), Harding B 11(677), "The Constant Lovers"; Harding B 11(2670) [15 8-line verses], "A New Song"; Harding B 16(108d), "Hard-Hearted Mother"; Harding B 4(87)[part 1: 9 8-line verses; part 2: 10 8-line verses; 7 8-line verses], Harding B 4(88), "The Goodhurst Garland. In Three Parts"; Harding B 25(1682), "The Sailor and the Farmer's Daughter"
NLScotland, APS.4.95.15(3), "The Sailor and Farmer's Daughter," unknown, c.1830
File: LO41
===
NAME: Constant Sorrow: see Man of Constant Sorrow (File: CSW113)
===
NAME: Constitution and the Guerriere, The [Laws A6]
DESCRIPTION: Captain Dacres of the Guerriere expects to defeat the Americans as easily as Britain has defeated the French. Captain [Isaac] Hull's Constitution, however, easily defeats the British ship
AUTHOR: unknown
EARLIEST_DATE: 1812 (broadside)
KEYWORDS: sea war battle ship
HISTORICAL_REFERENCES: Aug 19, 1812 - the 44-gun Constitution defeats and captures the 38-gun Guerriere
FOUND_IN: US(Ap,MA) Britain(Scotland(Aber))
REFERENCES: (15 citations)
Laws A6, "The Constitution and the Guerriere"
Colcord, pp. 130-132, "The Constitution and the Guerriere" (1 text, 1 tune)
Harlow, pp. 184-186, "The Constitution and the Guerriere" (1 text, 1 tune)
GreigDuncan1 43, "The Constitution and the Guerriere" (2 texts)
Friedman, p. 291, "The Constitution and the Guerriere" (1 text)
Scott-BoA, pp. 108-110, "The Constitution and the Guerriere" (1 text, 1 tune)
Lomax-ABFS, pp. 507-509, "Constitution and Guerriere" (1 text, 1 tune)
Lomax-FSNA 21, "Yankee Doodle Dandy-O" (1 text, 1 tune)
Botkin-NEFolklr, pp. 544-546, "The Constitution and the Guerriere" (1 text, 1 tune)
Shay-SeaSongs, pp. 161-164, "The Constitution and the Guerriere" (1 text, 1 tune)
JHCox 60, "The Constitution and the Guerriere (Hull's Victory)" (1 text)
Darling-NAS, pp. 159-161, "The Constitution and the Guerriere" (1 text)
Silber-FSWB, p. 286, "The Constitution and Guerriere" (1 text)
DT 362, CONSTGUR*
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 309. "The Constitution and Guerriere" (1 text)
Roud #626
RECORDINGS:
Warde Ford, "Proud Dacus and Captain Hull (Captain Hull and proud Dacus)" [fragment] (AFS 4202 A4, 1938; tr.; in AMMEM/Cowell)
BROADSIDES:
LOCSinging, as102370, "Constitution and Guerriere," L. Deming (Boston), n.d.
CROSS_REFERENCES:
cf. "The Chesapeake and the Shannon (I)" [Laws J20]
cf. "Iron Merrimac" (subject)
cf. "Yankee Tars" (subject)
ALTERNATE_TITLES:
Captain Hill
Lo a Frigate
NOTES: Despite the alternate title "Yankee Doodle Dandy-O," this is obviously not to be confused with "Yankee Doodle." The tune is, in fact, related to "The Bonnie Lass of Fyvie-O (Pretty Peggy)"; some copies call it "The Landlady of France."
The United States declared war on Britain in 1812 due to British behavior at sea (impressing seamen off American ships -- for which see e.g. "The Chesapeake and the Shannon (I)" [Laws J20] -- and stopping American ships bound for the continent, among other things). Under ordinary circumstances, the Americans could not hope to beat Britain -- but, just as in the Revolutionary War, Britain had other things on its mind. In this case, Napoleon. Most of the British navy had to stay near France to combat the possibility of invasion. As a result, the Americans decided to send out their tiny navy -- only five frigates, though they were high-quality ships, and some smaller vessels -- to protect their merchant ships against such British ships as were operating out of Halifax and Newfoundland. In the end, most of the American fleet would end up bottled up in port.
Before that could happen, though, the _Constitution_ went out commerce-raiding (July 12, 1812). It very nearly ended up being a short trip. Despite their preoccupation with France, the British had one significant task force in the Americas, built about the ship of the line H.M.S. _Africa_ (see Walter R. Borneman, _1812: The War that Forged a Nation_, p. 81; also Donald R. Hickey, _The War of 1812_, pp. 93-94). That fleet came upon _Constitution_, but the wind died before they could engage, and the _Constitution_ managed to get away by kedging her  anchor plus putting as many men as possible in longboats to row her away. _Constitution_ made it to Boston, then set out again (Borneman, p. 84). She then met the _Guerriere_, one of the ships from the _Africa_ fleet now operating on her own.
The _Guerriere_ freely went into battle with the _Constitution_, apparently in the belief that the Americans didn't know how to handle ships. This was a bad move. Although the _Constitution_ had only slightly more guns, it was a much better-built ship, and its weight of broadside was significantly larger; few frigates had long guns (that is, guns capable of firing a ball over long distances) heavier than an 18-pounder, but the _Constitution_ had many 24-pounders -- a weight typical of ships of the line (see Fletcher Pratt, _The Compact History of the United States Navy_, p. 36; p. 8. According to Lincoln P. Paine (_Ships of the World: An Historical Encylopedia_ Houghton Mifflin, 1997), the _Constitution_ initially had fully 30 of these ship-killers and 20 32-pounders carronades -- short-range guns designed to kill people more than ships  No wonder some charged that the ship was really a ship of the line!). According to John K. Mahon, _The War of 1812_, p. 57, the _Constitution_ had a broadside of 684 pounds, the British of 556 -- and the American ship had 456 crew to 272 on the British frigate. The British sailors probably were more experienced -- but they simply weren't very numerous.
The American ship-handling was in fact imperfect (Borneman, p. 86), which meant that the two ships actually came in contact for a time, but the _Guerriere_ was quickly dismasted; eventually she surrendered and proved so badly damaged that she had to be burned.
The _Constitution_ would win additional battles in the War of 1812, but this was the only victory for skipper Isaac Hull (1773-1843), who afterward requested and was given a shore command (Mahon, p. 59).
The ""Captain Hull" of the Warde Ford version is of course the aforementioned Isaac Hull (1773-1843), who commanded the _Constitution_ during the battle. "Dacus" is James R. Dacres (1788-1853), the commander of the _Guerriere_. Lest he be thought incompetent, it should be noted that he obtained command at a very young age, and would later in the war capture the _Leo_. He was really more of a "test case" for the British belief that their seamanship (so demonstrated at Trafalgar) made them inherently better than the Americans. Though he would later blame his defeat on the fact that his vessel was an inferior ship captured from the French (Borneman, p. 88).
The "super frigates" did cause a significant reaction on the British side; in addition to the _Constitution_, the ship _United States_ had easily dealt with the _Macedonian_ (Hickey, pp. 94-96). The British questioned whether the American ships could really be called frigates rather than ships of the line (Hickey, p. 98), and caused the British to design heavy frigates of their own and to order their frigates to avoid American frigates if possible (Hickey, pp. 99). They also gave their light frigates orders to stay out of one-on-one engagements (Mahon, p. 59).
It's fortunate for the Americans that their ships were successful, because they weren't cheap. According to David S. Heidler and Jeanne T. Heidler, editors, _Encyclopedia of the War of 1812_, 1997 (I use the 2004 Naval Institute Press edition), the _Constitution's_ "final price of $302,718.84 represented a 260 percent cost overrun from original appropriations."
The victory was very important in American politics. To that point, the Americans had done very badly in the war, being utterly defeated on the Canadian front (see, e.g., "Brave General Brock" [Laws A22] and "The Battle of Queenston Heights"). The _Constitution's_ victory, while of no real significance, is credited with helping President James Madison to re-election in November 1812. It was a very close thing; had Pennsylvania gone for De Witt Clinton, Madison would have been turned out of office, and there was genuine concern that he *would* lose there (Hickey, p. 105)- RBW
File: LA06
===
NAME: Contented Countryman, The
DESCRIPTION: "Who would like a jovial count-e-rie life? Happy am I with my home and wife." The singer describes how his life "just suits me": They call him poor, but he has the larks and the clear sky and a loving wife. He would not "change for a crown-ed king."
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian Firth c.26(85))
KEYWORDS: home work farming nonballad
FOUND_IN: Britain(England(Lond)
REFERENCES: (1 citation)
Kennedy 245, "The Contented Countryman" (1 text, 1 tune)
Roud #1847
RECORDINGS:
Jimmy Knights, "Out With My Gun in the Morning" (on Voice18)
BROADSIDES:
Bodleian, Firth c.26(85), "Out With My Gun in the Morning" ("I live a jovial country life"), T. Pearson (Manchester), 1850-1899; also 2806 c.16(112), "Out With My Gun in the Morning"
CROSS_REFERENCES:
cf. "The Brisk and Bonny Lass (The Brisk and Bonny Lad)" (theme)
cf. "Country Life" (theme)
NOTES: Kennedy lists several other collections of what he says are this song -- but given the generic nature of this song and Kennedy's willingness to lump, I can't bring myself to trust him without seeing them. - RbW
File: K245
===
NAME: Contented Wife and Answer, The: see The Happy Marriage (File: HHH753)
===
NAME: Conversation with Death (Oh Death)
DESCRIPTION: Death approaches the young person who is "unprepared for eternity." (S)he tries to buy Death off. It doesn't work. Death describes how it takes everyone and snuffs out their lives. The soon-to-be-dead person bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Vernon Dalhart)
KEYWORDS: death bargaining dialog Hell
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Randolph 663, "Conversation with Death" (1 text)
DT, OHDEATH*
Roud #4933
RECORDINGS:
Rich Amerson, "Death Have Mercy" (on NFMAla4)
Dock Boggs, "Oh Death" (on Boggs1, BoggsCD1)
Al Craver [pseudonym for Vernon Dalhart], "Conversation with Death" (Columbia 15585-D, 1930; rec. 1928)
Rev. Anderson Johnson, "Death in the Morning" (Glory 4015, rec. 1953; on Babylon)
Charlie Monroe's Boys, "Oh Death" (Bluebird B-8092, 1939)
Charley] Patton & [Bertha] Lee, "Oh Death" (Vocalion 02904, 1935; rec. 1934)
Dock Reed & Vera Hall Ward, "Death is Awful" (on NFMAla5) (on ReedWard01)
Berzilla Wallin, "Conversation with Death" (on OldLove)
CROSS_REFERENCES:
cf. "Death and the Lady" (theme)
cf. "Bury Me Not on the Lone Prairie" (tune of one version)
cf. "Oh Death (III)" (lyrics)
ALTERNATE_TITLES:
Death Is Awful
NOTES: It is possible that this is a Holy Roller version of "Death and the Lady," but there are enough differences that I decided I had to separate them. There may be a "missing link" out there somwhere, though. - RBW
I think Boggs' version may well be the missing link you seek. A very similar version was recorded by the blues singer Charley Patton. Or it could be Vernon Dalhart's recording, but certainly the Boggs and Patton versions are fairly close to "Death and the Lady." - PJS
File: R663
===
NAME: Convict Maid, The
DESCRIPTION: "You lads and lasses all attend to me While I relate my tale of misery; By hopeless love I was once betrayed, And now I am, alas, a convict maid." Her lover had her rob her master's store; now she is sentenced for seven years. She regrets her error
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: robbery transportation love punishment
FOUND_IN: Australia
REFERENCES: (4 citations)
Paterson/Fahey/Seal, pp. 58-60, "The Convict Maid" (1 text)
Fahey-Eureka, p. 26, "The Convict Maid" (1 text, 1 tune)
Manifold-PASB, p. 19, "The Convict Maid" (1 text, 1 tune)
DT, CONVCTMD*
Roud #5479
CROSS_REFERENCES:
cf. "The Croppy Boy (I)" [Laws J14] (tune)
File: FaE026
===
NAME: Convict of Clonmel, The
DESCRIPTION: A convict, sentenced to be hanged, thinks of his past, playing at hurley and dancing. "No boy of the village Was ever yet milder." Now his horse is loose, his hurley at home, his ball is played with and the girls are dancing. He will be forgotten.
AUTHOR: English words by J.J. Callanan
EARLIEST_DATE: 1845 (Duffy)
KEYWORDS: crime execution prison sports dancing nonballad
FOUND_IN: Ireland
REFERENCES: (5 citations)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 342-343, "The Convict of Clonmell"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 193-194, "The Convict of Clonmel" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 41-42, "The Convict of Clonmel" (1 text)
Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 117-118, "TheConvict of Clonmell"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 188-189, 496-497, "Convict of Clonmell"
Roud #6993
RECORDINGS:
Robert Cinnamond, "The Gaol of Clonmel" (on IRRCinnamond01) (fragment; only the first verse)
Liam Clancy, "The Convict of Clonmel" (on IRLClancy01)
CROSS_REFERENCES:
cf. "Bold Thady Quill" (subject of hurling) and references there
NOTES: Clonmel is in County Tipperary, Ireland. 
Hayes, after saying simply that he does not know the hero of the song, has a long note explaining the popularity of hurling and defending the game from English detractors.
Hayes's note on this is an exact quote from Duffy, who may in turn be quoting Callanan.
Duffy makes Callanan the translator from the Irish. - BS
According to _Granger's Index to Poetry_ (which cites this five times), the poem was not written by Callanan, but rather translated from an (unknown but modern) Irish source; this of course agrees with Duffy.
Hurling was said to be nearly extinct before being revived in 1870. Since it was played in only a few places before that, a good history of the sport might help us make a good guess as to the person referred to here. (Unless of course it's some petty criminal, but it doesn't sound that way.) The leaders of the 1848 rebellion were all spared the gallows, so it must refer to something earlier. Emmet's rebellion, maybe?
There is a certain amount of confusion about this author. Most sources list his name as James Joseph Callanan, but he is also sometimes listed under the name "Jeremiah" (and, yes, it is known that it is the same guy). Most sources agree that he was born in 1795, but his death date seemingly varies; Hoagland and MacDonagh/Robinson give 1829. He wrote some poetry of his own, but is probably best known for his translations from Gaelic. Works of his found in this index include "The Convict of Clonmel," "The Outlaw of Loch Lene," "Sweet Avondu," "The Virgin Mary's Bank," "Gougane Barra," and a translation of "Drimindown." - RBW
File: RcConvCl
===
NAME: Convict of Clonmell, The: see The Convict of Clonmel (File: RcConvCl)
===
NAME: Convict Song: see Buddy Won't You Roll Down the Line (File: ADR98)
===
NAME: Convict's Return, The
DESCRIPTION: "It's just ten long years ago they dragged me from my wife...." Convicted of murder, the prisoner plans an escape, only to find his family and his strength gone. He is reprieved when his innocence is established; he happily goes home
AUTHOR: Leonard Nelson
EARLIEST_DATE: 1931 (recording, Jack Mahoney)
KEYWORDS: trial punishment reprieve freedom
FOUND_IN: Australia US
REFERENCES: (1 citation)
Meredith/Anderson, pp. 68-69, "The Convict's Return" (1 text, 1 tune)
RECORDINGS:
Jack Mahoney, "The Convict's Return" (Columbia 15712-D, 1932; rec. 1931)
File: MA068
===
NAME: Coo Coo Bird, The: see The Cuckoo (File: R049)
===
NAME: Coo-Coo (Peacock Song)
DESCRIPTION: "Coo-coo, coo-oo-oo, Coo-coo, coo-oo-oo. Coo-coo, coo-ah-li-ah."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: bird nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 237, "Coo-Coo (Peacock Song)" (1 short text, 1 tune)
NOTES: Said to be the acceptance song sung by the peacock after it was elected to be queen of the birds. (One might point out, however, that peacocks are male...). - RBW
File: San237
===
NAME: Cook's Choice, The: see The Greasy Cook (Butter and Cheese and All, The Cook's Choice) (File: CoSB236)
===
NAME: Cooks of Torbay, The
DESCRIPTION: "Come all ye young fellows wherever ye be I'll sing ye a verse on the cooks of Torbay." The sealing ship Ellen goes up the Gulf. The captain gives the cook grief for only cooking two meals for the day. The insulted cook has his son make the meal
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: hunting sea ship humorous cook
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 148, "The Cooks of Torbay" (1 text)
Ryan/Small, p. 113, "The Cooks of Torbay" (1 text)
ST GrMa148 (Partial)
Roud #7575
NOTES: Torbay is about seven miles north of St John's. - BS
File: GrMa148
===
NAME: Coolgardie Miner, The: see English Miner, The (The Coolgardie Miner, Castles in the Air) (File: MA115)
===
NAME: Coolie's Run-I-O: see Canaday-I-O/Michigan-I-O/Colley's Run I-O [Laws C17] (File: LC17)
===
NAME: Coon Can: see The Coon-Can Game [Laws I4] (File: LI04)
===
NAME: Coon-Can Game, The [Laws I4]
DESCRIPTION: The singer is so disturbed by his woman's unfaithfulness that he cannot even play cards. He takes a train, sees the woman, and shoots her. He is arrested, convicted, and left to lament his fate
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: murder train trial prison crime robbery prisoner
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
Laws I4, "The Coon-Can Game"
Scarborough-NegroFS, pp. 87-89, "The Coon-Can Game" (1 text, 1 tune)
Sandburg, pp. 301-311, "Coon Can (Poor Boy)" (1 text, 1 tune)
Jackson-DeadMan, pp. 61-66, "Poor Boy" (3 texts, 1 tune, but the "C" text is a different "Poor Boy" song)
Darling-NAS, pp. 237-238, "Poor Boy in Jail" (1 text)
Silber-FSWB, p. 70, "Poor Boy" (1 text, which appears to be mostly this song but with an ending partly derived from "The Maid Freed from the Gallows")
DT 688, POORBOY
Roud #3263
RECORDINGS:
Dock Boggs, "Poor Boy in Jail" (on Boggs2, BoggsCD1)
CROSS_REFERENCES:
cf. "The Boston Burglar" [Laws L16] (floating lyrics)
NOTES: This song should not be confused with the blues "Poor Boy, or Poor Boy Long Ways from Home"; the two songs are unrelated. Also, although [the version in the Folksinger's Wordbook] has picked up a pair of verses from "The Maid Freed from the Gallows", it's otherwise a completely separate song, and one unique in my experience. - PJS
File: LI04
===
NAME: Cooper Milton
DESCRIPTION: "It was on one Thursday morning, a while before noon, When John came in from work and said, 'You've met your doom.'" John kills his wife Flossie and her lover Cooper Milton. John is sentenced to 99 years in Nashville
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder infidelity husband wife children
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 44, "(Cooper Milton)" (1 text)
CROSS_REFERENCES:
cf. "Jesse James (I)" [Laws E1] (lyrics)
NOTES: This seems almost an anthology of killing songs, e.g. it refers to "Jesse James" in the line "Flossie leaves eight children to mourn for her life." But Burt seems to think it's historical, though she cites no background facts. - RBW
File: Burt044
===
NAME: Cooper of Fife, The: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Coortin' in the Kitchen: see Courting in the Kitchen [Laws Q16] (File: LQ16)
===
NAME: Coortin' in the Stable: see Courtin' in the Stable (The Workin' Steer) (File: Ord227)
===
NAME: Copshawholm Fair
DESCRIPTION: In April people come from mountain and glen to Copshawholm Fair. There are pedlars, jugglers, and exotic foods. Hiring negotiations are described. When hiring is over there's fiddling and dancing, drinking and fighting.
AUTHOR: David Anderson
EARLIEST_DATE: 1868 (Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 5" - 25.8.02)
KEYWORDS: fight work dancing drink food music nonballad
FOUND_IN: Britain(England(North))
REFERENCES: ()

Roud #9139
RECORDINGS:
Bob Forrester, "Copshawholm Fair" (on Voice05)
CROSS_REFERENCES:
cf. "The Hiring Fairs of Ulster" (subject)
cf. "The Feeing Time (I)" (subject) and references there
cf. "The Wild Hills o' Wannie" (tune, according to Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 5" - 25.8.02)
NOTES: Hall, notes to Voice05: "'Copshawholm Fair' ... was last held in 1912." - BS
File: RcCpswFr
===
NAME: Corbitt's Barkentine
DESCRIPTION: On Aug. 30, 1883, the Corbitt begins her voyage. One of the crew moans about being assigned to such a vessel. The captain makes sure she sails with all possible speed. Passing many ships, she reaches the Indies, Boston, and Nova Scotia
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: ship travel
HISTORICAL_REFERENCES: c. 1875-1890 - Career of the fast triangle-trader "George E. Corbitt"
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 189-191, "Corbitt's Barkentine" (1 text, 1 tune)
Roud #4086
NOTES: This song is item dD43 in Laws's Appendix II. - RBW
File: Doe189
===
NAME: Cordwood Cutter, The: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: Corinna, Corinna
DESCRIPTION: "Corinna, Corinna, where you been so long? (x2) Ain't had no lovin' since you've been gone." "Corinna, Corinna, where'd you stay last night? Your shoes ain't buttoned...." "I love Corinna, tell the world I do, And I hope someday babe, you'll love me too."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Blind Lemon Jefferson)
KEYWORDS: courting infidelity loneliness
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 312, "Corinna" (1 text, 1 tune)
Silber-FSWB, p. 76, "Corinna, Corinna" (1 text)
Roud #10030
RECORDINGS:
Alabama Washboard Stompers, "Corrine, Corrina" (Vocalion 1630, 1931)
Arthur (Brother-in-Law) Armstrong, "Corinna" (AAFS 3987 B1)
Ashley and Abernathy, "Corrina, Corrina" (Banner 32427/Oriole 8129/Romeo 5129/Perfect 12800, 1931; on GoingDown)
[Clarence] Ashley & [Gwen] Foster "Corrine, Corrina" (Perfect 12800, 1932)
Tom Bell, "Corinna" (AAFS 4068 B2)
Milton Brown & his Musical Brownies, "Where You Been So Long, Corrine?" (Bluebird B-5808, 1935)
Cliff Bruner's Texas Wanderers, "Corrine Corrina" (Decca 5350, 1937)
Matt Caldwell, "Corinna" (AAFS 1421 B2)
Cab Calloway, "Corrine, Corrina" (Perfect 15551, 1932)
Bo Carter [pseud. for Bo Chatmon] [& Charlie McCoy], "Corinne, Corrina" (Brunswick 7080, 1929; Vocalion 02701, 1934)
Clint Howard et al, "Corrina, Corrina" (on Ashley03)
Frankie "Half Pint" Jaxon, "Corinne Blues" (Vocalion 1424, 1929)
Blind Lemon Jefferson, "Corrina Blues" (Paramount 12367, 1926; on Jefferson01, JeffersonCD01) [as is typical of blues, this is not "pure" Corinna, but the last verse clearly comes from this song]
Bascom Lamar Lunsford, "Corinna" (AAFS 1797 A2)
Jonesie & James Mack & Nick Robinson, "Corinna" (AAFS 1047 A3)
Wingy Manone & his orchestra, "Corinne Corrina (Where You Been So Long)" (Bluebird B-10289, 1939/Mongomery Ward M-8355, 1940)
Bob Nichols & Hugh Cross, "Corinne, Corrina" (Columbia 15480-D, 1929)
Leo Soileau and his Aces "Corrine, Corrina" (Decca 5101, 1935)
Lottie Stankey & Frank Starnes, "Corinna" (AAFS 3317 A1)
Tampa Red, "Corrine Blues" (RCA Victor 20-2432, 1947 -- presumably a reissue)
Taylor & Anderson, "Corrine, Corrine" (Supertone 9646, 1930)
Sonny Terry [pseud., Saunders Terrell], "Women's Blues (Corrina)" (on Terry01)
Saul Tippins, "Corinna" (AAFS 705 B)
Joe Turner, "Corrine Corrina" (Atlantic 1088, 1956)
Turner Brothers, "Connene, Corrina" [sic?] (Radio Artists 203, n.d.)
Mr. & Mrs. Crockett Ward, Fields & Frances Ward, "Corinna" (AAFS 4083 A3)
NOTES: Lomax reports that this "also occurs as Alberta or Roberta." If so, they are not the songs usually found under these names [i.e. "Alberta, Let Your Hair Hang Low"]. - PJS, RBW
It should be noted that many do think them related, and Roud appears to lump them. But the form is simply too different in my book. - RBW
File: LoF312
===
NAME: Cork Leg, The
DESCRIPTION: "A tale I will tell, without any flam -- In Holland dwelt Mynheer von Clam." Clam, wealthy and self-indulgent, kicks a begger and breaks his leg. A surgeon amputates. Clam has a replacement made -- which has a mind of its own and will not stop running
AUTHOR: Henry Glassford Bell
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3925))
KEYWORDS: humorous wordplay injury doctor technology
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (4 citations)
Ford-Vagabond, pp. 332-334, "The Cork Leg" (1 text)
Hayward-Ulster, pp. 47-48, "The Cork Leg" (1 text)
Spaeth-WeepMore, pp. 144-145, "The Cork Leg" (1 text, 1 tune)
DT, CORKLEG*
Roud #4376
BROADSIDES:
Bodleian, Harding B 11(3925), "The Cork Leg" ("A tale I tell now without any flam"), J. Catnach (London), 1813-1838 ; also Harding B 25(419), Firth c.26(295) [final lines illegible], Harding B 11(4289), Harding B 11(2604), Harding B 11(2605), "The Cork Leg"
Murray, Mu23-y4:039, "The Cork Leg," unknown, 19C
File: FVS332
===
NAME: Cork Men and New York Men, The
DESCRIPTION: "Of the gallant Cork men Mixed with New York men. I'm sure their equal can never be found." They "boldly enter" (Ireland?) with arms, and John Bull pursues them, but are not caught. Their deeds are to be celebrated
AUTHOR: T. D. Sullivan (1827-1914)
EARLIEST_DATE: 1962 (Galvin)
KEYWORDS: Ireland ship
FOUND_IN: 
REFERENCES: (1 citation)
PGalvin, pp. 89-90, "The Cork Men and New York Men"
CROSS_REFERENCES:
cf. "The British Man-of-War" (subject of certain texts)
NOTES: It would appear (though the evidence is murky) that this refers to one of the less-disastrous exploits of the Fenians (who are most noted for their failed attempts to free Ireland by absurd methods such as invading Canada).
In 1867, at the time of the Fenian Rising in Ireland (for the context of which see, among other things, "James Stephens, the Gallant Fenian Boy" and "The Smashing of the Van (I)"), a call went out for ships to run guns from the United States to the rebels.
Eventually the ship the _Jacknell Packet_, a brig of 200 tons, was acquired for the purpose (see Robert Kee, _The Bold Fenian Men_, being Volume II of _The Green Flag_, p. 43). The Fenians managed to come up with about 5000 firearms, three cannon, and 38 officers with commissions from the "Irish Republic."
On April 21, 1867, the ship's name was changed to _Erin's Hope_. She eventually reached Sligo Bay -- where the Fenian officer Richard O'Sullivan Burke (for whom see "Burke's Dream" [Laws J16]) told them there was no one to accept the weapons.
The ship then blundered around Ireland looking for someone who wanted the guns. It never found such a place. A few of the men eventually went ashore, where many of them were arrested. The ship itself made it home -- but it accomplished nothing at all.
Sullivan is the author of a number of Irish patriotic poems, of which "God Save Ireland" is probably the best-known. - RBW
File: PGa089
===
NAME: Cork National Hunt, The: see Bold Reynard the Fox (Tallyho! Hark! Away!) (File: DTReynrd)
===
NAME: Cork's Good Humoured Faces
DESCRIPTION: "For good-humoured faces, Cork once beat all places" but politics has soured them. With Olden's shaving soap "lathering chops, ill-blood stops" Peter of Russia smoothed his subjects' manners by having them shave. Even the devil was improved by a shave.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 165-167, "Cork's Good Humoured Faces" (1 text)
CROSS_REFERENCES:
cf. "Ballinafad" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs: "A specimen of the ingenious manner in which a witty manufacturer in Cork of an excellent shaving soap, and other articles, that really require no puffing, contrives to attract attention to his inventions." - BS
There were three Tsars Peter of Russia: Peter I "the Great" (16772-1725; co-tsar from 1682; sole tsar from 1696); his grandson Peter II (1715-1730; tsar from 1727); and another grandson or Peter I, Peter III (1728-1762; tsar briefly in 1762 before being eposed and murdered by his wife Catherine II "the Great"). Given the poor records of Peter II and Peter III, we must assume Peter I is meant -- the more so since he was a westernizer. - RBW
File: CrPS165
===
NAME: Cork's Own Town (I)
DESCRIPTION: "They may rail at the city where first I was born, But it's there they've the whisky, and butter and pork.." Cork's localities and specialies are described: Fishamble's food, Blackpool's leather, groves of Blarney's groves, Glanmire's shops ....
AUTHOR: unknown
EARLIEST_DATE: 1825 (_Cork Southern Reporter_, according to Croker-PopularSongs)
KEYWORDS: commerce drink food nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 158-164, "Cork's Own Town" (1 text)
CROSS_REFERENCES:
cf. "They May Rail at This Life" (tune, according to Croker-PopularSongs)
cf. "Cork's Own Town (II)" (subject and some line fragments)
NOTES: There's no question that "Cork's Own Town (I)" and "Cork's Own Town (II)" are related. They share a few slightly different lines. For example:
"Cork's Own Town (I)," "Och! Fishamble's the Eden for you, love, and me!" is the last line of the first verse and "Cork is the Eden...." for the other verses; "Cork's Own Town (II)," "Aarrh! Cork is the Eden for you love, and me!" is the last line of each verse.
"Cork's Own Town (I)," "If you want to behold the sublime and the beauteous, Put your toes in your brogues and see sweet Blarney Lane"; "Cork's Own Town (II)," "If you want to behold the sublime and the foolish Fix your toes in your brogues an[sic] walk down the Parade"
Nevertheless, while both catalog the Cork neighborhoods and attributes, they say different things about different neighborhhods. While neither is very serious "Cork's Own Town (II)" verges on parody. 
Croker-PopularSongs: "The Editor has no doubt that the authorship may be correctly assigned to the writer of 'O! Blarney Castle, my Darling', and the subsequent song entitled 'Darling Neddeen.'" But, at "O! Blarney Castle, my Darling" he "has no doubt" that its author also wrote "Saint Patrick's Arrival." See that song if you are interested in Croker's speculations there." - BS
File: CrPS158
===
NAME: Cork's Own Town (II)
DESCRIPTION: Cork excels London, Paris, Milan, and Constantinople. Cork's localities and specialies are described: Victoria Park's trees, Fishamble-lane's food, Paradise for "the saint and the sinner," .... We have "the Polis to keep us from drinkin' and fightin'"
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Bodleian 2806 c.8(8))
KEYWORDS: commerce drink food derivative nonballad
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, 2806 c.8(8), "A new and favourite song on 'Cork's own town'" ("They may talk about London, Paris and Milau[sic] ..."), Haly (Cork), 19C
CROSS_REFERENCES:
cf. "Cork's Own Town (I)" (subject and some line fragments)
NOTES: Broadside Bodleian 2806 c.8(8) is the basis for the description.
One line should be useful in dating the text: "May the names of our Council and Mayor shine resplendent, In the Portable Gas of the new company." "Portable Gas" companies condensed oil gas into liquid; for example, London Portable Gas Company was chartered in 1827 (source: Privy Council Office site) - BS
File: BdCoOwT2
===
NAME: Corn Pone
DESCRIPTION: "Corn pone, fat meat, All I ever gets to eat. Better, better than I ever gets at home." The prisoner describes clothes, ben, shackles -- all described as better than what he has at home. He tells his girl, "Chain gang good enough for me."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: chaingang prison work poverty hardtimes nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, pp. 111-112, "Corn Pone" (1 text)
File: Grnw111
===
NAME: Corn Rigs (Rigs o' Barley)
DESCRIPTION: "It fell upon a Lammas night, When corn rigs are bonie, Beneath the moon's unclouded light I held awa to Annie." The singer declares he will never forget that night, and describes how the two embraced
AUTHOR: Robert Burns
EARLIEST_DATE: before 1784 (cf. Kinsley, Burns, Complete Poems & Songs)
KEYWORDS: courting nonballad
FOUND_IN: 
REFERENCES: (1 citation)
DT, CORNRIGS*
Roud #1024
BROADSIDES:
NLScotland, L.C.1270(001), "Amang the Rigs o' Barley," unknown, c. 1845
CROSS_REFERENCES:
cf. "Barley Raking (Barley Rigs A-Raking)"
File: DTcornri
===
NAME: Corn Shucking Song
DESCRIPTION: "Cowboy on middle the island, ho, meleety, ho! (x2)" "Missus eat the green persimmon." "Mouth all drawed up in a pucker." "Stayed so till she went to supper."
AUTHOR: unknown
EARLIEST_DATE: 1855 (Putnam's Monthly)
KEYWORDS: work nonballad food slave
FOUND_IN: US
REFERENCES: (1 citation)
Darling-NAS, p. 325, "Corn Shucking Song" (1 text)
File: DarNS325
===
NAME: Corn-Shucking Song
DESCRIPTION: "Oh, de fus news ye know de day'll be a-breakin', Heydo! Ho O! Up 'n down de banjo, And de fire be a-burnin' an de ash cake a-bakin'." The hen (?) will crow, the boss will call everyone to work; the negro is advised to get to work
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 202, "Corn-Shucking Song" (1 text)
File: Br3202
===
NAME: Cornbread When I'm Hungry: see (references under) Moonshiner (File: San142)
===
NAME: Corncraik Amang the Whinny Knowes, The: see The Echo Mocks the Corncrake (File: HHH018b)
===
NAME: Cornfield Holler
DESCRIPTION: "Sometimes I think my woman, she too sweet to die. Den sometimes I think she ought to be buried alive."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, p. 191, "Cornfield Holler" (1 text, 1 tune)
Roud #15579
File: LxA191
===
NAME: Cornish May Carol: see Padstow May Day Song (File: K086)
===
NAME: Corporal Casey
DESCRIPTION: The singer was happy but uneasy at home until enlisted by Corporal Casey. He treated the singer roughly but was soon killed in battle. "Thinks I, you are quiet, and I shall be aisy, So eight years I fought without Corporal Casey."
AUTHOR: George Colman?
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 25(422)) 
KEYWORDS: army battle recruiting death humorous
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, p. 21, "Corporal Casey" (1 text)
DT, (IRISHWSH*)
BROADSIDES:
Bodleian, Harding B 25(422), "Corporal Casey", Wm. Armstrong (Liverpool), 1820-1824; also Harding B 11(3683), Harding B 15(62b), Harding B 15(63a), "Corporal Casey"
CROSS_REFERENCES:
cf. "The Irish Washerwoman" (tune)
File: OCon021
===
NAME: Corporal Schnapps: see Poor Schnapps (File: R218)
===
NAME: Corpus Christi Carol, The
DESCRIPTION: We find ourselves looking into a bower in a high hall. In the bower lies a sorely wounded knight surrounded by odd symbols -- dogs licking the blood, a stone on which "Corpus Christi" is written, etc.
AUTHOR: unknown
EARLIEST_DATE: before 1537 (Hill MS., Balliol Coll. Oxf. 354, folio 165b)
KEYWORDS: injury religious carol knight
FOUND_IN: Britain(England)
REFERENCES: (9 citations)
Leach, pp. 691-692, "Over Yonder's a Park (Corpus Christi)" (2 texts)
OBB 100, "The Falcon" (1 text)
OBC 61, "Down in Yon Forest" (1 text, 1 tune)
Hodgart, p. 38, "Corpus Christi" (1 text)
Stevick-100MEL 99, "(Lully, Lullay, Lully, Lullay)" (1 text)
Darling-NAS, pp. 42-43, "All Bells in Paradise (Corpus Chisti)" (1 text)
Silber-FSWB, p. 382, "Down In Yon Forest" (1 text)
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #1132
Walter de la Mare, _Come Hither_, revised edition, 1928; #480, "Lully, Lulley" (1 text)
ST L691 (Full)
Roud #1523
NOTES: "Corpus Christi" is Latin for "(the) body of Christ"
The feast of Corpus Christi (not necessarily connected with this ballad) occurs on Thursday of the week after Whitsuntide
Most of the symbols in this song seem to come from pagan (or, at best, late Christian) myths, but in John 19:34 we read that, when Jesus's side was pierced, "immediately [there came out] water and blood." (Compare also 1 John 5:6-8.)
Many other speculations about this song have been proposed. One source (cited anonymously in J. B. Trapp, _Medieval English Literature_, p. 425), apparently following Greene, argues that it has to do with Henry VIII abandoning Catherine of Aragon for Anne Boleyn. This seems more than somewhat farfetched, given that the last dated entry in the Hill Manuscript are from 1536 and the songs thought to be much older.
Another theory connects the song with the grail legend. This makes somewhat more sense; the wounded knight is then the Fisher King, whose wounds would not heal until a hunter for the grail came. That, perhaps, ties into Celtic legend.
Another theory connects it with the "body and blood" of Christ in the Eucharist. - RBW
File: L691
===
NAME: Corunna's Lone Shore (Wandering Nellie)
DESCRIPTION: "Do you weed for the woes of poor wandering Nellie? I love you for that, but I love now no more. All I had long ago lies entomb'd with my Billy, Whose grave rises green on Corunna's lone shore." She describes his battle death, wishing to see his ghost
AUTHOR: Andrew Sharpe
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love death soldier battle burial ghost separation mourning
HISTORICAL_REFERENCES: Jan 16, 1809 - Battle of Corunna. Marshal Soult of France, who has pursued Sir John Moore's British force some 400 km. through the winter, at last attack the British force. The outnumbered English repel the French and are able to evacuate their army, but Moore and many others are slain
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 81-83, "Corunna's Lone Shore" (1 text)
Roud #13114
File: FVS081
===
NAME: Corydon and Phoebe
DESCRIPTION: Corydon (Colin) asks Phoebe (Phyllis) why she flees. She is afraid for her reputation. He says they're not alone; she says she will die a virgin. He replies that he'd come to ask for her hand in marriage, but will seek another. She accepts his hand
AUTHOR: unknown
EARLIEST_DATE: 1755? ("The New Ballads Sung by Mr Lowe and Miss Stevenson at Vauxhall London 1755")
LONG_DESCRIPTION: Corydon (Colin) asks Phoebe (Phyllis) why she makes haste ahead of his pursuit. She replies that she's scarcely sixteen and afraid for her reputation. He points out that they're not alone, so her reputation's safe; she replies that flattery or no, she will die a virgin. He replies that he'd come to ask for her hand in marriage, but since she has slighted him, he's giving up and will seek another. She bids him stay, accepts his hand, and promises "the girl you thought cruel will always prove kind"
KEYWORDS: age hardheartedness courting love marriage virginity dialog lover
FOUND_IN: Britain(England(Lond,South) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 125, "Colin and Phoebe" (1 text, 1 tune)
Peacock, pp. 510-511, "Bold Escallion and Phoebe" (1 text, 1 tune)
DT, C&PHOEBE
Roud #512
RECORDINGS:
Harry Cox, "Colin and Phoebe" (on HCox01)
Pop Maynard, "Colin and Phoebe" (on Voice06)
BROADSIDES:
Bodleian, Harding B 28(77), "Colin and Phoebe" ("Well met, dearest Phoebe, O why in such haste"), W. Armstrong (Liverpool), 1820-1824; also Harding B 16(56a), Firth c.18(208), Firth c.18(209), Harding B 11(1182), Firth b.26(168), 2806 c.17(74), Harding B 15(48b), Firth b.25(75), Harding B 11(1376), Harding B 11(640), Harding B 11(639), Johnson Ballads 15, "Colin and Phoebe"
CROSS_REFERENCES:
cf. "Pastoral Elegy" (theme)
cf. "Come Write Me Down (The Wedding Song)" (plot)
NOTES: She offers the "I will never marry" ploy; he counters with the "I'll marry someone else" gambit. Check and mate. 
No question that this is a piece with its origin in minstrelsy and "rural romance" broadsides. But Kennedy cites over half-a-dozen collections from folk tradition, including the indexed version by Harry Cox, and I say that more than qualifies it as a folk song. - PJS
It should be noted that the mere presence of characters with these approximate names does not make a poem this song. Nicolas Breton, for instance, published "Phillida and Coridon" in 1591 in _The Honourable Entertainment given to the Queen's Majesty in Progress at Elvetham_); it's the same plot, but told in the third person: "In the merry month of May, In a morn by break of day, Forth I walked by the wood side Whenas May was in his pride. There I spied all alone Phillida and Coridon."
Similarly, John Chalkhill published a "Coridon's Song" ("Oh, the sweet contentment The countryman doth find. High trolollie Lolly loe, That quiet contemplation Possesseth all my mind: Then care away, And wend along with me") around 1600.
Again, Dyer published "Corydon to his Phyllis" ("Alas, my heart! mine eye hath wronged thee, Presumptuous eye, to gaze on Phyllis' face... Poor Corydon, the nymph, whose eye doth move thee , Doth love to draw, but is not drawn to love thee") in _The Phoenix Nest_ (1593).
In _England's Helicon_ (1600) we have "Phyllida's Love-Call to Her Corydon, and His Replying" (A dialog: Phyllida" Corydon, arise, my Corydon! Titan shineth clear." Corydon: "Who is it that calleth Corydon? Who is it that I hear?"); this piece has no author, but has a contemporary musical setting. - RBW
File: K125
===
NAME: Cosher Bailey's Engine
DESCRIPTION: "Cosher Bailey had an engine, It was always wanting and mending." Tall tales of Bailey, the engine (bought second-hand, and capable of "four miles an hour"), his sister, brother, daughter, education, and death
AUTHOR: unknown
EARLIEST_DATE: Late 1940s (recording, Ewan MacColl)
LONG_DESCRIPTION: Railroader Cosher Bailey's locomotive is described, along with his sister, brother, daughter, and escapades. At least half of the verses are double entendre, in a cleaned-up sort of way -- e.g. "Cosher Bailey had a daughter/Who did things she shouldn't oughta/She was quite beyond the pale/But over that we'll draw a veil." He dies (maybe) and is refused entrance into Hell
KEYWORDS: train humorous family funeral death sex railroading bawdy Devil
FOUND_IN: Britain(Wales)
REFERENCES: (3 citations)
MacColl-Shuttle, pp. 17-18, "Cosher Bailey's engine" (1 text (edited), 1 tune)
Silber-FSWB, p. 31, "Cosher Bailey's Engine" (1 text)
DT, COSHERB*
CROSS_REFERENCES:
cf. "Mochyn Du  (The Black Pig)" (tune)
cf. "Was You Ever See?" (tune, structure)
NOTES: I suspect there are verses out there considerably more bawdy than these. - PJS
As well as some of the "blatantly obviously cleaned up" variety -- witness this from the Digital Tradition:
Cosher Bailey's brother Matthew
Had a job at cleaning statues
But when he was cleaning Venus
He slipped and broke his elbow.
In fact, the notes in MacColl-Shuttle, derived from A. L. Lloyd,  admit that there are many ribald verses.
According to those notes, Bailey was an ironmaster who in 1846 built the Taff Vale railroad. Legend has it that he drove the first train on the line and got stuck in a tunnel -- obviously something that invited some really dirty verses. Bailey is said to have died in 1872, by which time railroads had obviously been entirely vindicated. - RBW
File: FSWB031A
===
NAME: Cospatrick: see Gil Brenton [Child 5] (File: C005)
===
NAME: Cottage With the Horseshoe o'er the Door
DESCRIPTION: The singer will soon return to his old home, "the cottage with the horse-shoe o'er the door." His father is dead and buried and his mother weeps there alone, but he thinks of the happy days of his youth.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: emigration return death Ireland nonballad father mother
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 18, "Cottage With the Horseshoe o'er the Door" (1 text, 1 tune)
Roud #3075
ALTERNATE_TITLES:
Horseshoe over the Door
File: McB1018
===
NAME: Cotton Field Song: see Mister Rabbit (File: LxU006)
===
NAME: Cotton Mill Blues (I): see Hard Times in the Mill (File: SBoA274)
===
NAME: Cotton Mill Colic
DESCRIPTION: "I'm a-gonna starve, ev'rybody will, You can't make a livin' in a cotton mill." The singer talks of the poor wages and hard conditions. He tells how people offer merchandise on easy terms, then repossess it when he can't pay. He works without ever resting
AUTHOR: David McCann
EARLIEST_DATE: 1926 (recorded by David McCann)
KEYWORDS: work hardtimes poverty warning humorous
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Lomax-FSNA 148, "Cotton Mill Colic" (1 text, 1 tune)
Botkin-SoFolklr, p. 731, "Cotton Mill Colic" (1 text, 1 tune)
DT, CTNCOLIC*
Roud #6688
RECORDINGS:
David McCarn, "Cotton Mill Colic" (Victor V-40274, 1930)
Pete Seeger, "Cotton Mill Colic" (on PeteSeeger13, AmHist1)
CROSS_REFERENCES:
cf. "Dollar Down and a Dollar a Week" (theme)
NOTES: A reading of the bitter lyrics of this song may make you wonder why I have tagged it "humorous." But Doug deNatale and Glenn Hinson, in their article, "The Southern Textile Song Tradition Reconsidered," published in Archie Green, editor, _Songs about Work: Essays in Occupational Culture for Richard A. Reuss_, Folklore Institute, Indiana University, 1993, p. 83, assure us that the song was satiric, and was funny to the cotton workers who were author David McCann's co-workers. The title came about because, in the worker's jargon, "to colic" was to complain about something.
Interestingly, there was apparently an attempt to suppress this song during the 1930-1931 Danville strike, according to deNatale and Hinson, p. 89. The recording had just come out. A store owner in the area stocked it, and apparently it sold briskly. Then the mill owners started talking to store owners and media, and it apparently became much harder to find and hear. DeNatale and Hinson, p. 90, also note that McCann, although not fired from his mill job, would later be barred from the building after he gave up the job.
Years later, a social history project tried to test the extent to which mill workers actually knew these mill songs. They found that only two were really part of the tradition: "Cotton Mill Colic" and "Weave Room Blues" (deNatale and Hinson, p. 95). - RBW
File: LoF148
===
NAME: Cotton Mill Song, The
DESCRIPTION: The singer takes his love for a walk. "She said she loved me dearly and to me she would prove true." "Well now we are to marry for she has named the day ... we'll bring the children up like us to work in the Cotton Mill" if her parents will have him.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: courting marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
Leyden 11, "The Cotton Mill Song" (1 text, 1 tune)
Roud #16945
NOTES: Leyden: "The mill referred to in this song is probably the Springfield Cotton Mill built by Stevenson and Company in 1805, one of the earliest large-scale mills in Ulster and the last cotton spinning mill in Ireland when it closed in 1919." - BS
File: Leyd011
===
NAME: Cotton Needs Pickin'
DESCRIPTION: "Cotton needs pickin' so bad (x3), I'm gonna pick all over this world." The field worker describes how he contracted with the boss to raise the cotton, but now the boss is finding excuses not to pay him
AUTHOR: unknown
EARLIEST_DATE: 1918
KEYWORDS: work slave poverty money trick
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Lomax-FSNA 281, "Cotton Needs Pickin'" (1 text, 1 tune)
Roud #16391
NOTES: Since the first verse of this song refers to slaves being freed, it would appear to date to the period immediately after the Civil War. The Union forces had freed the slaves -- but the freedmen had no job they could do except work the fields. The landowners built up an elaborate system (Black Codes, Jim Crow laws) for keeping the Blacks working -- perhaps even at a lower cost, since they no longer had to pay for food and lodging. - RBW
File: LoF281
===
NAME: Cotton the Kid
DESCRIPTION: Cotton seems "a nice kid... Until he became a rolling stone at the age of seventeen." After a brief career as a thief, the sheriff "come got him and threw him in jail." Cotton escapes and vanishes; the singer advises against trying to catch him
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: outlaw thief prison escape
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 171, "Cotton the Kid" (1 text)
Roud #4097
NOTES: This song is item dE37 in Laws's Appendix II. - RBW
File: R171
===
NAME: Cotton Wool Pie
DESCRIPTION: "It's about a pie social. It should take the cake." Jim sells the pies but Tom could find none for him. He assumed the last was for him from his beau but found it filled with wool. "No pie to devour, no sweetheart had he."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Creighton-Maritime)
KEYWORDS: courting trick food party humorous
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, pp. 206-207, "Cotton Wool Pie" (1 text, 1 tune)
Roud #2722
RECORDINGS:
Omar Blondahl, "Cotton Wool Pie" (on NFOBlondahl04)
NOTES: Blondahl04: "It should be explained in the following song that two girls loved the same man. Now, when a pie social was planned one of the girls baked a pie and filled it with cotton wool. She intended to shift the pies and so break up the rival affair." It appears she was successful. 
Blondahl04 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Cotton Wool Pie" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: RcCoWoPi
===
NAME: Cotton-Eyed Joe
DESCRIPTION: "If it hadn't been for Cotton-eyed Joe, I'd have been married a long time ago." "Where did you come from, where did you go...." Stanzas describe country life, fiddle playing, and attempts to outshine Cotton-eyed Joe
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Dyke's Magic City Trio)
KEYWORDS: fiddle music nonballad
FOUND_IN: US(SE)
REFERENCES: (5 citations)
BrownIII 104, "Page's Train Run So Fast" (1 text)
Scarborough-NegroFS, pp. 69-70, "Cotton-Eyed Joe" (1 text, 1 tune)
Lomax-ABFS, pp. 262-263, "Cotton-Eyed Joe" (1 text, 1 tune)
Silber-FSWB, p. 35, "Cotton-Eyed Joe" (1 text)
DT, COTTNEYE*
Roud #942
RECORDINGS:
Arthur "Brother-in-Law" Armstrong, "Cotton-Eyed Joe" (AFS 3979 B2, 1940)
Granville Bowlen, "Cotton Eyed Joe" [instrumental] (on MMOK, MMOKCD)
Fiddlin' John Carson, "Cotton Eyed Joe" (OKeh 45122, 1927)
Carter Brothers and Son, "Cotton-Eyed Joe" (Vocalion 5349, 1929; on GoingDown)
Dyke's Magic City Trio, "Cotton-Eyed Joe" (Brunswick 120, 1927)
Spud Gravely & Glen Smith, "Cotton Eye Joe" (on HalfCen1)
New Lost City Ramblers, "Cotton-Eye Joe" (on NLCR10)
Elmo Newcomer, "Cotton Eyed Joe" (CroMart 101, n.d. but prob. late 1940s - early 1950s)
Pope's Arkansas Mountaineers, "Cotton-Eyed Joe" (Victor 21469, 1928)
Bookmiller Shannon, "Cotton-Eyed Joe" (on LomaxCD1707)
Gid Tanner & his Skillet Lickers, "Cotton-Eyed Joe" (Columbia 15283-D, 1928)
Art Thieme, "Cotton-Eyed Joe" (on Thieme03)
Bob Wills & his Texas Playboys, "Cotton-Eyed Joe" (Columbia 37212, c. 1947)
NOTES: Primarily a fiddle tune, with the sort of chaotic words one would expect of such a piece. I assume "Cotton-Eyed Joe" stands for something, but I've never heard an explanation. - RBW
It's been suggested that Cotton-Eyed Joe was a local character who was blind due to cataracts or another eye disease such as trachoma. - PJS
File: LxA262
===
NAME: Cotton's Patch (I)
DESCRIPTION: "Oh, quite early in March, I remember the date, I left for the ice the seals to locate." Finally the pilots find "the main patch" of seals. They return and bargain with Mr. Bowring. At last the merchants strike a deal
AUTHOR: presumably Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting technology commerce pilot
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 120, "Cotton's Patch (I)" (1 text)
CROSS_REFERENCES:
cf. "Cotton's Patch (II)" (subject)
NOTES: This is based on an incident of 1922, when Australian Sydney Cotton and Newfoundlander Sydney Bennett made a deal seek the "Main Patch" (main herd) of seals by air.
For the aftermath of the hunt, see "Cotton's Patch (II)" - RBW
File: RySm120
===
NAME: Cotton's Patch (II)
DESCRIPTION: "We got up steam the ninth of March" to seek Cotton's patch. "Oh, didn't we ramble, scramble, But the devil a sign of Cotton's patch we found." After many ships seek in vain, the singer says the only patch they saw "was the patch on Tapper's trousers"
AUTHOR: presumably Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting technology commerce pilot ship humorous
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 121, "Cotton's Patch (II)" (1 text)
CROSS_REFERENCES:
cf. "Cotton's Patch (I)" (subject)
cf. "Didn't He Ramble" (lyrics, form, probably tune)
NOTES: This is based on an incident of 1922, when Australian Sydney Cotton and Newfoundlander Sydney Bennett made a deal seek the "Main Patch" (main herd) of seals by air.
For the pilots' own search for the Patch, see "Cotton's Patch (I)" - RBW
File: RySm121
===
NAME: Couldn't Raise No Sugar Corn: see Whoa Back, Buck (File: LxU067)
===
NAME: Coulter's Candy
DESCRIPTION: "Ally, bally, ally bally bee, Sittin' on yer mammy's knee, Greetin' for anither bawbee, Tae buy mair Coulter's candy." The parents feed the slender boy on candy, say he will grow up to go to sea, or will later buy candy for them
AUTHOR: unknown
EARLIEST_DATE: 1948 (Montgomerie)
KEYWORDS: mother father food
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Montgomerie-ScottishNR 154, "Colter's Candy" (1 short text)
DT, COULTR COULTR2
ADDITIONAL: _Sing Out_ magazine, Volume 32, #4 (1987), pp, 84, "Coulter's Candy" (1 text, 1 tune, supplied by Sam Hinton and with some unusual verses)
NOTES: Murray Shoolbraid's notes in the Digital Tradition cite Buchan to the effect that "Coulter" was in fact a Scottish candy-seller named Robert Coltart who was active around 1900. This is the most substantial description I've seen of who Coulter/Colter was -- but I've heard performers cite other sources. So I suppose it's not quite proved. - RBW
File: MSNR154
===
NAME: Councillor's Daughter, The: see The Lawyer Outwitted [Laws N26] (File: LN26)
===
NAME: Countersigns, The
DESCRIPTION: Forecastle song. Verses quote John Paul Jones, Admiral Farragut, and Captain Lawrence (of the Chesapeake), citing their actions and bravery. Each verse concludes with "And that was the Navy of long, long ago." Sung to the tune of "Spanish Ladies."
AUTHOR: unknown
EARLIEST_DATE: 1926 (The Book of Navy Songs)
KEYWORDS: foc's'le navy sailor
FOUND_IN: US
REFERENCES: (1 citation)
Colcord, p. 135, "The Countersigns" (1 text, 1 tune)
ST Col135 (Partial)
CROSS_REFERENCES:
cf. "Spanish Ladies" (tune) and references there
NOTES: For John Paul Jones (1747-1792) and the declaration "I have not yet begun to fight," see the notes to "Paul Jones's Victory" [Laws A4]. For James Lawrence (1781-1813) and his folly in command of the _Chesapeake_, see "The Chesapeake and the Shannon (I)" [Laws J20]. There is some irony in the fact that this song mentions him being carried belowdecks (to the surgeon) when wounded -- but ignores the fact that this caused the midshipman who did it to be court-martialed and discharged.
David Glasgow Farragut (1801-1870) began the Civil War as a navy captain awaiting orders, but ended up (perhaps by luck as much as anything else) in charge of the fleet destined to attack New Orleans. Being, fortunately, a pretty good sailor, he captured the city -- the first really big Union success of the war (for which see, e.g., "The New Ballad of Lord Lovell (Mansfield Lovell)." His next few operations, against Vicksburg, were less successful (Vickburg was effectively impossible to attack by river), but he still was given command of the next major naval assault on a Gulf Coast city, the 1864 attack on Mobile Bay.
Despite being a lesser city than New Orleans, it was a much tougher nut to crack; the defences of New Orleans had been badly and hastily built. Farragut had wanted to go after Mobile at once, but the Navy department disagreed. They felt Farragut would need ironclads, and all of those were tied up at Charleston and other places (see Curt Johnson & Mark McLaughlin, _Civil War Battles_, p. 127).
By the time the Navy department changed its mind, their initial assessment had been made correct. Initially nearly defenseless, by August 5, 1864, when Farragut attacked, Mobile Bay was properly fortified, with only one sea channel, forts on each side, and a small fleet including the ironclad _Tennessee_ waiting -- and the harbor entrance sown with mines. (In those days, when the self-propelled torpedo had not been invented, such mines were called "torpedoes"). Farragut's fleet tried to enter the bay -- and watched a monitor hit a mine and sink almost instantly. (The things were hardly seaworthy, after all.)
Most of the fleet stopped -- right under the guns of the harbor forts. Farragut, lashed to the mast, knew what he had to do: He had to get through the channel, even if the mines took more ships. So he ordered "Damn the torpedoes! Full speed ahead." (See James M. McPherson, _Battle Cry of Freedom_, p. 761. The Union fleet made it into the harbor, and after a hard battle captured the city.
We note that no one seems to mention the signal "For God's sake" that Farragut wanted to send after one of his own ships did its best to ram and sink him (see Curt Johnson & Mark McLaughlin, _Civil War Battles_, p. 134.)
At first, the North didn't think much of the victory; Farragut had lost over 300 men and a monitor (see Bruce Catton, _Never Call Retreat_, p. 371). But in fact it was a severe blow, since the Confederacy lost its last major Gulf Coast port; all that was left were a few heavily-blockaded East Coast ports and some minor harbors in Texas, too far from the rail net to do much good. The North eventually woke up; Farragut became first Vice Admiral and then Admiral -- the first such in American history (just as U. S. Grant was the first full General). And Farragut's words passed into folklore. - RBW
File: Col135
===
NAME: Counties of Arkansas, The
DESCRIPTION: "There's Benton, Carroll, Marion, Boone in a line...." The song describes the various counties of Arkansas, with chorus exhorting the students to make Arkansas "The banner state for enterprise, good schools, and moral law" and praising Ouachita county
AUTHOR: Annie Coble Wilson?
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: nonballad derivative
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 876, "The Counties of Arkansas" (1 text)
Roud #7541
CROSS_REFERENCES:
cf. "The Bonnie Blue Flag" (tune & meter) and references there
NOTES: Reported to have been written by Annie Coble Wilson for use by her school in Camden (in Ouachita County). It will come as no surprise that it seems not to have been used outside the state. - RBW
File: R876
===
NAME: Counting Song, The: see One Man Shall Mow My Meadow (File: ShH100)
===
NAME: Country Blues
DESCRIPTION: Floating verses; singer is in jail, possibly dying, lamenting his fate and hard living.
AUTHOR: Unknown, possibly Homer Crawford; add'l verses by Dock Boggs
EARLIEST_DATE: 1927 (recording, Dock Boggs)
KEYWORDS: captivity crime prison death floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 90, "Country Blues" (1 text, 1 tune)
Roud #428
RECORDINGS:
Dock Boggs, "Country Blues" (Brunswick 131A, 1927; on AAFM3, RoughWays1) (on Boggs1, BoggsCD1)
New Lost City Ramblers, "Country Blues" (on NLCR05) (on NLCR16)
CROSS_REFERENCES:
cf. "Darling Corey" (words, tune)
cf. "Moonshiner" (words)
cf. "Sweet Heaven" (words)
cf. "Sweet Heaven (II)" (floating lyrics)
ALTERNATE_TITLES:
Give Me Corn Bread When I'm Hungry
Hustling Gamblers
NOTES: This is ALMOST a nonballad, but not quite; there is a hint of narrative. And while most of the verses show up elsewhere, this song as a gestalt comes squarely from its performer, Dock Boggs. -PJS
Some people consider this a version of "Darling Corey," the tune is very close and they share a lot of lyrics. But I tentatively agree with Paul: There are several unrelated verses on the front, and *they* make this a separate song.
Roud lumps the piece with "I Wonder Where's the Gambler" [Laws H22]. It may perhaps have been inspired by fragments of that song. - RBW
File: ADR90
===
NAME: Country Carrier, The: see My Rattlin' Oul' Grey Mare (File: HHH664)
===
NAME: Country Courtship, The
DESCRIPTION: Dialog: "When shall we get married"? "As soon as time comes." "What shall I wear to the wedding?" "Thee wold print frock an' thee yepron." "How shall we go to the wedding?" "Thee's got two fine legs to walk wi' I."  And so on for many verses
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd, according to Opie-Oxford2)
KEYWORDS: courting love marriage wedding bargaining
FOUND_IN: Britain(England(South,North))
REFERENCES: (2 citations)
Kennedy 127, "The Country Courtship" (1 text, 1 tune)
Opie-Oxford2 43, "When shall we be married" (2 texts)
Roud #313
CROSS_REFERENCES:
cf. "Buffalo Boy" (plot, structure, lyrics)
ALTERNATE_TITLES:
When Shall We Get Married?
My Old Sweet Nichol
NOTES: As far as I'm concerned, Kennedy's right -- "Buffalo Boy" is a version of this song, despite the different endings. (Doubly so, given the title of the Stonemans' recording, "The Mountaineer's Courtship.") However, as each is known independently, I'm inclined to split them anyway. Better check out both.
Meanwhile, Kennedy includes several citations that I would *not* class as versions of this song, and they've made me cautious; for "Earliest Date" I've taken the first one that seemed verifiably the same song. - PJS
File: K127
===
NAME: Country Garden, The: see The Vicar of Bray (File: ChWII122)
===
NAME: Country Girl, The (The Fair Maid of the West)
DESCRIPTION: The "country girl" goes to the fair, and asks the merchant for a bonnet. Having no other money, she pays with her maidenhead. She goes home and tells her mother, who tells her to get it back. The merchant lays her down again and gives it back
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: sex humorous bawdy mother trick virginity clothes
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 42, pp. 219-221, "The Country Girl" (1 text, 1 tune)
Roud #10099
CROSS_REFERENCES:
cf. "The Widow of Westmoreland's Daughter" (theme of regaining maidenhead)
NOTES: Logsdon thinks this a version of "The Fair Maid of the West Who Sold Her Maidenhead for a High-Crowned Hat." Obviously it has the same introduction. Yet the plot is the same as "The Widow of Westmoreland's Daughter." Personally, I suspect these are the same song (or, rather, that this and "The Fair Maid" are both worn-down forms of the "Widow"); the theme of having sex once to lose a maidenhead, and then having it again (perhaps with positions reversed) to regain seems unlikely to have been independently invented. But I'm splitting them tentatively until more versions turn up. - RBW
File: Logs042
===
NAME: Country Ham and Red Gravy: see I Know a Boarding-House (File: R479)
===
NAME: Country I Was Born In, The
DESCRIPTION: The singer has left Donegal and is bound for America "where I'm told a man he's paid there for his labour." In Ireland he has seen people starving or "hurled by the landlord from their door." No matter where he goes he will always think of home.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: emigration work hardtimes America nonballad political landlord
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 53, pp. 149-150,176, "The Country I Was Born In" (1 text, 1 tune)
Roud #2936
File: MoMa053
===
NAME: Country Life
DESCRIPTION: The singer describes the joy of living and working in the country, reporting "I like to rise when the sun she rises, Early in the morning... And hurrah for the life of the country boy." He describes the work done on the farm in each season
AUTHOR: unknown
EARLIEST_DATE: 1976
KEYWORDS: home farming nonballad
FOUND_IN: Britain
REFERENCES: (1 citation)
DT, COUNTRYL*
CROSS_REFERENCES:
cf. "The Brisk and Bonny Lass (The Brisk and Bonny Lad)" (theme)
cf. "The Contented Countryman" (theme)
cf. "I Like to Be There" (form, lyrics) 
File: DTcountry
===
NAME: Country Rockin', The
DESCRIPTION: "The best o' human life ... we only find when assembled at a country rockin' .... at sangs we'll hae a hearty yokin' and we'll chat the lays o' Robbie Burns." On the way home "we steal a wee bit kiss Her hert tae move and tell oor love"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: courting music party nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 635, "The Country Rockin'" (1 text)
Roud #6068
File: GrD3635
===
NAME: County Jail (I), The
DESCRIPTION: "As I was standing on a corner, Not doing any harm, Along came a policeman And took me by the arm." The singer ends in prison. He watches the bedbugs and cockroaches play ball. The food is terrible: "The coffee tastes like tobacco juice"
AUTHOR: unknown
EARLIEST_DATE: 1939 (Gardner/Chickering)
KEYWORDS: prison police food hardtimes floatingverses bug
FOUND_IN: US(MW) Canada(Newf)
REFERENCES: (2 citations)
Gardner/Chickering 147, "The County Jail" (1 text)
Lehr/Best 106, "They Locked Me Up in Bonavist' Jail" (1 text, 1 tune)
ST GC147 (Partial)
Roud #3673
CROSS_REFERENCES:
cf. most other prison songs, especially "Song of an Old Time Jailbird" (theme of hard times in prison and the dangers posed by bugs)
NOTES: Nearly every part of this has parallels elsewhere, but the combination, particularly the bedbug/cockroach contest, seems to be unique. - RBW
Lehr/Best's tune is close to the usual one and the cockroaches and bedbugs playing ball are replaced by "a hundred and fifty bedbugs playing a game of ball." It has "coffee like tobacco juice and bread so hard as steel." Close enough for me. - BS
File: GC147
===
NAME: County Jail (II)
DESCRIPTION: "I used to live a glorious life [until]... they piped into a railroad mail And carried me off to County Jail." The singer recounts the rules, initiation, awful food, beds; Jonah was better off in the whale; "glorious times in County Jail" 
AUTHOR: unknown
EARLIEST_DATE: before 1860 (broadside, Bodleian Firth b.26(213))
KEYWORDS: violence food prisoner ordeal 
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Mackenzie 148, "Kirtle Gaol" (1 text, 1 tune)
O'Conor, pp. 121-122, "County Jail" (1 text)
Roud #964
BROADSIDES:
Bodleian, Firth b.26(213), "County Gaol" ("Good people all give ear I pray"), A. Ryle and Co. (London) , 1845-1859; also Harding B 11(730), Harding B 11(729), "County Gaol"; Harding B 20(32), "County Jail"; Firth c.17(76), "Duke St. Gaol"; Firth c.26(19), Firth c.17(73), "Wakefield Gaol"; 2806 c.16(234), Harding B 13(292), "Preston Gaol"; Harding B 11(2000), "Kirkdale Goal [sic]"; 2806 c.16(63), "Kirkdale Gaol"; Harding B 11(233), "Bellevue Goal [sic]"; 2806 c.8(201), "The Humours of the County Jail "
LOCSinging, sb10045a, "County Jail," H. De Marsan (New York), 1864-1878; also sb40474a, "X"
CROSS_REFERENCES:
cf. "The Cryderville Jail" (theme)
NOTES: Mackenzie says his title of "Kirtle Gaol" "is a contraction, or corruption, of 'Kirkdale.'"
Mackenzie lists a number of broadside versions including O'Conor pp. 121-122. He lists American copies of "County Jail" which are not indexed yet. The versions of this that I've seen do not have the bedbug vs cockroach sporting event but do insist that Jonah was better off inside the whale and Lazarus in his shroud was better dressed.
The Bodleian broadsides agree in the details except for the location of the jail.
Broadside LOCSinging sb10045a: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: Mack148
===
NAME: County Jail (III): see Lonesome Road (File: San322)
===
NAME: County of Limerick Buck-Hunt, The
DESCRIPTION: Twenty huntsmen and their hounds hunt a buck. He is killed in the hills after a four hour chase. "Nothing was wanting That poor hungry huntsman could wish ... For every man was a dish." There was drinking and dancing; many of the ladies are named.
AUTHOR: Pierce Creagh (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: hunting dancing drink party moniker animal dog horse
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 238-242, "The County of Limerick Buck-Hunt" (1 text)
NOTES: Croker-PopularSongs seems to date the event and the writing of the song in the first half of the eighteenth century. - BS
File: CrPS238
===
NAME: County of the Innocent, The: see The Drowning of Young Robinson (File: HHH585)
===
NAME: County of Tyrone, The
DESCRIPTION: Desiring freedom from his parents, the singer sets out for (Newry/Dover). He meets a girl and, after assuring her of his character, convinces her to elope to Tyrone. They are pursued, but escape by ship. His parents welcome him home
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: work home family love travel elopement
FOUND_IN: Ireland
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 218-220, "The County of Tyrone" (1 text, 1 tune)
SHenry H153a/b, p. 480-481, "The County Tyrone" (1 text, 1 tune)
Roud #1991
RECORDINGS:
Robert Cinnamond, "The County Tyrone" (on IRRCinnamond03)
BROADSIDES:
Bodleian, Harding B 17(305a), "Sweet Jane of Tyrone" ("My father oft told me he would not controul me"), J. Pitts (London), 1819-1844; also Harding B 11(3947), Harding B 11(932), 2806 b.11(57), "Sweet Jane of Tyrone"; Firth b.25(475), Harding B 11(2563), Harding B 11(2563), 2806 c.15(252), Harding B 28(34), 2806 b.11(144), "County of Tyrone"; Harding B 28(34), "County Tyrone" 
File: SWMS218
===
NAME: County Tyrone, The: see The County of Tyrone (File: SWMS218)
===
NAME: Court House: see Behind These Stone Walls (File: R165)
===
NAME: Court of Cahirass, The
DESCRIPTION: Katey, a nobleman's daughter in the Court of Cahirass, is sought by many Dublin lords. She is beautiful and charitable to the sick and needy but has only frowns and coldness for the singer, who loves her. "How fatal the day when we first met each other"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: love rejection beauty nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 173-175, "The Court of Cahirass" (1 text)
NOTES: Croker-PopularSongs: "The chaplain [of the chapel belonging to the Carbery family] falling desperately in love with the daughter of Lord Carbery, and being disappointed, hanged himself in the chapel, which soon afterwards went to decay. This unfortunate lover had composed [this song] which is still recollected by the country people. Unluckily for the romance of this storey the name Katey occurs ... and five manuscript copies of the song, procured through various channels, though differing materially in many lines, all retain that name. It is therefore impossible to reconcile this with the facts, that the only daughter of the first Lord Carbery was named Anne; the only daughter of the second lord, Frances Anne; and the only daughter of the third, Juliana." - BS
File: CrPS173
===
NAME: Court of Conscience in Cork, The
DESCRIPTION: The Cork court is above a meat-market. Some find happiness below "to purchase a beefsteak," others above in justice. "Thus, 'twixt the market-scales and those of law, A strong similitude exists"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 167-168, "The Court of Conscience in Cork" (1 text)
File: CrPS167
===
NAME: Court of King Caractacus, The: see references under The Wild Man of Borneo (File: K311)
===
NAME: Courte Paille, La
DESCRIPTION: Canadian French: A sailing crew has been seven years at sea, and is starving. They draw straws to decide which one of them they will kill and eat. The Captain is chosen, but asks a cabin boy to take his place. At the last moment, the boy spies land
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: cannibalism sea sailor disaster reprieve foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 41-43, "La courte paille" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ship in Distress" (plot) and references there
File: FMB041
===
NAME: Courtin' in the Stable (The Workin' Steer)
DESCRIPTION: Jock sets out to meet Kate by the gate of the farm where she works. She being late, and he being drunk, he mistakes a steer for his girl and sets out to kiss her. He thinks she has turned to a steer, but she arrives to correct him; eventually they wed
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan2)
KEYWORDS: courting drink animal marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Greig #162, p. 1, "The Courtin' in the Stable" (1 text)
GreigDuncan2 288, "Coortin' in the Stable" (7 texts, 3 tunes)
Ord, pp. 227-228, "Courtin' in the Stable" (1 text)
Roud #3793
CROSS_REFERENCES:
cf. "Doran's Ass" [Laws Q19] (plot)
cf. "Jock Gheddes and the Soo" (plot)
ALTERNATE_TITLES:
The Nicht Was Fine
File: Ord227
===
NAME: Courting Among the Kye: see Carries and Kye (Courting Among the Kye) (File: Ord037)
===
NAME: Courting Cage, The: see The Courting Case (File: R361)
===
NAME: Courting Case, The
DESCRIPTION: Man comes courting a woman. She reminds him that she told him never to return. He offers her his "very fine house," his "very fine farm," his "very fine horse," etc.; (she rejects them all because he is a gambler/drunkard/whatever).
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: gambling courting dialog money rejection
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (12 citations)
Lomax-FSNA 104, "The Gambling Suitor" (1 text, 1 tune)
Randolph 361, "The Courting Cage" (1 text, 1 tune)
BrownIII 3, "The Courting Cage" (2 texts)
Chappell-FSRA 120, "The Drunkard's Courtship" (1 text)
Hudson 52, pp. 167-169, "O Madam, I Have a Fine Little Horse" (2 texts plus mention of 1 more)
Scarborough-SongCatcher, pp. 304-307, "Kind Sir" (2 texts, one, "The Courting Cage," coming from Randolph; 2 tunes on pp.436-437)
SharpAp 177, "The Courting Case" (2 texts, 2 tunes)
Gardner/Chickering 173, "The Wooing" (2 texts, the "A" text being this and "B" being probably "Wheel of Fortune (Dublin City, Spanish Lady)")
Chase, pp. 146-147, "The Gambling Suitor" (1 text, 1 tune)
Gilbert, pp. 76-77, "The Girl Who Never Would Wed" (1 text, in which the girl never gives in, but the verses place it here)
Abrahams/Foss, pp. 118-119, "The Drunkard's Courtship" (1 text, 1 tune)
DT, COURTCAS COURTNG*
Roud #361
RECORDINGS:
Horton Barker, "The Drunkard's Courtship" (on Barker01)
Loman D. Cansler, "The Lovers' Quarrel" (on Cansler1)
CROSS_REFERENCES:
cf. "The Keys of Canterbury" (theme)
cf. "Sweet Nelly My Heart's Delight" (plot)
cf. "Geordie's Courtship (I Wad Rather a Garret)" (plot)
cf. "Bachelor's Hall (III)" (theme)
File: R361
===
NAME: Courting Coat, The
DESCRIPTION: The singer takes his girl to bed while still in his (pit boots/navvy boots/courting coat). She fears pregnancy ("the baby will come with his pit boots on"); he laughs it off -- but runs away, still wearing the boots. Women are warned to beware
AUTHOR: unknown
EARLIEST_DATE: 1914 (Greig)
LONG_DESCRIPTION: The singer (shaves and) dresses up, (by the light of the moon) arrives at his girl's window, and takes her to bed while still in his (pit boots/navvy boots/courting coat). She fears pregnancy ("the baby will come with his pit boots on"); he laughs it off -- but runs away, still wearing the boots. Women are warned to "beware of them colliers who are easy and free"
KEYWORDS: courting sex warning pregnancy mining worker clothes
FOUND_IN: Britain(England(North,South),Scotland(Aber,Hebr,High)) Ireland
REFERENCES: (3 citations)
MacSeegTrav 34, "The Courting Coat" (1 text, 1 tune)
Kennedy 171, "The Bold English Navvy" (1 text, 1 tune plus a fragment in the appendix)
DT, NAVVYBTS* NAVVYBOT*
Roud #516
RECORDINGS:
Liam Clancy, "Navvy Boots On" (on IRLClancy01)
Mary Delaney, "Navvy Shoes" (on IRTravellers01)
A. L. Lloyd, "With Me Pit Boots On" (on Lloyd1) (on IronMuse1)
Jimmy McBeath, "The Bold English Navvy" (on Voice10)
James McDermott, "With the Old Navvy Boots On" (on IRHardySons)
Lal Smith, "The Bold English Navvy" (on FSB2 [misprinted as "The Bold English Navy"], FSB2CD)
CROSS_REFERENCES:
cf. "Rambleaway" (lyrics)
cf. "Oh, No, Not I" (lyrics)
ALTERNATE_TITLES:
The Kettle Smock
The Moon Shining Brightly
Navvy Boots
NOTES: Between plot and lyrics (the girl's greeting and warning; also the way the young man dresses up), this makes me think it might be a sailor's/miner's adaption of "Rambleaway." - RBW
It may well be related, but inasmuch as there are few lyrics in common, and "Pit Boots" and its relatives are always sung from the man's point of view whereas "Rambleaway" is usually from the woman's, I think they qualify as separate songs.
I don't see any connection with "Rambleaway" other than the fellow's character. I don't see any words that "Rambleaway" has in common with any versions of "The Courting Coat" I've seen. - PJS
In McDermott's version on IRHardySons the singer is, at the end, brought to court and forced to pay five bob a week support. - BS
File: RcWMPBO
===
NAME: Courting in the Kitchen [Laws Q16]
DESCRIPTION: The singer warns listeners against love, "The devil's own invention." He courts a serving girl in her master's kitchen. When her master returns unexpectedly, she claims that the singer was forcing himself upon her. He winds up in prison
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth c.18(275))
KEYWORDS: courting rape betrayal punishment prison
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (4 citations)
Laws Q16, "Courting in the Kitchen"
Mackenzie 147, "Courting in the Kitchen" (1 text, 1 tune)
OLochlainn 32, "Coortin' in the Kitchen" (1 text, 1 tune)
DT 527, COORTINK*
Roud #1007
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Courting in the Kitchen" (on IRClancyMakem01)
BROADSIDES:
Bodleian, Firth c.18(275), "Courting in the Kitchen," W.S. Fortey (London), 1858-1885; also 2806 c.14(39), "Courting in the Kitchen"
SAME_TUNE:
Obstruction (Healy-OISBv2, pp. 154-156)
File: LQ16
===
NAME: Courting is a Pleasure: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Courting Jessie: see Jessie, the Belle at the Bar (File: R051)
===
NAME: Courting of Aramalee, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Courting Song: see Aunt Sal's Song (The Man Who Didn't Know How to Court) (File: LoF101)
===
NAME: Courting Song, The: see The Quaker's Courtship (File: R362)
===
NAME: Courting the Widow's Daughter (Hard Times) [Laws H25]
DESCRIPTION: The young swain creeps into his sweetheart's house, but the young couple cannot keep quiet. The girl's mother, a widow, creeps down -- and tries to get the young man for herself! He insults her, and she drives him off with a broom
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: courting fight mother
FOUND_IN: US(Ap,So)
REFERENCES: (5 citations)
Laws H25, "Courting the Widow's Daughter (Hard Times)"
Belden, pp. 248-249, "Courting the Widow's Daughter " (1 text)
Randolph 387, "The Widow's Old Broom" (2 texts, 1 tune)
JHCox 183, "Hard Times" (1 text, the first six verses being "Courting the Widow's Daughter" and the last seven being a reduced version, minus the chorus, of "The Rigs of the Times")
DT 720, WIDAUGH
Roud #659
RECORDINGS:
Charles Ingenthron, "The Widow's Old Broom" (AFS; on LC12)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17] (plot)
cf. "Aye She Likit The Ae Nicht" (plot)
File: LH25
===
NAME: Courting Too Slow (I): see William and Nancy (II) (Courting Too Slow) [Laws P5] (File: LP05)
===
NAME: Courtown Fishermen, The
DESCRIPTION: On June 9 a crowd collects at Courtown Harbour: "I fear the Glenrose she is lost" with six on board, capsized on the fishing ground by a sudden squall. "How could you pass them by ... For pity they besought of you to snatch them from the waves."
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: drowning sea ship storm wreck fishing
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 107-108, "The Courtown Fishermen" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pomona (I)" (tune)
ALTERNATE_TITLES:
The Glenrose
NOTES: Ranson: Tune is "The Pomona" on p. 62.
Ranson has [an] alternative verse that explains the condemnation
"To see those men condemned to death, it was a dismal sight,
While one poor man upon an oar for his life did boldly fight.
And you, hard-hearted Arklowmen, why did you pass them by?
Aloud to you for help they called; you heard their drowning cry"
Arklow is on the south east coast of County Wicklow; Courtown is on the north east coast of County Wexford. "Courtown is a small harbour situated on the south east coast of Ireland approx. 15 nautical miles south of Arklow" according to the Courtown Sailing Club Online site. - BS
File: Ran107
===
NAME: Courtship of Billy Grimes, The: see Billy Grimes the Rover (File: MN2033)
===
NAME: Cousin Emmy's Blues: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Cousin Harry (Cousin Nellie)
DESCRIPTION: Cousin Harry and Cousin Nellie sit under a tree. Nellie whispers, "Cousin Harry, what is love?" He answers it is "a passion, a passion to be felt." He demonstrates. As he "reached home with a shove," she declares, "This must be love."
AUTHOR: unknown
EARLIEST_DATE: 1932 (collected by Larson)
KEYWORDS: sex bawdy incest
FOUND_IN: US(Ro,SW)
REFERENCES: (1 citation)
Logsdon 44, pp. 224-225, "Cousin Harry" (1 text, 1 tune)
Roud #4722
File: Logs044
===
NAME: Cove that Sings, The
DESCRIPTION: The singer, hearing of "the luck of a 'cove wot writes," believes his own luck better as "a cove wot sings" the comic line. When performing he gets free drink. He gets free food from admirers, free rooms from landladies, and free port from landlords
AUTHOR: unknown
EARLIEST_DATE: 1852 (broadside "The Cove Wot Sings," Poet's Box (Glasgow), according to GreigDuncan3)
KEYWORDS: drink food music wine nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 563, "The Cove that Sings" (2 texts, 1 tune)
Roud #6034
BROADSIDES:
Bodleian, Firth c.21(6), "The Luck of a Cove Wot Sings" ("No doubt a song you've heard"), unknown, no date
NOTES: "cove" n -s [Romany kova thing, person] slang Brit: MAN, CHAP, FELLOW, BLOKE" (source: _Webster's Third New International Dictionary of the English Language Unabridged_ (1976))
Apparently broadside Bodleian, Johnson Ballads fol. 143, "I'm One of the Chaps Wot Sings" ("No doubt a song you've heard"), J. Pitts (London), 1819-1844 is this song but I could not download and verify it. - BS
This really sounds like a music hall song to me. - RBW
File: GrD3563
===
NAME: Covent Garden (II): see The Apprentice Boy [Laws M12] (File: LM12)
===
NAME: Coventry Carol, The
DESCRIPTION: A lullaby and a lament: the singer asks how to preserve her baby, for "Herod the king, in his raging, charged he hath this day His men of might in his own sight All children young to slay."
AUTHOR: unknown
EARLIEST_DATE: 1591 (colophon of original lost manuscript)
KEYWORDS: death children Bible carol royalty religious
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
OBC 22, "Coventry Carol" (1 text, 2 tunes)
DT, COVCAROL
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #49, "Lully, Lulla, Thou Little Tiny Child" (1 text)
ST OBC022 (Full)
RECORDINGS:
John Jacob Niles, "Lulle Lullay (The Coventry Carol)" (Victor Red Seal 2017, 1940)
NOTES: Not, properly speaking, a folk song, unless its modern popularity makes it so.
The Coventry Carol was originally found in the Coventry Pageant of the Shearmen and Tailors, a mystery (miracle) play of the fourteenth or fifteenth century.
At the time the miracle plays were written, translation of the Bible into English was discouraged by the Catholic Church (the English version of Wycliffe was available for much of this period, but was officially heretical). The miracle plays, crude and biblically inaccurate (many of the cycles included the fall of Satan, the Harrowing of Hell, and other non-Biblical details) were nonetheless one of the chief sources of Biblical knowledge for many common people.
Many towns had cycles of miracle plays (up to 48, though not all would be performed in a particular year), generally of a few hundred lines, usually performed on or around the festival of Corpus Christi. The craft guilds of each city would each take and perform a play.
On the evidence, most major towns had a unique cycle of miracle plays. The majority of these, however, are lost; we have only a handful (e.g. from York, Chester, and "N Town") remaining. The Coventry cycle did not survive; we have only two plays (that of the Shearmen and Tailors and that of the Weavers), from a manuscript dated 1591 -- and even this was burned in 1879, leaving us dependent on bad transcriptions from 1817 and 1825.
In a further irony, even though the Coventry Carol is the only part of the Mysteries to be known to the general public (unless they encountered the Second Shepherd's Play of the Wakefield cycle in a literature class), the Coventry Pageant itself is rarely published.
The Massacre of the Innocents, in which Herod the Great slaughtered all the children of Bethlehem in hopes of killing the Christ child, is described in Matthew 2:16. There is little evidence that it is historical; the other gospels do not hint at it. It may be based on other instances of Herod's behavior, however; Josephus tells us that Herod ordered the killing of vast numbers of people at his death, so that the entire nation would have to mourn him (Josephus, _Antiquities_ XVII.174-179), though his relatives prevented his wishes from being carried out. Whether true or not, it is a matter of historical fact that he killed his three oldest sons.
The "lully lullay" lullaby (note the similarity betweey "lullay" and "lullabye," though ironically the dictionaries do not see a connection) is quite common starting in the fourteenth century. I know of at least three poems beginning with this phrase:
British Museum Harleian MS. 913, from the early fourteenth century, has a piece beginning
Lollai, lollai, litil child, whi whepistou [weepest thou] so sore?
In the 1372 Commonplace Book of John Grimestone (National Library of Scotland MS. Advocates 18.7.21) we find two pieces, one beginning
Lullay, lullay, litel child, why wepest thu so sore?
and the other
Lullay, lullay, litel cjild, child reste thee a throwe.
In each case, the "lully, lullay, little child" phrase serves as a partial refrain.
The exceptionally feeble state of the tradition of this piece, incidentally, results in some variants, as does the problem of early spelling. There is no doubt, for instance, that the first line is to be pronounced "Oh sisters too," but we cannot be sure if this is to be interpreted as "Oh sisters, too," or as "Oh sisters two."
The third verse gives an even greater problem. Is the third word of the third line "mourn" or "morn"? If the former, then the line should be read "and ever mourn and say" (perhaps to be emended to "mourn and pray"); if the latter, then "and ever morn and day." The former question certainly cannot be resolved; the latter can only be resolved if,by extremely unlikely chance, another manuscript turns up.
- RBW
File: OBC022
===
NAME: Covered Cavalier, The: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Covering Blue, The: see The Keach i the Creel [Child 281] (File: C281)
===
NAME: Covington: see The Boston Burglar [LawsL16] (File: LL16)
===
NAME: Cow Ate the Piper, The
DESCRIPTION: In the troubles of '98, piper Denny Byrne cannot find work. Needing shoes, he tries to take boots from an executed soldier -- but pulls down legs as well. He sleeps that night in a cowshed; in the morning the farmer assumes the cow has eaten the piper
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: humorous Ireland rebellion animal poverty murder escape clothes corpse
HISTORICAL_REFERENCES: 1798 - Irish rebellion causes Britain to place Ireland under martial law
FOUND_IN: Ireland
REFERENCES: (6 citations)
SHenry H29, pp. 53-54, "Denny Byrne, the Piper" (1 text, 1 tune)
O'Conor, p. 29, "The Cow That Ate the Piper" (1 text)
OLochlainn-More 37, "The Cow Ate the Piper" (1 text, 1 tune)
Moylan 60, "The Cow that Ate the Piper" (1 text, 1 tune)
PBB 91, "The Cow Ate the Piper" (1 text)
DT, COWPIPER*
Roud #8147
BROADSIDES:
Bodleian, Harding B 11(2916), "The Cow Eat the Piper", unknown, n.d.
NOTES: The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Terry Timmins, "The Cow Ate the Piper" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
File: PBB091
===
NAME: Cow Camp on the Range
DESCRIPTION: "Oh, the prairie dogs are screaming, And the birst are on the wing, See the heel fly chase the heifer, boys! 'Tis the first class sign of spring." The singer appreciates the food and the end of winter, and says there is no home like the range camp
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: cowboy home work cook
FOUND_IN: 
REFERENCES: (1 citation)
Saffel-CowboyP, pp. 217-218, "Cow Camp on the Range" (1 text) 
Roud #8043
NOTES: This doesn't look at all traditional to me; it appears to be one of those poems Lomax lifted from somewhere for _Cowboy Songs_. But I can't prove it. - RBW
File: Saffe217
===
NAME: Cow That Ate the Piper, The: see The Cow Ate the Piper (File: PBB091)
===
NAME: Cow that Drank the Poteen, The
DESCRIPTION: Paddy Shinahan makes poteen. His cow drinks some, becomes drunk, and fights Paddy. She wakes with a broken horn and advises "all good cows" to shun drink. When her milk was brown, Una, the milkmaid, thinks it was the cow's blood. Paddy does not betray her
AUTHOR: unknown
EARLIEST_DATE: 1965 (recording, Paddy Tunney)
KEYWORDS: drink humorous animal food
FOUND_IN: Ireland
REFERENCES: ()

Roud #5170
RECORDINGS:
Paddy Tunney, "The Cow that Drank the Poteen" (on Voice13)
CROSS_REFERENCES:
cf. "Tom Kelly's Cow" (theme: cow hides drinking problem)
File: RcTCtDtP
===
NAME: Cowaye
DESCRIPTION: "Cowaye cowaye Cut a roadie throw aye A peck for a firlot [35 pounds] A firlot for a bowaye [bowl]"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: farming nonballad animal
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 432, "Cowaye" (1 fragment)
Roud #5948
NOTES: GreigDuncan3: "The heading is 'Cry of one herd to another.' 'Cowaye' = come along." 
The current description is all of the GreigDuncan3 fragment. - BS
File: GrD3432
===
NAME: Cowboy (I), The
DESCRIPTION: "A man there lives on the Western plain With a ton of fight and an ounce of brains." The song tells of the wild exploits of the cowboy: "He feels unwell unless in strife" "He snuffs out candles with pistol balls" "He fills with terror all he meets"
AUTHOR: unknown
EARLIEST_DATE: 1884 (The Kansas Cowboy newspaper)
KEYWORDS: cowboy violence
FOUND_IN: US(So)
REFERENCES: (3 citations)
Fife-Cowboy/West 28, "Idyl of the Plains" (1 text, 1 tune)
Ohrlin-HBT 65, "The Cowboy #2" (1 text, 1 tune)
DT, THECOWBY*
Roud #11078
File: FCW028
===
NAME: Cowboy (II), The: see The Cowboy's Soliloquy (File: FCW123)
===
NAME: Cowboy (III), The: see When the Work's All Done This Fall (File: LB03)
===
NAME: Cowboy Again for a Day
DESCRIPTION: The singer urges time (or film) to "turn backward." He wishes to replace airplanes and automobiles with "my sombrero and flaps." He recalls the old days. His wish is that someone "Make me a cowboy again for a day."
AUTHOR: unknown
EARLIEST_DATE: 1933 ("Cowboy Lore")
KEYWORDS: cowboy technology
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 116, "Cowboy Again for a Day" (2 texts, 1 tune; the "B" text, "Moving Picture Cowboy," is heavily adapted and should probably count as a separate piece, but surely never existed in oral tradition)
Ohrlin-HBT 56, "Make Me a Cowboy Again" (1 text, 1 tune)
Roud #5092
RECORDINGS:
Peg Moreland, "Make Me a Cowboy Again" (Victor V-40272, 1930; on MakeMe)
CROSS_REFERENCES:
cf. "Rock Me to Sleep Again, Mother" (tune)
cf. "Backward, Turn Backward" (tune, lyrics)
File: FCW116
===
NAME: Cowboy Boasters: see The Fightin' Booze Fighter AND A Texas Idol AND Wild Buckaroo AND The Texas Cowboy (III) AND An Afternoon Like This (File: FCW035A)
===
NAME: Cowboy Boasting Chants
DESCRIPTION: Cowboy boasts of his exploits, talking about/to the horses he rides. Samples: "Born on the Colorado, Sired by an alligator, I'm a bold, bad man from Cripple Creek, Colorado." To the horse: "Git higher, git higher, The higher you git's too low for me."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: cowboy horse bragging nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 381-383, "Cowboy to Pitching Bronco;" "Other Cowboy Boasting Chants" (3 texts, 1 tune, but described as "declaimed, not sung")
Roud #15536
NOTES: These pieces are not really songs, and can be assembled out of floating materials. As a result, I lump them here. - RBW
File: LxA381
===
NAME: Cowboy in Church
DESCRIPTION: The cowboy wanders into church in his work clothes, noting "on the plains we scarcely know a Sunday from a Monday." The crowd is upset, though the preacher too is dressed in "the trappings of his trade." He reflects on how people look down on cowboys
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: clergy clothes cowboy
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 7, "Cowboy in Church" (1 text, 1 tune)
Roud #8020
RECORDINGS:
Glenn Ohrlin, "The Cowboy in Church" (on Ohrlin01)
Carl T. Sprague, "The Cowboy at Church" (Bluebird B-6258, 1936)
File: Ohr007
===
NAME: Cowboy Jack [Laws B24]
DESCRIPTION: Having quarreled with his sweetheart, Jack joins a band of cowboys. He decides to return home and ask forgiveness after singing about a faithful girl. He arrives too late; his sweetheart has died with his name on her lips
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sires, "Songs of the Open Range")
KEYWORDS: separation death cowboy
FOUND_IN: US(SW_
REFERENCES: (4 citations)
Laws B24, "Cowboy Jack"
Logsdon 5, pp. 48-52, "Cowboy Jack" (1 text, 1 tune)
Ohrlin-HBT 5, "Cowboy Jack" (1 text, 1 tune)
DT 788, COWBYJCK*
Roud #3244
RECORDINGS:
Arkansas Woodchopper [pseud. for Luther Ossenbrink], "Cowboy Jack" (Conqueror 7882, 1931; Melotone [Can.] 91539, 1933)
Callahan Brothers, "Cowboy Jack"  (Perfect 6-09-53/Melotone 6-09-53, 1936)
Carter Family, "Cowboy Jack" (Montgomery Ward M-4545, c. 1935/Bluebird B-8167, 1939)
Girls of the Golden West, "Cowboy Jack" (Bluebird B-5719, 1934)
Harry Jackson, "Cowboy Jack" (on HJackson1)
Peg Moreland, "Cowboy Jack" (Victor 23593, 1929) (Bluebird B-4956, c. 1933)
Roy Shaffer, "Cowboy Jack" (Bluebird B-8303, 1939)
Marc Williams, "Cowboy Jack" (Brunswick 430, 1930; rec. 1929)
CROSS_REFERENCES:
cf. "Blackbirds and Thrushes (I)" (plot)
File: LB24
===
NAME: Cowboy of Loreto, The: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Cowboy Song (I)
DESCRIPTION: "Though your backs they are weak An' your legs they ain't strong, Don't be skairt, little dogies, We'll get there 'fore long." The singer encourages the cattle; even though right now the trail is dry and ugly, there are better places ahead
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: cowboy work travel animal
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 205, "Cowboy Song" (1 text)
Roud #5483
File: R205
===
NAME: Cowboy Song (II), The: see The Cowboy's Dream (File: R185)
===
NAME: Cowboy to Pitching Bronco: see Cowboy Boasting Chants (File: LxA381)
===
NAME: Cowboy Trail, The
DESCRIPTION: Singer, a cowboy, comes to an Indian village; they welcome him. He meets a girl; they ride the trail together, courting as they go. A war party overtakes them, taking the girl and leaving him wounded. She returns; he  asks her to bury him by the trail
AUTHOR: unknown
EARLIEST_DATE: c. 1931 (recording, Buell Kazee)
LONG_DESCRIPTION: Singer, a cowboy, takes lonely trail to an Indian village, where they welcome him. He meets a girl; she waits for him out on the trail and they ride off together, courting as they go. As they approach a ranch, a war party overtakes them, taking the girl and leaving him wounded. She returns; he tells her he is dying, and asks her to bury him by the trail so that she may mourn for him
KEYWORDS: courting love fight war travel burial death dying mourning lover cowboy Indians(Am.)
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Buell Kazee, "The Cowboy Trail" (Brunswick 481, c. 1931; rec. 1929; on WhenIWas2, KMM)
File: RcTCowTr
===
NAME: Cowboy's Challenge
DESCRIPTION: "Down, down, hold me down, It takes more than one man to hold me down." Repeat with two men, three men, etc.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Belden)
KEYWORDS: cowboy nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 399, "Cowboy's Challenge" (1 text, 1 tune)
Roud #7817
File: Beld399
===
NAME: Cowboy's Christmas Ball, The: see The Cowboys' Christmas Ball (File: TF16)
===
NAME: Cowboy's Dream, The
DESCRIPTION: "One night as I lay on the prairie... I wondered if ever a cowboy Could drift to that sweet by and by.... Roll on, roll on, roll on, little dogies, roll on, roll on...." A cowboy's reflections on the afterlife, with the images cast in herding terms
AUTHOR: unknown
EARLIEST_DATE: 1893 ("Cow-Boy Life in Texas")
KEYWORDS: cowboy religious dream
FOUND_IN: US(Ap,SE,So,SW) Canada(Ont)
REFERENCES: (13 citations)
Randolph 185, "One Night As I Lay on the Prairie" (2 texts, 1 tune)
BrownIII 516, "The Great Round-Up" (1 text)
Hudson 95, p. 227, "Cowboy Meditations" (1 text)
Larkin, pp. 105-108, "The Cowboy's Heaven" (1 text, 1 tune)
Thorp/Fife VI, pp. 66-86  (19), "Grand Round-Up" (9 texts, 3 tunes)
Fife-Cowboy/West 122, "The Grand Roundup" (2 texts, 1 tune)
Lomax-FSUSA 61, "The Cowboy's Dream" (1 text, 1 tune)
Lomax-ABFS, pp. 410-411, "The Cowboy's Dream" (1 text)
LPound-ABS, 75, pp. 166-167, "Cowboy Song" (1 text)
Darling-NAS, pp. 3309-331, "Roll On, Little Dogies" (1 text)
Silber-FSWB, p. 112, "The Cowboy's Dream" (1 text)
Saffel-CowboyP, p. 182-183, "The Cowboy's Dream" (1 text)
DT, COWDREAM*
Roud #4453
RECORDINGS:
Jules [Verne] Allen, "The Cowboy's Dream" (Victor V-40178, 1929; on AuthCowboys)
Arkansas Woodchopper [pseud. for Luther Ossenbrink] "The Cowboy's Dream" (Champion 15897 [may also have been issued as by West Virginia Rail Splitter]/Supertone 9571, 1929) (Columbia 15463-D, 1929; rec. 1928)
Harry Jackson, "Roll On, Little Dogies" (on HJackson1)
Bradley Kincaid, "The Cowboy's Dream" (Decca 5048, 1934)
Vernon Dalhart, "The Cowboy's Dream" (Romeo 431. 1927)
McGinty's Oklahoma Cowboy Band, "Cowboy's Dream" (OKeh 45057, 1926)
Goebel Reeves, "The Cowboy's Dream" (Melotone 12214/Conqueror 7742, 1931)
George Riley (The Yodeling Rustler), "The Cowboy's Dream" (Romeo 5037, n.d. but probably c. 1930; Conqueror 7742, 1931)
Carl T. Sprague, "The Cowboy's Dream" (Victor 20122, 1926; Montgomery Ward M-4343, 1933)
Westerners [pseud. for Massey Family], "The Cowboy's Dream" (Perfect 13008, 1934)
Marc Williams, "The Cowboy's Dream" (Brunswick 244, 1928; Supertone S-2054, 1930)
CROSS_REFERENCES:
cf. "My Bonnie Lies Over the Ocean" (tune) and references there
cf. "Sweet By and By"
NOTES: An extended discussion of the authorship of this piece is found in Thorp/Fife. What it seems to boil down to is that several people played a role, and none can claim the whole thing.
It was apparently built around "(In the) Sweet By and By," but I've always heard it sung to "My Bonnie." - RBW
File: R185
===
NAME: Cowboy's Heaven, The: see The Cowboy's Dream (File: R185)
===
NAME: Cowboy's Home Sweet Home, The: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Cowboy's Lament, The: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Cowboy's Life: see The Horse Wrangler (The Tenderfoot) [Laws B27] (File: LB27)
===
NAME: Cowboy's Life, A
DESCRIPTION: "A cowboy's life is a weary, dreary life, Some say it's free from care." The singer complains of long hours, rising too early in the day, howling wild animals, bad weather, and wealthy bosses
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: cowboy work hardtimes
FOUND_IN: US
REFERENCES: (4 citations)
Larkin, pp. 53-57, "The Dreary Life" (1 text, 1 tune)
Lomax-FSNA 187, "A Cowboy's Life" (1 text, 1 tune)
Thorp/Fife XVII, pp. 228-239 (38-39), "The Pecos Stream" (6 texts, 2 tunes, though not all appear to be part of this piece)
Fife-Cowboy/West 86, "The Cowboy's Life" (3 texts, 1 tune, although only the "A" text is demonstrably this piece)
Roud #838
RECORDINGS:
Sloan Matthews, "The Cowboy's Life is a Very Dreary Life" (AFS, 1940s; on LC28)
CROSS_REFERENCES:
cf. "The Shantyman's Life (I)" (tune & meter; lyrics)
NOTES: Roud seems to lump all cowboy songs which contain the words "A cowboy's life is a (weary/dreary), dreary life" here. I'm not really convinced -- some of these songs share hardly any othe rlyrics. But, with none of them telling distinct stories, there isn't much basis for distinguishing. - RBW
File: LoF187
===
NAME: Cowboy's Life, The
DESCRIPTION: "The bawl of a steer To a cowboy's ear Is music of sweetest strain; And the yelping notes Of the gray coyotes To him are a glad refrain." The cowboy recalls home and girl, and concludes, "Saddle up, boys, For the work is play."
AUTHOR: James Barton Adams?
EARLIEST_DATE: 1916 (Lomax)
KEYWORDS: cowboy work home nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Saffel-CowboyP, p. 219-220, "The Cowboy's Life" (1 text) 
Roud #8062
NOTES: Given the metre, the form, the contents, and the Lomaxness of this item, I'd bet a lot that it isn't traditional; John Lomax doubtless threw it into _Cowboy Songs_ just to add bulk to the volume. But we can't prove it, so here it is. - RBW
File: Saffe219
===
NAME: Cowboy's Meditation
DESCRIPTION: "At midnight when cattle are sleeping," the cowboys looks at the stars and wonders. Are they inhabited worlds with cowboys and cattle ranges? Do cowboys there wonder about our sun? Will he meet mother in heaven? When dawn breaks, he gets back to work
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Carl T. Sprague)
KEYWORDS: cowboy work family death
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 121, "Cowboy's Meditation" (1 text, 1 tune)
Roud #4453
RECORDINGS:
Kenneth Houchins, "Cowboy's Meditation" (Champion 45028, 1935)
Carl T. Sprague, "The Cowboy's Meditation" (Victor V-40197, 1930; Montgomery Ward M-4467, 1934; Montgomery Ward M-4783, c. 1935)
NOTES: Yes, this is Cowboy Science Fiction.
Roud lumps this with "The Cowboy's Dream." There are similarities in theme, but this seems much more creative. - RBW
File: FCW121
===
NAME: Cowboy's Prayer (I), A
DESCRIPTION: "Oh Lord, I've never lived where churches grow"; the speaker prefers the wilderness as God created it. He is thankful that he is "no slave of whistle, clock, or bell." He apologises for his failings, and asks for guidance in the future
AUTHOR: Words: Charles Badger Clark
EARLIEST_DATE: 1920
KEYWORDS: cowboy religious nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Fife-Cowboy/West 128, "A Cowboy's Prayer" (1 text)
Saffel-CowboyP, p. 154, "A Cowboy's Prayer" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 69-70, "A Cowboy's Prayer" (1 text)
Roud #11201
NOTES: There is no evidence that this song has ever circulated in tradition; the Fifes included it in their book for its content, not its pedigree. - RBW
File: FCW128
===
NAME: Cowboy's Prayer (II), The
DESCRIPTION: "Guard me, Lord, while I'm a-riding 'cross the dusty range out there From the dangers that are hiding on the trail so bleak and bare." The cowboy asks for guidance and protection, and concludes "At last to heaven lead me, up in the home corral."
AUTHOR: Earl Alonzo Brinistool
EARLIEST_DATE: 1914 ("Trail Dust of a Maverick")
KEYWORDS: religious cowboy recitation
FOUND_IN: US
REFERENCES: (2 citations)
Ohrlin-HBT 77, "The Cowboy's Prayer" (1 text)
Saffel-CowboyP, p. 81, "A Range Rider's Appeal" (1 text)
File: Ohr077
===
NAME: Cowboy's Ride, The
DESCRIPTION: "Oh, for a ride o'er the prairies free, On a fiery untamed steed...." The singer describes guiding the horse on its travels, concluding "You can have your ride in the crowded town! Give me the prairies free... Oh, that's the ride for me."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy horse travel
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 109, "The Cowboy's Ride" (1 text, 1 tune)
Roud #11087
File: FCW109
===
NAME: Cowboy's Soliloquy, The
DESCRIPTION: "All day (long) on the prairies I ride, Not even a dog to run by my side." The solitary cowboy describes his life on the prairie -- where, e.g., "My books are the brooks, my sermons the stones" (the latter teaching him "not to despise" small things).
AUTHOR: Allen McCandless?
EARLIEST_DATE: 1885 (Kansas "Cowboy")
KEYWORDS: cowboy work loneliness
FOUND_IN: US(So)
REFERENCES: (5 citations)
Larkin, pp. 131-134, "The Cowboy" (1 text, 1 tune)
Fife-Cowboy/West 123, "The Cowboy's Soliloquy" (1 text, 1 tune)
Ohrlin-HBT 64, "The Cowboy #1" (1 text, 1 tune)
Saffel-CowboyP, pp. 176-177, "The Cowboy" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, p. 1, "The Cowboy's Soliloquy" (1 text)
Roud #11099
RECORDINGS:
Glenn Ohrlin, "The Cowboy" (on Ohrlin01, BackSaddle)
Carl T. Sprague, "The Cowboy" (Victor 21402, 1928; Montgomery Ward M-4783, c. 1935; on WhenIWas2)
ALTERNATE_TITLES:
The Biblical Cowboy
NOTES: Seemann and Ohrlin both credit authorship to Allen McCandless. Seemann also lists first printing as being in the Trinidad, Colorado _Daily Advertiser_, 1885. [Cannon also attributes this to McCandless, and lists the 1885 printing, but says that it probably circulated before that, which makes you wonder about McCandless's authorship - RBW]
Carl T. Sprague's recording [credits] the words to John Lomax's "Cowboy Ballads" book. From oral tradition to print to aural tradition. - PJS
File: FCW123
===
NAME: Cowboys' Christmas Ball, The
DESCRIPTION: "Way out in western Texas where the Clear Forks waters flow... It was there that I attended the Cowboys' Christmas Ball." The location is described, as are all the people who show up. The singer expects to recall the excitement forever
AUTHOR: Larry Chittenden
EARLIEST_DATE: 1893 (Chittenden's "Ranch Verses")
KEYWORDS: cowboy party dancing
FOUND_IN: US(SW)
REFERENCES: (4 citations)
Thorp/Fife XVI, pp. 219-224 (33-36), "The Cowboys Christmas Ball" (2 texts, 1 tune)
Ohrlin-HBT 60, "The Cowboy's Christmas Ball" (1 text, 1 tune)
Saffel-CowboyP, pp. 56-58, "The Cowboy's Christmas Ball" (1 text)
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 17-19, "The Cowboy's Christmas Ball" (1 text)
Roud #4634
CROSS_REFERENCES:
cf. "The Cowboys' New Years Dance"
NOTES: Although often quoted, the difficult form of this piece (six twelve-line stanzas!) seems to have kept it from securing a firm place in oral tradition; Thorp/Fife list seventeen printings but only one field recording, and Ohrlin admits that his version is shorter than the original. Cannon has a versin chopped down to five stanzas, which he calls "folk song length." - RBW
File: TF16
===
NAME: Cowboys' Gettin'-Up Holler: see Wake Up, Jacob (File: LoF184)
===
NAME: Cowboys' New Years Dance, The
DESCRIPTION: "We were sitting round the ranch house some twenty hands or more, Most of us Americans but a few from Arkansas...." "Twas with them I attended the Cowboys' New Years Ball." The extravagant dance is described in extravagant terms
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: cowboy party parody
FOUND_IN: 
REFERENCES: (1 citation)
Thorp/Fife XXII, pp. 251-253 (44-48), "The Cowboys New Years Dance" (1 text)
Roud #12501
CROSS_REFERENCES:
cf. "The Cowboys' Christmas Ball"
NOTES: Thorp in his 1908 edition credits this to an unknown "Mark Chisholm." On the other hand, Thorp appears to have marked the song as one of his own in a copy given to a friend. Since the song does not seem to have appeared elsewhere, either in oral tradition or in print, it probably doesn't matter much. - RBW
File: TF22
===
NAME: Cowcadden's Heroes
DESCRIPTION: The key members of Orange Lodge One-Six-Two are named. Then the singer puts himself at the Boyne. "When we ... had safely crossed I fell into a dream" of Joshua leading "us" across Jordan and around Jericho until "it came tumbling"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: dream Ireland Bible moniker political religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 24, "Cowcadden's Heroes" (1 text, 1 tune)
NOTES: For the Battle of the Boyne, regarded as a liberating event by Irish Protestants, see the notes to "The Battle of the Boyne (I)." Joshua's exploits are only marginally parallel to the events of 1688-1690: The crossing of the Jordan was unopposed, and the river bed was dry (see chapters 3-4 of the book of Joshua). And the Boyne was a straight battle, unlike the siege of Jericho, which was -- a siege (see Joshua chapters 5-6). It can't even be compared with the siege of (London)derry, because Jericho was captured by assault, while Derry withstood its siege. - RBW
File: OrLa024
===
NAME: Cowman's Lament, The: see Going to Leave Old Texas (Old Texas, Texas Song, The Cowman's Lament) (File: FCW066E)
===
NAME: Cowman's Prayer, The: see The Cattleman's Prayer (File: FCW126)
===
NAME: Crab-Fish, The: see The Sea Crab (File: EM001)
===
NAME: Crabtree Still
DESCRIPTION: "I went up the hill, I found a still, So gather round, boys, we will all keep mum. It's bad, it's sad, it's a shame." "Ed" is killed in a shootout (?), and those with the moonshine are chased by the sheriff. They end up in court before a dishonest judge
AUTHOR: Clabe Kazee?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: drink police judge trial punishment
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 118-120, "Crabtree Still" (1 text)
File: ThBa118
===
NAME: Crack Schooner Moonlight, The
DESCRIPTION: "Oh, we towed out the Moonlight, dropped the tug in the gale With the old Law before us and the Porter on our tail." "Hurrah for a race down the Lakes!" The sailor describes the wind and how they "leave the Law, the Damforth, and others by the score."
AUTHOR: unknown
EARLIEST_DATE: 1932 (collected by Walton from a group of Illinois sailors)
KEYWORDS: ship racing
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 231-234, "The Crack Schooner Moonlight" (1 text, 1 tune)
RECORDINGS:
Ivan Watson, "The Crack Schooner Moonlight" (fragment, 1938; on WaltonSailors, which curiously omits a line from the chorus shown in the Walton/Grimm/Murdock text)
NOTES: Although this song praises the _Moonlight's_ performance, I have to wonder if she really counted as a "crack schooner." Walton/Grimm/Murdock describes her as having a clipper hull but a schooner rig -- a strange compromise, since clippers were designed mostly for speed (at the cost of cargo capacity), and schooners, though highly maneuverable, we not as fast as square-rigged ships. Thus the _Moonlight_ would have been too slow for those who wanted speed and too small for those who wanted large cargos.
The _Moonlight's_ history reflects this: After just 14 years, in 1888, it was sold, cut down, and made into a sailing barge. Nor did it have much luck in this configuration. Mark L. Thompson,_Graveyards of the Lakes_ (Wayne State University Press, 2000), p. 90, shows a photo of the _Moonlight_ after it ran aground near Marquette in 1895 after her tow the _Charles J. Kershaw_ suffered a boiler problem.
According to Julius F. Wolff, Jr., _Lake Superior Shipwrecks_, Lake Superior Port Cities Inc., Duluth, 1990, p. 74, the _Moonlight_ and the _Henry A. Kent_ (which had also run aground in the _Kershaw_ incident) were not re-floated until the next year, and that at "enormous expense." The _Kershaw_ itself was a total loss, and one of the tugs called in to rescue the barges sank on its way home.
According to Wolff, p. 100, the _Moonlight's_ last voyage was in September 1903. Carrying a load of 1400 tons of iron ore, she began to take on water and quickly sank. The crew, fortunately, was rescued; the _Moonlight_ may have had a lot of accidents, but she seems to have had a good safety record. - RBW
File: WGM231
===
NAME: Cradle Lullaby
DESCRIPTION: "Baloo, loo baby, now baloo, my dear, now baloo, loo lammie, your mammie is here." The singer consoles her baby through all the wind and storm, while lamenting that its father is out on the sea. She hopes the child's "wauk'nin' be blyther than mine."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: lullaby father sailor separation
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 167, "Cradle Lullaby" (1 text)
Roud #5562
File: Ord167
===
NAME: Cradle Song: see Uncle Joe Cut Off His Toe (Rock the Cradle Joe) (File: Br3097)
===
NAME: Crafty Farmer, The [Child 283; Laws L1]
DESCRIPTION: A farmer carrying money from/for a transaction is met by a robber. The robber demands his money; the farmer throws it on the grass. While the robber gathers it, the farmer makes off with the robber's horse and all the wealth in his saddlebags
AUTHOR: unknown
EARLIEST_DATE: 1769
KEYWORDS: robbery trick money outlaw escape
FOUND_IN: Britain(England(All),Scotland(Aber,Hebr)) Ireland Canada(Mar,Newf) US(Ap,MA,MW,NE,NW,SE)
REFERENCES: (25 citations)
Child 283, "The Crafty Farmer" (1 text)
Bronson 283, The Crafty Farmer" (43 versions)
Laws L1, "The Yorkshire Bite" (Laws gives three broadside texts on pp. 73-77 of ABFBB)
Greig #35, pp. 1-2, "The Yorkshire Farmer" (1 text)
GreigDuncan2 266, "The Yorkshire Farmer" (9 texts, 7 tunes) {A=Bronson's #25, C=#28 [misattributed in Bronson], D=#27, E=#34, F=#23}
GreigDuncan2 267, "The Farmer and the Robber" (2 texts, 2 tunes) {A=Bronson's #1, B=#3}
BarryEckstormSmyth pp. 406-413, "The Yorkshire Bite" (3 texts, 1 tune); also pp. 477-478, "The Crafty Farmer" (notes plus many stanzas from Child) {Bronson's #31}
Flanders/Brown, pp. 234-235, "The Yorkshire Bite" (1 fragment, 1 tune) {Bronson's #20}
Flanders/Olney, pp. 51-53, "The Yorkshire Boy" (1 text, 1 tune) {Bronson's #32}
Flanders-Ancient4, pp. 139-175, "The Yorshire Bite" (9 texts plus 6 fragments, 9 tunes) {B=Bronson's #32, D=#29, K=#20}
BrownII 46, "The Crafty Farmer" [incorrectly listed as Child #278] (1 text plus an excerpt)
Creighton/Senior, pp. 237-239, "Well Sold the Cow" (1 text, 1 tune) {Bronson's #26}
Creighton-NovaScotia 14, "Well Sold the Cow" (1 text, 1 tune) {Bronson's #19}
Greenleaf/Mansfield 20, "The Little Yorkshire Boy" (1 text, 1 tune) {Bronson's #21}
Leach-Labrador 60, "The Yorkshire Bite" (2 texts, 2 tunes)
Peacock, pp. 33-38, "The Yorkshire Boy" (2 texts, 3 tunes)
Logan, pp. 127-133, "The Crafty Farmer" and "The Yorkshire Bite" (2 texts)
Leach, pp. 662-665, "The Crafty Farmer" (2 texts)
FSCatskills 117, "The Old Spotted Cow"  (2 texts, 3 tunes) {Tune "B" is Bronson's #29}
Gardner/Chickering 157, "John Sold the Cow Well" (1 text plus mention of 2 more)
Sandburg, pp. 118-119, "Down, Down Derry Down" (1 text, 1 tune) {Bronson's #37}
Combs/Wilgus 89, pp. 130-132, "The Crafty Farmer" (1 text)
SHenry H51, pp. 129-130, "The Crafty Ploughboy" (1 text, 1 tune)
JHCox 31, "The Crafty Farmer" (1 text)
DT 283, CRAFTBY CRFTFARM*
Roud #2640
RECORDINGS:
Warde Ford, "The Oxford Merchant (Hampshire Bite)" (AFS 4197 A, 1938; on LC58, in AMMEM/Cowell) {Bronson's #18}
BROADSIDES:
Bodleian, Harding B 19(79), "The Robber Outdone" ("Come listen a while and a story I will tell"), W. Birmingham (Dublin), c.1867; also Firth c.17(20), "The Robber Outdone"
CROSS_REFERENCES:
cf. "The Highwayman Outwitted" [Laws L2]
ALTERNATE_TITLES:
Jack the Plowboy
Jack the Cow Boy
Well Sold the Cow
Selling the Cow
The Boy and the Cow
The Highway Robber
The Scotch Herdie
NOTES: Laws, obviously, considers "The Yorkshire Bite" to be distinct from "The Crafty Farmer." He may be right, but Coffin does not find any essential differences, and Bronson seems to regard them as subgroups. Even the three texts Laws gives for comparison have strong similarities in detail; it looks to me as if they are simply (bad) rewrites of the same original.
Given the degree of variation in the particular verses, it is hard to tell which texts go with which song. Since the versions are so close; I decided not to distinguish them.
It's just possible that this has a real-life origin, though I doubt it: David Brandon, in _Stand and Deliver! A History of Highway Robbery_, pp. 29-31, reports that one Isaac Atkinson held up a young woman, who -- apparently thinking he wanted something harder to recover than her money -- threw a bag of coins in the ditch. Atkinson, instead of either pursuing his seduction or doing anything to control the girl, simply jumped off his horse to pick up the coins.
The girl then flew away on her horse, and by chance his horse followed. She was able to report where she had left him, and he was taken and hanged.
Brandon, however, cites no sources; I almost wonder if his tale doesn't combine this one with something like "Lovely Joan." Or, even more likely, with "The Highwayman Outwitted."  - RBW
File: C283
===
NAME: Crafty Ploughboy, The: see The Crafty Farmer [Child 283; Laws L1] (File: C283)
===
NAME: Crafty Wee Bony
DESCRIPTION: Bony escapes, Louis flees Paris and Sandy and Donald lead highlanders and Scots Greys to meet Bony at Waterloo. "A favourite eagle was ta'en by a Grey." The French run. Bonaparte is sent to St Helena. "We'll chant ower this story to auld Scotia's glory"
AUTHOR: unknown
EARLIEST_DATE: 1817 (T Johnston chapbook, according to GreigDuncan1)
KEYWORDS: battle France humorous Napoleon exile
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #94, p. 2, "Sandy and Donald" (1 text)
GreigDuncan1 151, GreigDuncan8 Addenda, "Crafty Wee Bony" (1 text, 1 tune)
Roud #2642
BROADSIDES:
Bodleian, Firth c.14(33), "Adventures of Sandy and Donald On the Plains of Waterloo" ("When crafty wee Buona' broke out of his prison"), The Poet's box (Glasgow), 1870
Murray, Mu23-y1:063, "The Adventures Of Sandy And Donald On The Plains Of Waterloo," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "The Lass o' Glenshee" (tune)
ALTERNATE_TITLES:
Waterloo
NOTES: In the aftermath of Napoleon's first abdication in 1814, Louis XVIII (1755-1824) hurried to France to claim the throne of his elder brother Louis XVI. (What happened to Louis XVII? He was the son of Louis XVI, and spent his entire reign in exile, dying while still a boy in 1795.) Hence the reference to Louis fleeing (though not very fast, since he was immensely fat and needed a cane to walk due to gout).
The reference to the Highlanders and Scots Greys at Waterloo is accurate; David Chandler, _The Campaigns of Napoleon_, (Macmillan, 1966), notes that the Scots Greys and 92nd Highlanders were in Wellington's army. They were among the forces who opposed the first French attack, launched by d'Erlon's corps. (The 92nd Highlanders, if I understand Chandler right, were in the front line; the Scots Greys came to reinforce them when the front line wavered.)
According to Chandler, Sergeant Charles Ewart of the Scots Greys captured the eagle of the French 45th Regiment. - RBW
File: GrD1151
===
NAME: Craiganee
DESCRIPTION: The singer calls on the muses to help him express his farewell. He must leave home, parting from friends and Craiganee and a girl he will not name. He describes how she watches him from the shore, and hopes they will meet again
AUTHOR: unknown
EARLIEST_DATE: 1906 (JIFSS)
KEYWORDS: emigration parting separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H749, pp. 189-190, "The Flower of Craiganee" (1 text, 1 tune); H730, p. 190, "The Hills of Tandragee" (1 text, 1 tune, said by some to be derived from "The Hills of Glenswilly," but agreeing in plot and in over half its lines with the Henry text of "Craiganee," though the tunes are somewhat different)
Roud #2743
NOTES: The relationship between "Craiganee," "The Hills of Glenwilly/Glensuili," and "The Hills of Tandagree" appears to be very complicated; we will try to make it clearer in future versions of the Index. - RBW
File: HHH749
===
NAME: Craigbilly Fair: see Widdicombe Fair (II) (File: K289)
===
NAME: Craigie Hill
DESCRIPTION: Singer overhears two lovers. She asks that he take her with him from Ireland. He is leaving to buy a plantation in America where she will join him. She says, before he dies, he would wish one sight of the Bann River. He bids farewell to Craigie Hill.
AUTHOR: unknown
EARLIEST_DATE: c.1945 (Tunney-StoneFiddle)
KEYWORDS:  love emigration parting America Ireland
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 80, "Craigie Hill" (1 text, 1 tune)
DT, CRAIGHIL
Roud #5165
RECORDINGS:
Paddy Tunney, "Craigy Hills" (on IRPTunney01); "Craigie Hill" (on Voice04) 
File: RcCraHil
===
NAME: Cranberry Bogs, The (Cranberry Song)
DESCRIPTION: "Have you ever been down to the cranberry bogs? Some of the houses are hewn out of logs...." Asked to sing, the singer tells stories of the cranberry harvest. The fruit are gathered after most other crops are in, so all sorts of people happily take part
AUTHOR: Barney Reynolds?
EARLIEST_DATE: 1946 (recording, Frances Perry)
KEYWORDS: farming work nonballad moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
DT, CRANBRRY* CRANBRR2*
Roud #5412
RECORDINGS:
Frances Perry, "Cranberry Song" (AAFS, 1946; on LC55)
NOTES: The only published version of this piece appears to be that recorded by Frances Perry for AAFS. But Perry herself (who thought the song to have been composed around 1900) admitted that "At each marsh every year, new verses are composed about the workers present at that season." (Hence my use of the "moniker" keyword).
Curiously, John Berquist claims to have a Minnesota version, which conforms closely to the outline of the Perry version but has dozens of minor verbal differences, so there has been some folk processing (but starting from the basic Reynold/Perry text). The most substantial change alters the location: "Mather" in Perry becomes "Mercer" in Berquist.
This is a noteworthy change, because there doesn't seem to be a town called Mather. Mercer, however, is in northern Wisconsin, near the border with upper Michigan and about 20 miles south and slightly east of Ironwood. It's a wet region, there is, in fact, a Cranberry Lake not too far south of there.
The Digital Tradition claims that Dillon Buston wrote a tune for this in 1987, taking the text from Peters. However, Perry had a tune back in 1946, and Berquist recorded it in 1981 -- and it's a fine tune that doesn't need any newfangled replacements. - RBW
File: RcTcrBo
===
NAME: Craw Killed the Pussy-O, The
DESCRIPTION: "The craw killed the pussy-o (x2), The muckle cat Sat doon and grat Behind the wee bit housie, O!" "The craw killed the pussy-o (x2), And aye, aye, the kitten cried, 'Oh, who'll bring me  mousie-o?"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: animal bird death
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 103, "(The crow killed the pussy, O!)" (1 short text)
File: MSBR103
===
NAME: Crawdad
DESCRIPTION: "You get a line and I'll get a pole... And we'll go down to the crawdad hole, Honey, baby mine." "What you gonna do when the lake runs dry, honey...." Sundry verses about catching crawdads, rural life, and (presumably) sexual innuendo
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: animal fishing nonballad
FOUND_IN: US
REFERENCES: (8 citations)
Lomax-FSUSA 34, "Sweet Thing/Crawdad Song/Sugar Babe" (3 texts, 1 tune)
Botkin-AmFolklr, p. 896, "Crawdad" (1 text, 1 tune)
PSeeger-AFB, p. 86, "Crawdad" (1 text, 1 tune)
Pankake-PHCFSB, p. 271, "Crawdad" (1 text)
Scarborough-NegroFS, p. 103, "Dweley" (1 text, a collection of floating verses including one from this song, one from "The Jawbone Song," and others)
SharpAp 199, "The Crow-fish Man" (1 text, 1 tune)
Silber-FSWB, p. 23, "Crawdad" (1 text)
DT, CRAWDAD
Roud #4853
RECORDINGS:
Jess Alexander, "Crawdad Song" (AAFS 617 B1)
Mrs. Vernon Allen, "Crawdad Song" (AAFS 4142 B1/2)
Mary Davis, "Crawdad Song" (AAFS 1488 A/B1)
Girls of the Golden West, "You Get a Line and I'll Get a Pole" (Bluebird B-5167, 1933; Montgomery Ward M-4455, 1934)
J. L. Gores, "Sugar Babe" (AAFS 2593 B3)
Sam Hinton, "The Crawdad Song" (Decca K-69, n.d.)
Honeyboy & Sassafras, "Crawdad Song" (Brunswick 417, rec. 1929)
Clint Howard et al, "Crawdad Song" (on Ashley03, WatsonAshley01)
Aunt Molly Jackson, "Sugar Babe" (AAFS 827 B3, 1935)
Vera Kilgore, "Crawdad" (AAFS 2939 B2)
Evelyn Knight & Red Foley, "Crawdad Song" (Decca 27599, 1951)
Leary Family & T. Henderson, "Crawdad Song" (AAFS 3574 B1)
Texas Jim Lewis' Lone Star Cowboys (Perfect 7-12-55, 1937)
Lone Star Cowboys, "Crawdad Song" (RCA Victor 20-2941, 1948)
[Asa] Martin & [James] Roberts, "Crawdad Song" (Perfect 13046 [as by Asa Martin]/Melotone 13148, 1934)
Leroy Martin & group of convicts, "Crawdad" (AAFS 2671 A2)
Alec Moore, "Sugar Babe" (on AAFS 55 B1)
Poplin Family, "Crawdad Hole" (on Poplin01)
Sims & Mandie Tartt & Bettie Atmore, "Sugar Babe" (AAFS 2704 A3)
Joe Turner, "Crawdad Hole" (Atlantic 1001, 1952)
Ray Wood, "Sugar Babe" (AAFS 1594 A1)
CROSS_REFERENCES:
cf. "Sweet Thing (I)" (tune, lyrics, and everything else)
cf. "Back to Jericho" (words, pattern)
cf. "New River Train"
cf. "Going Around the World (Banjo Pickin' Girl, Baby Mine)"
cf. "This Mornin', This Evenin', Right Now" (tune, pattern)
SAME_TUNE:
How Many Biscuits Can You Eat? (File: RcHMBCYE)
Pittsburg (Pittsburg Town) (on PeteSeeger13, AmHist1; PeteSeeger39)
Bill Cox, "N.R.A. Blues" (Perfect 13090, 1935)
Log Cabin Boys, "New Crawdad Song" (Decca 5103, 1935)
NOTES: Songs with this tune and metrical pattern turn up throughout North American tradition; like the limerick, this skeleton seems to have become a favorite framework for humorous material. - PJS
This song poses a conundrum (hinted at in Paul's comment), because it merges continuously with the "Sweet Thing" family; they use the same tune (at least sometimes) and ALL of the same verses. Roud lumps them.
Chances are that they are "the same" song (whatever that means). But the tenor of the song changes somewhat with the presence or absence of a crawdad; after initially lumping the song, the Ballad Index staff decided to split them, based solely on mention of a crawdad. But one should definitely check all versions of both to get the complete range of material. - RBW
Just to confuse things further, the version of "The Crow-fish Man" in SharpAp (which uses a "This morning so soon" refrain) mentions crawdads, whereas the one in Sharp/Karpeles-80E apparently doesn't. So the former is filed here, the latter under "Sweet Thing (I)." Sharp also notes that his informant learned the song from an African-American singer.
The versions called "Sugar Babe" should not be confused with "Sugar Baby", aka "Red Rocking Chair." - PJS
File: R443
===
NAME: Crawdad Song: see Crawdad (File: R443)
===
NAME: Crayfish, The: see The Sea Crab (File: EM001)
===
NAME: Crazy Grey Mare, The
DESCRIPTION: The singer stops at a tavern for whiskey and hay for his mare. When the mare is startled by a train, he is thrown from the sleigh. The mare is gone: he thinks killed by the train. She is at the tavern. She says she left because he is nasty when drunk.
AUTHOR: Hugh Lauchlan MacDonald
EARLIEST_DATE: 1968 (Ives-DullCare)
KEYWORDS: accusation drink ordeal humorous horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 183-185, 243, "The Crazy Grey Mare" (1 text, 1 tune)
Roud #13987
File: IvDC183
===
NAME: Crazy Jane
DESCRIPTION: Henry deserts Jane, "and with him forever fled the wits of Crazy Jane." She tells the story to each frightened passerby and each "in pity cries: 'God help poor Crazy Jane!'" "When men flatter, sigh and languish, Think them false, I found them so"
AUTHOR: Words: Matthew Gregory Lewis/Music: John Davy ?
EARLIEST_DATE: before 1808 (broadside, Bodleian Harding B 12(141))
KEYWORDS: madness courting lie warning lament
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 436-437, "Crazy Jane" (1 text, 1 tune)
ST Pea436 (Partial)
Roud #6458
BROADSIDES:
Bodleian, Harding B 12(141), "The Favourite Song, of Crazy Jane," Burbage and Stretton (Nottingham), 1797-1807; also Harding B 11(3335), Johnson Ballads 781, Harding B 11(3647), Firth b.27(10), Firth b.26(46), Harding B 28(61), Harding B 11(740), Firth b.25(140), Harding B 11(741), Harding B 25(444), Harding B 17(66a), Harding B 17(65b), Firth b.25(340), 2806 c.18(74), "Crazy Jane"; 2806 b.11(216), Harding B 11(3066), Harding B 11(3067), Harding B 11(3068), Harding B 11(3069), "Poor Crazy Jane"
LOCSinging, sb10044a, "Crazy Jane," J. Andrews (New York), 1853-1859; also as102530, "Crazy Jane"
NOTES: Bodleian attributes authorship to Matthew Gregory Lewis (1775-1818), but attributes no other broadsides to him. According to the English Department University of Pennsylvania site Lewis is best known for his 1796 Gothic novel "The Monk."
The Public Domain Music site attributes the music to John Davy (1763-1824) and makes 1800 the date of the song.
Bodleian has one related broadside as "The Birth of Crazy Jane", London, 1800-1802, shelfmark Johnson Ballads 301.
Bodleian has one parody as "Crazy Paul" dated Feb 5, 1801 which asks "Can a moonstruck Russian sailor Draw the fleet of France from Brest?" shelfmark Curzon b.3(138).
Broadside LOCSinging sb10044a: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
Yeats wrote a whole series of "Crazy Jane" poems (though they don't seem to have been particularly popular); Peacock suspects this piece of inspiring them, but cannot prove it. - RBW
File: Pea436
===
NAME: Crazy Song to the Air of "Dixie"
DESCRIPTION: "Way down south in the land of cotton, I wrote this song and wrote it rotten, I did, I didn't -- you don't believe me. The reason why I cannot sing I have no chestnuts for to spring...." Other nonsense of similar calibre follows
AUTHOR: "Andy Lee" (W. W. Delaney) supplied Sandburg's text
EARLIEST_DATE: 1925 (recording, Ernest Stoneman)
KEYWORDS: nonsense nonballad parody derivative
FOUND_IN: 
REFERENCES: (3 citations)
Sandburg, p. 342, "Crazy Song to the Air of 'Dixie'" (1 text)
Gilbert, pp. 105-106, "Her Age It Was Red" (1 text)
Pankake-PHCFSB, p. 61, "Take It Out, Take It Out, Remove It" (1 text, tune referenced); also p. 61, "The Whale Song (1 text, tune referenced)
Roud #10134
RECORDINGS:
Ernest Stoneman, "Dixie Parody" (OKeh 40430, 1925)
CROSS_REFERENCES:
cf. "Dixie" (tune) and references there
NOTES: The nature of this song is such that almost any nonsense can, and is, attracted to it. So any nonsense to the air of "Dixie" is listed here (with the exception of "A Horse Named Bill," which is coherent in a small way). - RBW
File: San342
===
NAME: Creation: see Dese Bones Gwine to Rise Again [Laws I18] (File: LI18)
===
NAME: Creation Song, The: see Walkin' in the Parlor (File: Wa177)
===
NAME: Cree-Mo-Cri-Mo-Dorro-Wah: see Kemo Kimo (File: R282)
===
NAME: Creeping and Crawling
DESCRIPTION: The young man, creeping and crawling, seduces the maid, taking a knife to cut the tie on her drawers. He leaves her to lament nine months later.
AUTHOR: unknown
EARLIEST_DATE: 1907 (Sharp mss., a "Sally My Dear" version with the words bowdlerized)
KEYWORDS: bawdy childbirth sex seduction lament clothes
FOUND_IN: Britain(England(Lond,South)) US(So) Canada(Newf)
REFERENCES: (4 citations)
Randolph-Legman I, pp. 33-39, "Creeping and Crawling" (7 texts, 2 tunes)
Kennedy 178, "The Knife in the Window" (1 text, 1 tune)
Lehr/Best 89, "Pretty Polly" (1 text, 1 tune)
DT, CRPCRAWL* KNIFWIND
Roud #12590
RECORDINGS:
James "Iron Head" Baker, "Crawling and Creeping" (AFS 717 A1, 1936)
Harry Cox, "The Knife in the Window" (on FSB2CD)
A. L. Lloyd, "Pretty Polly" (on BirdBush1, BirdBush2)
Asa Martin, "Crawling and Creeping" (Oriole 8452, 1935)
CROSS_REFERENCES:
cf. "Hares on the Mountain" (tune)
ALTERNATE_TITLES:
Pretty Polly
The Snoring Maid
Lay Your Leg over Me Do
Nancy and Johnny
The Young Doctor
NOTES: In England, this song regularly mixes with "Hares on the Mountain," with which it shares a tune. But the plots are different; I happily keep them separate though Roud lumps them (while defining "Crawling and Creeping" as a separate item). - RBW
The Lloyd recording provocatively contains the chorus "Lay your leg over me, over me, do" And at least one recorded version of "Sally, My Dear" -- an American one -- contains the "cutting the trousers" motif. So if "Sally, My Dear" is truly part of the "Hares on the Mountain" family, then "Creeping and Crawling" (or the "Pretty Polly" variant of it) is another link to "Roll Your Leg Over." - PJS
File: RL033
===
NAME: Creeping Jane [Laws Q23]
DESCRIPTION: Racehorse Creeping Jane is not well known, but wins a race despite a slow start -- and is still fresh, though the course exhausted the other animals. After Jane dies, plans are made to keep her body from the hounds
AUTHOR: unknown
EARLIEST_DATE: before 1855 (broadside, Bodleian Firth c.19(76))
KEYWORDS: horse racing burial
FOUND_IN: US(MW) Britain(England)
REFERENCES: (4 citations)
Laws Q23, "Creeping Jane"
MacSeegTrav 114, "Creeping Jane" (1 text, 1 tune)
Gardner/Chickering 99, "Creeping Jane" (1 text, 1 tune)
DT 532, CREEPJAN*
Roud #1012
RECORDINGS:
Joseph Taylor, "Creeping Jane" (on Voice08)
BROADSIDES:
Bodleian, Firth c.19(76)[first line illegible], "Creeping Jane" ("I'll sing you a song, and a very pretty one"), E.M.A. Hodges (London), 1846-1854; also Firth c.19(73), Firth c.19(75), Harding B 11(174), "Creeping Jane"
CROSS_REFERENCES:
cf. "Bill Hopkin's Colt" (theme)
cf. "Down the Road" (II) (theme)
ALTERNATE_TITLES:
The Jockey's Song
File: LQ23
===
NAME: Creggan White Hare, The
DESCRIPTION: Barney Conway hunts the famous Creggan White Hare. He finds the hare but she eludes his dogs. He calls in sportsmen "with pedigree greyhounds" who arrive "in a fine motor-car." She eludes the seven men and nine dogs. "Health to the Creggan White Hare"
AUTHOR: unknown
EARLIEST_DATE: c.1945 (Tunney-StoneFiddle)
KEYWORDS: escape hunting animal dog
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, p. 85, "The Creggan White Hare" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 54-56, "The Creggan White Hare" 
Roud #9633
NOTES: Creggan is in County Antrim, Ireland. - BS
I have a strange feeling this has something to do with the Irish revolution. In particular it makes me think of Michael Collins (for whom see "General Michael Collins") and the dramatic British attempts to catch him in the period around 1919-1920. Collins, to be sure, was from the south -- but he would in time be elected to the Irish parliament from Armagh.
i repeat, it's just speculation. - RBW
Also collected and sung by Kevin Mitchell, "The Creggan White Hare" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: TSF085
===
NAME: Creole Girl, The: see The Lake of Ponchartrain [Laws H9] (File: LH09)
===
NAME: Crew from Boston Bay, The
DESCRIPTION: The Gin, with a crew from Boston Bay, is lost in the fog off Jefferey's. They drift until "I can smell the beans, we are drifted home" says the captain. They drop anchor, "and were guided by the sinful smell as we walked ashore on the fog"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: fishing sea ship shore ordeal humorous
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 110-111, "The Crew from Boston Bay" (1 text, 1 tune)
Roud #9960
File: Pea110
===
NAME: Crew of the Clara Youell, The
DESCRIPTION: "It's of a stately vessel, a vessel of great fame, And if you want to know her, the Clara Youell's her name.... She's the pride of Goderich harbor, and she's in the lumber line." The singer describes the captain, cook, and crew
AUTHOR: unknown
EARLIEST_DATE: 1934 (collected from Norman MacIvor by Walton)
KEYWORDS: ship sailor moniker nonballad cook
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 149-150, "The Crew of the Clara Youell" (1 text)
File: WGM149
===
NAME: Cribisse! Cribisse! (Crawfish! Crawfish!)
DESCRIPTION: "Cribisse! Cribisse! pas gain di tout "show" bebe!... Creyole trappe ye pou' fait gumbo bebe." Sung in English and in (Creole) French, this song mocks the propensity of the Creole to be found around crawfish and vice versa.
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: nonballad humorous foreignlanguage
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 580, "Cribisse! Cribisse! (Crawfish! Crawfish!)" (1 text, 1 tune)
File: BMRF580
===
NAME: Cricket and Crab-louse, The (Down Derry Down)
DESCRIPTION: A girl picks a flower containing a cricket and a crab-louse. Both transfer to her body; the crab-louse takes up residence in her vagina. The next day, he escapes and tells the cricket of the horrors he experienced while she had sex
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: bug sex bawdy humorous
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 56, pp. 258-260, "Down, Derry Down" (1 text, 1 tune)
Roud #4791
NOTES: Logsdon notes mentions of an item about a crab-louse and cricket in Legman's _The Horn Book_. Legman (pp. 153, 183) refers to a single item names "The Cricket and Crab-Louse," which appears on page 69 of an 1825 edition of _The Merry Muses of Caledonia_ (a book which reportedly survive in only one copy). I have adopted Legman's title, since Logsdon's is so meaningless, but it should be noted that I have not seen the _Merry Muses_ text; I am equating the two based solely on Legman's description. It is possible that the texts of the _Merry Muses_ and Riley Neal are entirely different songs derived from a common folktale (which Legman also considers to underlie _Tristram Shandy_ and Scientology). - RBW
File: Logs056
===
NAME: Cricketty Wee
DESCRIPTION: Arty Art, Dandrum Dart, and Brother-in-Three ask, in turn, "Where are ye going?"; Cricketty Wee answers, "To the fair." He will buy a pony, he will marry, will drink, will eat, will put food away, a cat will guard it; his children will work for death
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: commerce wedding humorous questions
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H744, pp. 12-13, "Cricketty Wee" (1 text, 1 tune)
DT, CRICKWEE*
Roud #236
CROSS_REFERENCES:
cf. "Billy Barlow" (form)
cf. "The Cutty Wren" (form)
cf. "Hunt the Wren" (form, subject)
NOTES: Scholars almost without exception link this to "The Cutty Wren" and/or "Billy Barlow." The only similarity, however, is in form; neither the plot nor the characters are the same. I am clearly in the minority, but I don't think they're the same song. In any case, when in doubt, we split. - RBW
File: HHH744
===
NAME: Crime of the D'Autremont Brothers, The
DESCRIPTION: "Way out west in Oregon in 1923, The D'Autremont brothers wrecked the train as brutal as could be." Four of the train crew are killed. The brothers flee, are caught almost four years later, and "noe they are in prison for the lives they led."
AUTHOR: probably the Johnson Brothers
EARLIEST_DATE: 1928 (recording by the Johnson Brothers)
KEYWORDS: train robbery murder manhunt punishment prison
HISTORICAL_REFERENCES: Oct 11, 1923 - Roy, Ray, and Hugh DeAutremont attack the San Francisco Express as it comes out of a tunnel in Oregon. The brothers were caught in 1927 and all were given life sentences
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 166-168, "The Crime of the D'Autremont Brothers" (1 text, 1 tune)
RECORDINGS:
Johnson Brothers, "Crime of the D'Autremont Brothers" (Victor 21646, 1928)
NOTES: Pretty definitely not a folk song; the only early recording appears to be that by the Johnson Brothers (whose small repertoire included several other non-traditional songs); Cohen reports that it sold fewer than 6000 copies, and the song does not appear ever to have been found in the field.
Charles and Paul Johnson seem to have been rather mysterious themselves; Cohen also reports that their listed home town of Tuco, Kentucky, cannot be located. - RBW
File: LSRai066
===
NAME: Crimean War, The [Laws J9]
DESCRIPTION: Johnny and his mother together tell of Johnny's part in the Crimean War. Having fought at Alma, Balaclava, and Sevastopol, he is now safely (and happily) home again
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: war
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
Oct 25, 1854 - Battle of Balaclava
Nov 5, 1854 - Battle of Inkerman clears the way for the siege of Sevastopol (the city fell in the fall of 1855)
FOUND_IN: US(MW)
REFERENCES: (5 citations)
Laws J9, "The Crimean War"
Gardner/Chickering 91, "The Crimean War" (1 text, 1 tune)
Dean, pp. 49-50, As I Rode Down Through Irishtown" (1 text)
Ives-NewBrunswick, pp. 123-125, "The Crimean War" (1 text, 1 tune, with the text of this piece though the tune is described as being identical to that for "As I Went Down to Port Jervis")
DT 765, CRIMEAWR
Roud #1924
CROSS_REFERENCES:
cf. "As I Went Down to Port Jervis" (tune, lyrics, plot)
NOTES: For the relationship of this song to "As I Went Down to Port Jervis," see the notes to that song. That song is certainly derived from this, and could easily be listed as a version (so, e.g., Roud), but Cazden et al consider them separate. Some versions, such as that of Ives, may belong with the "Port Jervis" rather than here. - RBW.
File: LJ09
===
NAME: Criole Candjo (Creole Candio)
DESCRIPTION: Creole French. Candio comes asking the young woman to "make merry" with him. He follows her everywhere and repeats his pestering. She repeats her refusal, and wishes the listeners had met him so they would know what pressure he put her under
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: courting foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 216-218, "Criole Candjo" (1 text, 1 tune, plus a translation from Creole French into Creole English)
File: LxA216
===
NAME: Cripple Creek (I)
DESCRIPTION: Often found as a fiddle tune with words: "I got a gal at the head of the creek, Goin' up to see her 'bout the middle of the week...." "Goin' up to Cripple Creek, Goin' at a run, Goin' up to Cripple Creek to have a little fun." Most verses involve courting
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection); +1913 (JAFL28)
KEYWORDS: fiddle courting river nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (8 citations)
BrownIII 299, "Cripple Creek" (1 short text plus mention of 1 more)
SharpAp 247, "Gone to Cripple Creek" (1 text, 1 tune)
Lomax-FSNA 118, "Cripple Creek" (1 text, 1 tune)
Botkin-AmFolklr, pp. 898-899, "Cripple Creek" (1 text, 1 tune)
Rorrer, p. 83, "Shootin' Creek" (1 text, with recitation and verses partly derived from "Ida Red (I)")
Silber-FSWB, p. 37, "Cripple Creek" (1 text)
BrownIII 43, "Old Corn Licker" (a 2-line fragment, unclassifiable but with similarities to some texts of this song)
DT, CRIPLCRK
Roud #3434
RECORDINGS:
Fiddlin' John Carson, "Going Down to Cripple Creek" (OKeh 45214, 1928)
Charlie Higgins, Wade Ward & Dale Poe, "Cripple Creek" [instrumental] (on LomaxCD1701)
The Hillbillies, "Cripple Creek" (OKeh 40336, 1925) (Vocalion 15367, 1926/Vocalion 5115, c. 1927)
Roscoe Holcomb, "Cripple Creek" (on MMOKCD)
Doc Hopkins, "Cripple Creek" (Radio 1410B, n.d., prob. late 1940s - early 1950s)
Land Norris, "Red Creek" (OKeh 40433, 1925)
Charlie Poole and the North Carolina Ramblers, "Shootin' Creek" (composite with "Ida Red (I)"; Columbia15286-D, 1928; on CPoole01, CPoole05)
Fiddlin' Doc Roberts, "Cripple Creek" (Gennett 6336, 1927)
Ernest Stoneman, "Going Up Cripple Creek" (Victor 20294, 1926)
Stove Pipe No. 1 [pseud. for Sam Jones], "Cripple Creek & Sourwood Mountain" (Columbia 201-D, 1924)
Tweedy Brothers, "Cripple Creek" (Silvertone 4008, c. 1925)
CROSS_REFERENCES:
cf. "Sally Goodin" (floating lyrics)
cf. "Ida Red (I)" (floating verses)
NOTES: The notes in Brown say that there was a gold rush at Cripple Creek, producing this song. But it's worth noting that the sources can't agree on the state in which Cripple Creek is located (Colorado, Virginia). - RBW
File: San320
===
NAME: Cripple Creek (II) (Buck Creek Girls)
DESCRIPTION: "Buck Creek girl, don't you want to go to Cripple Creek? Cripple Creek girl, don't you want to go to town?" (x2). Alternately, "Buck Creek girls, don't you want to go to Somerset? Somerset girl, don't you want to go to town?" 
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: nonballad travel
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
SharpAp 241, "Cripple Creek, or Buck Creek Girl" (2 texts, 2 tunes)
Sharp/Karpeles-80E 64, "Cripple Creek" (1 text, 1 tune)
Roud #3434
RECORDINGS:
Banjo Bill Cornett, "Buck Creek Girls" (on MMOK, MMOKCD)
ALTERNATE_TITLES:
Buck Creek Gal
NOTES: Not to be confused with the fiddle tune/old time dance of the same name ("Going up to Cripple Creek..."). - RBW
File: SKE64
===
NAME: Cripple Kirsty
DESCRIPTION: A porter meets Cripple Kirsty and asks if she's thirsty. She offers to pay half and they stop at a tavern. When she asks for another round he refuses. She says the drink she had was good and tells him to call on her the next time he would share a round.
AUTHOR: unknown
EARLIEST_DATE: 1911 (GreigDuncan3)
LONG_DESCRIPTION: "It's wha amang ye hisna heard o' weel-kent Cripple Kirsty." When a porter asks her if she were thirsty she offers to add her two-pence to his  and "we'll hae a wee drap whiskie." He agrees and they go to Shirra's for a pint. She deftly drinks hers. He praises her but when she says "'lat us hae some mair o't' 'Na! na!' quo he 'ye greedy jade I think ye've got yer share o't.'"  Says she, "'I maun be contentit ... it's done me muckle gweed ....'  An noo I hope ye'se gies a ca' some mornin' fin yer thirsty An as ye gae by Fiddler's Close cry in for Cripple Kirsty"
KEYWORDS: drink parody
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #170, p. 2, "Cripple Kirsty" (1 text)
GreigDuncan3 556, "Cripple Kirsty" (1 text)
Roud #6030
CROSS_REFERENCES:
cf. "Maggie Lauder" (tune, form and text basis for parody)
NOTES: Greig: "'Cripple Kirsty' I owe to Mr Wm Walker, Aberdeen who says it used to be sung by a fiddling neighbour about the middle of last century. He never saw it in print. Being a parody, and an exceedingly happy one, of 'Maggie Lauder,' it is of course sung to the same tune." That's as may be but, if there are hints of sexual symbolism in the original they seem lost in the parody.
For comparison's sake here's a Maggie Lauder long_description: "Wha wadna be in love Wi' bonny Maggie Lauder." When a piper asks her "what was't they ca'd her," she tells him but "right scornfully" and tells him to begone. He, Rob the ranter, won't leave and claims "the lasses loup as they were daft When I blaw upon my chanter." She has heard of him as have "the lasses far and near." She says, "I'll shake my foot wi' right good will Gif you'll blaw up your chanter." When he played "Meg up and wallop'd o'er the green." He praises her dancing and she his playing. Says she, "There's none in Scotland plays so weel ... I've lived at Fife baith maid and wife These ten years and a quarter Gin you shall come to Anster fair Spier [ask] you for Maggie Lauder." 
GreigDuncan3: "As sung by Hugh Gallanders, a fiddling neighbour of ours 1846-1850 ...." - BS
File: GrD3556
===
NAME: Crockery Ware
DESCRIPTION: A merchant wants to lay with a girl one night. She puts dishes on a chair near her bed. In the dark he breaks the dishes and chair and wakes her mother. She calls the police and he has to pay for the crockery ware and broken chair.
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, O. J. Abbott)
KEYWORDS: sex trick bawdy humorous mother rake nightvisit courting lover police
FOUND_IN: Canada(Mar,Newf,Ont)
REFERENCES: (4 citations)
Peacock, pp. 257-258, "Crockery Ware" (1 text, 1 tune)
Leach-Labrador 119, "Old Woman" (1 text, 1 tune)
Ives-DullCare, pp. 129-130,243-244, "The Crockery Ware" (1 text, 1 tune)
DT, CROCKWAR CROCKRY*
Roud #1490
RECORDINGS:
O. J. Abbott, "A Young Man Lived in Belfast Town" (on Abbott1)
BROADSIDES:
Bodleian, Harding B 28(37), "Crockery Ware," unknown, n.d.
NOTES: At least one source claims that the Crockery Ware wasn't just random pottery but the chamber pot. Not sure I believe it; that sounds awfully messy. - RBW
File: Pea257
===
NAME: Crocodile, The: see The Wonderful Crocodile (File: MA134)
===
NAME: Cromie's Orange Buck, The
DESCRIPTION: Coming from a Hibernian Ball Misses M'Nulty and O'Hare meet Cromie's ranting Buck. He says he had "full authority from all the Orange boys" to "rip you on the ground." They run for protection to Barney Greenan who saves them. Ladies: travel protected.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: warning rescue party political talltale animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 37, "The Cromie's Orange Buck" (1 text, 1 tune)
Roud #2889
NOTES: Morton-Ulster: "Initiation into the Orange Order involves various rituals the most important being 'the ride on the buck'. Whether this actually means that you ride on the back of a goat I just don't know, but the 'buck' has become a symbol of Orange power... '[T]he ranting season' is the time when a good strong healthy buck is looking for a wife." - BS
File: MorU037
===
NAME: Cronie o' Mine, A
DESCRIPTION: "Ye'll mount yer bit naiggie an' ride your wa'sdoun... There wons an auld blacksmith, we'Janet his wife, And a queerer auld cock ye ne'er met in your life." The singer describes the smith's odd haunt, then starts to describe the people of the town
AUTHOR: Alexander Maclagan (1811-1879) (source: Greig)
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: moniker nonballad friend
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 92-95, "A Cronie o' Mine" (1 text, 1 tune)
Greig #119, p. 1, "A Cronie o' Mine" (1 text) 
GreigDuncan3 551, "The Cronies o' Mine" (1 text, 1 tune)
Roud #6027
BROADSIDES:
NLScotland, L.C.Fol.70(33a), "A Cronie o' Mine," Poet's Box (Dundee), c. 1890
File: FVS092
===
NAME: Cronies o' Mine, The: see A Cronie o' Mine (File: FVS092)
===
NAME: Crook and Plaid, The
DESCRIPTION: "O, I'll no hae the laddie That drives the cart or ploo... But I will hae the laddie That has my heart betrayed, He's my bonny shepherd laddie And he wears the crook and plaid." She praises his beauty, his kindness, and his faithfulness
AUTHOR: Rev. Henry S. Riddell
EARLIEST_DATE: 1844 (Whitelaw; from tradition in Ford, 1899)
KEYWORDS: love shepherd
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (4 citations)
Ford-Vagabond, pp. 58-61, "The Crook and Plaid" (1 text, 1 tune)
Greig #106, p. 2, "The Crook and Plaid" (1 text) 
GreigDuncan3 455, "The Crook and Plaid" (5 texts, 5 tunes)
SHenry H617, pp. 45-46, "The Shepherd Laddie" (1 text, 1 tune)
Roud #5960
BROADSIDES:
Bodleian, Harding B 26(111), "The Crook and Plaid" ("If lasses lo'e the laddies, they surely should confess"), unknown, n.d.
Murray, Mu23-y1:039, "The Crook and Plaid," James Lindsay Jr. (Glasgow), 19C
NLScotland, L.C.Fol.70(45b), "Crook and Plaid," unknown, c.1890" 
SAME_TUNE:
The Main-spring of Love (per broadside Murray, Mu23-y1:039)
NOTES: Greig: "There is another and older version of 'The Crook and Plaid,' but Riddell's song deserves to hold the field. Christie prints a mixed version." - BS
File: HHH617
===
NAME: Crooked Rib, The
DESCRIPTION: Women were created from man's crooked rib which explains "the crooked nature some women are" Like Eve, most women betray their husband. Men claim they can control their wife, but they can't. "From great guns and bad women's tongues, O Lord deliver me!"
AUTHOR: Dan Somers of St Georges, PEI
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: wife humorous nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, p. 105, "The Crooked Rib" (1 text, 1 tune)
Roud #12455
NOTES: The creation of a woman from a man's rib (note that, in Hebrew, "adam" means "man" as well as being a proper name) is told in Genesis 2:21. There is no hint, in the Bible, that this rib was any more crooked than the others. - RBW
File: Dib105
===
NAME: Crooked Trail to Holbrook, The
DESCRIPTION: "Come all you hunky punchers that follow the bronco steer, I'll sing to you a verse or two your spirits for to cheer." The singer grumbles about a trip from Globe City (?) to Holbrook, marked by windstorms and stampedes; he's glad to be back home
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: cowboy hardtimes travel storm
FOUND_IN: US(SW)
REFERENCES: (2 citations)
Logsdon 10, pp. 70-73, "The Crooked Trail to Holbrook" (1 text, 1 tune)
DT, ARIZONIO*
Roud #4037
NOTES: This is item dB30 in Laws's Appendix II.
The notes in the Digital Tradition list this as a descendent of Laws B10 (either 10a, The Buffalo Skinners, or 10b, Boggy Creek or The Hills of Mexico). The similarity in theme is obvious. But cowboys complained a lot; Laws, Roud, and I all regard them as separate. - RBW
File: Log010
===
NAME: Crooked-Foot John: see Long John (Long Gone) (File: LoF287)
===
NAME: Crookit Bawbee
DESCRIPTION: "Oh! whar awa' got ye that auld crookit (penny/plaidie)?" He offers one of gold and "a mantle o' satin" to go with him to Glen Shee. She will only accept "the laddie that gave me the penny." If he is that man "whar's your crookit bawbee?"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: courting separation brokentoken
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 25, "The Crooked Bawbee" (1 text, 1 tune)
ST CrSNB025 (Partial)
Roud #2281
NOTES: Creighton-SNewBrunswick: "Said Mrs Leslie:'A bawbee is a halfpenny, and the term for it goes back to the days of Mary, Queen of Scots. They brought out a coin when she was a baby [Mary because Queen at eight days old - RBW] and the baby's head was on it; you know the Scottish drawl and the language, and by and by baby came to be bawbee.'" - BS
Jean Redpath claims that this song was popular in lowland Scotland, but I can find no field collections. Redpath also points out an item in the Scots Musical Museum (#99, "O whar did ye get that hauver-meal bannock") which may be related. - RBW
File: CrSNB025
===
NAME: Crooskeen Lawn: see Cruiskeen Lawn (File: OCon054A)
===
NAME: Croppies Lie Down (I)
DESCRIPTION: "We soldiers of Erin, so proud of the name, Will raise upon Rebels and Frenchmen our fame... and make all the traitors and croppies lie down." The rebels murder parsons and women but run from soldiers. If the French land they'll lie with the croppies.
AUTHOR: Captain Ryan (Source: Zimmermann)
EARLIEST_DATE: 1798 (_Constitutional Songs_, according to Zimmermann)
KEYWORDS: rebellion death France Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann 94A, "Croppies Lie Down" (1 text, 1 tune)
Moylan 76, "Croppies Lie Down" (1 text, 1 tune)
BROADSIDES:
Bodleian, Harding B 25(448), "Croppies Lie Down" ("We soldiers of Erin, so proud of the name"), unknown, n.d.; also Harding B 22(56), Harding B 11(3852), "Croppies Lie Down"; Harding B 16(253c), "The Soldier's Delight" or "Croppies Lie Down"
CROSS_REFERENCES:
cf. "The Tree of Liberty" (tune)
NOTES: According to Robert Kee, _The Most Distressful Country_, being Volume I of _The Green Flag_, pp. 98-99, this was "popular among the Orange yeomanry," i.e. the militia forces (not all of them Protestant, we should note) raised by the British to control the 1798 rebellion.
The ascription to "Captain Ryan" is interesting at the least. Obviously there could be several "Captain Ryans" -- but the one mentioned in the histories is one of the two men who tried to arrest Lord Edward Fitzgerald, and mortally wounded in the process (see the notes to "Edward (III) (Edward Fitzgerald)"). - RBW
Moylan: "It was for playing this tune on the pipes that the unfortunate William Johnson was murdered at Scullabogue along with over one hundred others." 
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Sean Tyrrell, "Croppies Lie Down" (on "The Croppy's Complaint," Craft Recordings CRCD03 (1998); Terry Moylan notes) - BS
For background on Scullabogue, see the notes to "Father Murphy (II) (The Wexford Men of '98)." None of the sources I've seen attribute the massacre to someone playing a pipe tune, though -- it was based on false information heard about the Battle of New Ross (for which see, e.g., "Kelly, the Boy from Killane"). - RBW
File: Zimm094A
===
NAME: Croppies Lie Down (II)
DESCRIPTION: "In the County of Wexford these rebels did rise." The Orange-men made them retreat. The Vinegar Hill battle is recalled. Esmond, Kay, Harvey and Hay are turned over to General Moore and executed after courtmartial. "Derry down, down, Croppy lie down"
AUTHOR: "Charles Cain, Grenadier in His Majesty's 7th, or Antrim Militia" (Source: Zimmermann)
EARLIEST_DATE: c. 1798 (Zimmermann)
KEYWORDS: rebellion execution trial Ireland patriotic
HISTORICAL_REFERENCES: May 26, 1798 - Beginning of the Wexford rebellion
May 27, 1798 - The Wexford rebels under Father John Murphy defeat the North Cork militia
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 94B, "Croppies Lie Down" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Tree of Liberty" (tune)
cf. "Bagenal Harvey's Farewell" (subject of Bagenal Harvey) and references there
NOTES: Nine rebels were executed including eight courtmartialled. Esmond, Kay, Harvey and Hay were not among them. Dr John Esmonde, Bagenal B Harvey and Harvey Hay are among those "Patriots of 1798" named on the "1798-1898 Irish Memorial" in New South Wales, Australia. (source: "Memorials, Monuments and Miscellany" _Vinegar Hill_ at the OptusNet site)
Zimmermann: "'Down' might have been chosen as a reply to 'up', which was a pass-word of the United Irishmen." - BS
All of the names in this song do indeed belong to figures from the 1798 Rebellion.
Dr. John Esmond, a leader of the Kildare rebels, was a member of the yeomen, making him a deserter. He was indeed executed by hanging; see the notes to "The Song of Prosperous."
Bagenal Beauchamp Harvey (or Beauchamp Bagenal Harvey; I've seen both forms) was the inept and apparently reluctant United Irish commander at New Ross (for details, see "Kelly, the Boy from Killane"). After the battle, he fled, and was eventually tried and hanged on Wexford Bridge (July 1, according to Robert Kee, _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 124). Also hanged there was Matthew Keogh, a former British officer who had governed Wexford for the rebels; I would guess he is the "Kay" of the song.
I don't know a Harvey Hay, but there were brothers, Edward Hay and John Hay. John was known to have commanded troops during the 1798 rebellion. Edward did not, and lived until 1826, but it's widely felt that he was involved in the rebellion.
Blaming the slaughter on General Sir John Moore is thoroughly unfair; the atrocities of the 1798 campaign were almost all the fault of his superior, General Gerard Lake (1744-1808). Moore in fact seems to have felt that the best approach to the rebellion was to improve conditions for all. - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "Croppies Lie Down" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Harte: "This is one of several Orange songs written in 1798, all of them ending with the inevitable chant that is still to be heard on the 12th July Orange marches.... 'Croppies Lie Down.'" - BS
File: Zimm094B
===
NAME: Croppy Boy (I), The [Laws J14]
DESCRIPTION: The singer, a young Irish patriot, is arrested. A girl (his sister?) gives evidence against him, and he is sentenced to die. As he is waiting to be hanged, his father denies him, naming him "The Croppy Boy"
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: rebellion execution
FOUND_IN: US(MW,So) Canada(Mar) Ireland
REFERENCES: (17 citations)
Laws J14, "The Croppy Boy"
Belden, pp. 283-284, "The Croppy Boy" (1 text)
Randolph 128, "The Croppy Boy" (1 text)
Dean, pp. 45-46,"The Croppy Boy" (1 text)
Creighton-NovaScotia 85, "Song of the Croppy Boy" (1 text, 1 tune)
Creighton-Maritime, p. 163, "Early, Early in the Spring" (1 text, 1 tune)
Sandburg, p. 35, "As I Was Walkin' Down Wexford Street" (1 fragment, 1 tune)
Hodgart, p. 203, "The Croppy Boy" (1 text)
PGalvin, pp. 23-24, "The Croppy Boy" (1 text, 1 tune)
OLochlainn-More 40, "The Croppy Boy" (1 text, 1 tune)
Zimmermann 19, "The Croppy Boy" (7 texts, 2 tunes)
Moylan 95, "The Croppy Boy" (1 text, 1 tune)
Huntington-Whalemen, pp. 188-190, "The Croppy Boy" (1 text, 1 tune)
Silber-FSWB, p. 318, "The Croppy Boy" (1 text)
DT 397, CROPPIE2* CROPPIE3*
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 46-47, 511, "The Croppy Boy"
Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), pp. 258-259, "The Croppy Boy"  (1 text)
Roud #1030
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Croppy Boy" (on IRClancyMakem03)
Tom Lenihan, "Croppy Boy" (on IRClare01)
Delia Murphy, "The Croppy Boy" (HMV [Eire?] IM-820, n.d.)
Brigid Tunney, "Early, Early, All in the Spring" (on IRTunneyFamily01)
BROADSIDES:
Bodleian, Harding B 15(73a), "The Croppy Boy," J. Catnach (London), 1813-1838; also Firth b.25(338), 2806 c.9(9), Harding B 11(1423), Firth b.25(508), Harding B 25(449), 2806 b.10(50), Harding B 11(1486), Firth b.26(45), Harding B 11(4389), Harding B 11(746), 2806 b.10(6), "The Croppy Boy"; Harding B 25(447), "The Cropie Laddie's Complaint," unknown, n.d.
LOCSinging, as102550, "The Croppy Boy," H. De Marsan (New York), 1859-1878; also as200580, "Croppy Boy" 
CROSS_REFERENCES:
cf. "The Convict Maid" (tune)
cf. "McCaffery (McCassery)" (tune)
cf. "The Sailor Boy (I)" [Laws K12] (tune, per Morton-Ulster 7) 
NOTES: Zimmermann p. 39, fn. 18: "In the 1790's those who admired the Jacobin ideas began to crop their hair short on the back of the head, in what was said to be the new French fashion; in 1798 this was considered as an evidence of 'disaffection'."
Zimmermann 19: "In the American versions, the Croppy Boy is betrayed by his sister Mary [see, for example, broadsides LOCSinging as102550 and LOCSinging as200580 and Creighton-NovaScotia 85], or by some vindictive girl, and is sent to New Guinea [see Creighton-NovaScotia 85]." "New Guinea" is an apparent corruption of "New Geneva": "used as a prison and torture house in 1798 [Zimmermann, p. 165]." Being sent to New Guinea does not save the Croppy Boy from being hanged.
Notes to IRClare01 regarding Zimmermann's explaination of the term "Croppy": poet and playwright Patrick Galvin put forward a number of other, equally convincing explanations, which included the practice of punishing convicted felons by cutting off the tops of their ears, and a form of torture applied to rebels known as 'pitch cap'. He suggested that a true explanation probably lay in a combination of these." [For pitchcapping, see e.g. the notes to "The Union." Slitting the ears is mentioned several times in Irish sources, though I don't recall cutting off the tops of the ears being mentioned much. - RBW]
Laws cites O'Conor as a source. O'Conor p. 11, "The Croppy Boy" is not this ballad.
Zimmermann 19, text B, includes the verse
And as I walked down James Street
A pair of painters I chanc'd to meet
'Twas Jemmy O'Brien and Tom O'Neill
For one guinea they swore my life away."
For more about the informer Jemmy O'Brien see "The Major," "Jemmy O'Brien" and "Jemmy O'Brien's Minuet." 
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "Croppy Boy" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998))
Broadside LOCSinging as102550: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: LJ14
===
NAME: Croppy Boy (II), The
DESCRIPTION: The boy asks to speak to the priest. He will go to Wexford to fight as the last of his family. He asks the "priest" to bless him. The real priest had been captured; this "priest" is a yeoman captain in disguise. The boy hangs at Geneva Barracks
AUTHOR: Carroll Malone (source: O'Conor; Duffy; OLochlainn-More: "said to be [a pseudonym of] Dr James McBurney of Belfast"; compare Hoagland)
EARLIEST_DATE: 1845 (Duffy; also Duffy's magazine _The Nation_,: "first published in _The Nation_, 4th January, 1845", according to Zimmermann)
KEYWORDS: rebellion execution disguise patriotic clergy trick
HISTORICAL_REFERENCES: 1798 - Irish rebellion
FOUND_IN: Ireland
REFERENCES: (7 citations)
OLochlainn-More 41, "The Croppy Boy" (1 text, 1 tune)
Zimmermann 52, "The Croppy Boy" (1 text, 1 tune)
Moylan 96, "The Croppy Boy" (1 text, 1 tune)
O'Conor, p.11, "The Croppy Boy" (1 text)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 156-157, "The Croppy Boy"
Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 247-248, "Croppy Boy"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 540-541, "The Croppy Boy" (1 text)
NOTES: Zimmermann 52: "In _The Sham Squire_, pp. 179-180, W.J. Fitzpatrick [1866] tells the anecdote that inspired this ballad." As quoted by Zimmermann the ballad closely follows the anecdote.
Zimmermann p. 39, fn. 18: "In the 1790's those who admired the Jacobin ideas began to crop their hair short on the back of the head, in what was said to be the new French fashion; in 1798 this was considered as an evidence of 'disaffection'." 
Hoagland's date range (c.1855-d.1892?) for the auther has a problem; Duffy attributes the ballad to "Carroll Malone" but publishes the text in 1845. Hoagland's attribution to Carroll Malone has that as a pseudonym for William B. McBurney. The article "William B. McBurney aka Carroll Malone" at the "From Ireland" site (copyright Jane Lyons, Dublin, Ireland) agrees that McBurney is the author, that he published it in 1845 and that he died in 1892. - BS
Until Ben Schwartz submitted his note, I had doubted that this is based on any actual incident, but Thomas Pakenham, _The Year of Liberty_, p. 343, notes a case of a Wexford woman with 13 children at the start of the 1798 rebellion. Of her nine sons, five died in battle and three were hung, as was her husband; all four of her daughters were present in the camp at Vinegar Hill, and all came home sick with diseases contracted in the camp. Not the same story, but close. - RBW
File: OLcM041
===
NAME: Cross Mountain Explosion, The (Coal Creek Disaster) [Laws G9]
DESCRIPTION: The Coal Creek mine blows up, killing 150 miners. The families grieve and the usual prayers are prayed for the dead
AUTHOR: Thomas Evans (?)
EARLIEST_DATE: 
KEYWORDS: mining death disaster
HISTORICAL_REFERENCES: Dec 9, 1911 - The Coal Creek explosion
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws G9, "The Cross Mountain Explosion (Coal Creek Disaster)"
MHenry-Appalachians, pp. 84-85, "The Miner Boys" (1 text)
DT 828, CROSSMT
Roud #844
CROSS_REFERENCES:
cf. "Shut Up in the Mines of Coal Creek" (subject)
File: LG09
===
NAME: Cross Your Fingbers
DESCRIPTION: "Keep in right with Lady Luck, my dear, Find a good luck charm, and keep it near; Love will surely come to you On some lucky day." "Cross your fingers and make a wish, And maybe your wish will come true." Don't break mirrors, keep a horseshoe
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry, from Glada Gully)
KEYWORDS: nonballad magic
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 228, "Cross Your Fingers" (1 text)
File: MHAp228
===
NAME: Crossed Old Jordan's Stream
DESCRIPTION: "Good old neighbor's gone along/Crossed old Jordan's stream"; successive verses substitute "mother", "Christian." Chorus: "Thank God I got religion and I do believe/Crossed old Jordan's stream."
AUTHOR: unknown
EARLIEST_DATE: c. 1932 (recording, Bird's Kentucky Corn Crackers)
KEYWORDS: nonballad religious
FOUND_IN: 
REFERENCES: (2 citations)
Cohen/Seeger/Wood, p. 122, "Crossed Old Jordan's Stream" (1 text, 1 tune)
DT, CRSJDNST
RECORDINGS:
Bird's Kentucky Corn Crackers, "Crossed Old Jordan's Stream" (Victor 23608, c. 1932)
New Lost City Ramblers, "Crossed Old Jordan's Stream" (on NLCR01)
File: CSW122
===
NAME: Crossing the Plains
DESCRIPTION: "Come all you Californians, I pray ope wide your ears." The singer describes the overland passage to California. The travelers are told what to bring, and warned of  troubles. The singer would have gone around the horn if he had known what he now knows
AUTHOR: unknown
EARLIEST_DATE: c. 1854 ("Put's Original California Songster")
KEYWORDS: travel hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 427-428, "Crossing the Plains" (1 text)
Roud #15538
RECORDINGS:
Logan English, "Crossing the Plains" (on LEnglish02)
CROSS_REFERENCES:
cf. "Caroline of Edinborough Town" [Laws P27] (tune)
File: LxA427
===
NAME: Crosspatrick, The
DESCRIPTION: Crosspatrick leaves "for New Zealand, with their families and their wives." Five days out the ship is wrecked by fire. The captain and his wife try to save others. "Out of four hundred passengers and forty of a crew, There were only four of them left."
AUTHOR: unknown
EARLIEST_DATE: 1911 (GreigDuncan1)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Nov 18, 1874 - "The most terrible catastrophe of the old year was the destruction by fire of the emigrant-ship Cospatrick, and the consequent loss of over 450 lives, in the early morning of Nov. 18." (source: Illustrated London News, January 2, 1875, as quoted on The Ships List site)
FOUND_IN: Ireland Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #167, p. 2, "The Loss of the Kilpatrick" (1 text) 
GreigDuncan1 32, "The Loss of the Cospatrick" (1 text)
Ranson, pp. 99-100, "The Crosspatrick" (1 text)
Roud #3806
ALTERNATE_TITLES:
The Loss of the Scotch Patrick
NOTES: There are Bodleian broadsides for at least two other ballads about this disaster.  While neither is dated, both broadsides quote news dispatches making it seem that they should be dated 1874.
Bodleian, Firth c.12(104), "The Burning of the Emigrant Ship, 'Cospatrick'" ("To this most heartrending and sorrowful tale"), unknown, n.d.; the chorus begins "The 'Cospatrick' took fire when at sea."
Bodleian, Firth c.12(107), "The Burning of the Emigrant Ship, 'Cospatrick'" ("In '74 we've had some shocking disasters"), unknown, n.d.; the chorus begins "Far out on the ocean, in the darkness of midnight."
Another broadside seems to be a third different ballad but could not be downloaded and verified: Bodleian, Harding B 40(4), "The Burning of the 'Cospatrick'" ("You feeling-hearted Christians wherever that you be"), J.F. Nugent and Co.? (Dublin?), 1850-1899 ; also Harding B 19(115a), "The Burning of the 'Cospatrick'" - BS
David Ritchie, _Shipwrecks: An Encyclopedia of the World's Worst Disasters at Sea_, 1996 (I use the 1999 Checkmark paperback edition), pp. 52-53, devotes many hundreds of words to this disaster. _Cospatrick_ was built in Burma and seems to have spend many years working mostly in the Indian Ocean. Eventually it was taken over by the Shaw Savill Line and used to take emigrants from Britain to New Zealand.
Ritchie reports 429 emigrants were aboard for the final voyage, plus the crew, including the captain's wife and son.
The ship was approaching Auckland, New Zealand, on November 17 or 18 ("accounts differ" on the date, according to Ritchie). Flammables in the forward part of the ship caught fire, the fire pumps could not be worked because they were in the midst of the blaze, and the passengers got in the way of the crew.
It was difficult even to abandon ship; some boats had burned, others overloaded. Only two boats apparently made it away, with 80 people on board. But they lacked food and water, and had no sails. One boat vanished. On the other, it seems, the people aboard were forced into cannibalism. When the boat was finally found by the _British Sceptre_ on November 26, only three men -- the second officer, a quartermaster, and a seaman -- were still alive. Thus the casualty rate was over 98%. - RBW
File: Ran099
===
NAME: Crow and Pie [Child 111]
DESCRIPTION: The singer woos a maid encountered in a forest. She spurns him, repeating with each refusal "the crowe shall byte yew". He takes her by force, then taunts "the pye hath peckyd yew." He refuses to marry, give money, or tell his name. All maids take warning
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting virtue rape
FOUND_IN: 
REFERENCES: (1 citation)
Child 111, "Crow and Pie" (1 text)
Roud #3975
File: C111
===
NAME: Crow and the Weasel, The
DESCRIPTION: "The crow he peeped at the weasel (x3) AND The weasel he peeped at the crow."
AUTHOR: unknown
EARLIEST_DATE: 1910 (Brown)
KEYWORDS: bird animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 157, "The Crow and the Weasel" (1 short text)
Roud #16856
File: Br3157
===
NAME: Crow Song (I), The
DESCRIPTION: "Oh, said the blackbird to the crow, To yonder cornfield I must go, Picking up corn has been my trade, Ever since Adam and Eve was made." Regarding the life of the crow and other birds
AUTHOR: unknown
EARLIEST_DATE: 1916 (Randolph)
KEYWORDS: bird floatingverses food
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 275, "The Crow Song" (5 texts, 1 tune, with the "A," "B," and "C" texts being this piece though "B" and "C" texts mix with "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)"; "D" is perhaps "Ain't Gonna Rain No More"; "E" is "One for the Blackbird")
Belden, pp. 31-33, "The Three Ravens" (the two fragments in the headnotes are this piece)
BrownIII 156, "Said the Blackbird to the Crow" (5 texts, though "D" and "E" appear mixed, with "D" being this combined with "Bird's Courting Song, The (The Hawk and the Crow; Leatherwing Bat)")
DT, THRERAV6*
Roud #747?
RECORDINGS:
Vernon Dalhart, "The Crow Song" (Victor V-40149, 1929) Columbia 15449-D [as Al Craver]/Harmony 992-H [as Mack Allen], 1929) (Broadway 8144 [as Lone Star Ranger], c. 1930) [Note: the Broadway recording may be by John I. White rather than Dalhart, as he is also known to have used that pseudonym. - PJS]
Whitey Johns, "Crow Song" (Oriole 1810, 1930)
CROSS_REFERENCES:
cf. "The Three Ravens" [Child 26] (lyrics, theme)
cf. "Hidi Quili Lodi Quili" (floating lyrics)
cf. "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)" (lyrics)
cf. "Hilo, Boys, Hilo" (lyrics)
NOTES: Some have thought this a relative of "The Three Ravens." While it's possible that the various by-blows of that austere ballad inspired this, it certainly qualifies now as a separate song. It's more likely to be derived from "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)"; the first verse in particular is often found with that song.
Another possibility is that some of the lyrics derive from the sea song "Hilo, Boys, Hilo," which shares quite a few words, but my guess is that the dependence is the other way. - RBW
File: R275
===
NAME: Crow Song (II), The: see One for the Blackbird (File: R275)
===
NAME: Crow Wing Drive
DESCRIPTION: "Says White Pine Tom to Arkansaw, 'There's one more drive I'd like to strike.' Says Arkansaw, 'What can it be?' "It's the Crow Wing River for the old Pine Tree." The loggers leave Bemidji for Brainerd, where they "make some noise."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger travel train moniker
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Rickaby 24, "The Crow Wing Drive" (1 text, 1 tune)
ST Rick099 (Partial)
NOTES: The relationship between this and the "Casey Jones"/"Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long)" [Laws I16] families will be obvious. Rickaby's informant said it was built out of those elements by White Pine Tom, the singer mentioned in the first line.
Whether White Pine Tom is the actual author or not, the piece clearly was composed by someone familiar with northern Minnesota. Given that the informant, Ed Springstad, was known as Arkansaw, it may have been a local joke.
I have this feeling that there may have been a few more verses than Rickaby printed. - RBW
File: Rick099
===
NAME: Crow-Fish Man (I), The: see Sweet Thing (I) (File: R443A)
===
NAME: Crow-Fish Man (II), The: see Crawdad (File: R443)
===
NAME: Crow, Black Chicken
DESCRIPTION: Dance tune with floating verses: "Chicken crowed for midnight, chicken crowed for day/Along came an owl, and toted that chicken away." Chorus: "Crow black chicken, crow for day/Crow black chicken, fly away/I love chicken pie."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Leake County Revelers)
KEYWORDS: dancing humorous nonballad floatingverses chickens
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 207, "Crow, Black Chicken" (1 text, 1 tune)
RECORDINGS:
Leake County Revelers, "Crow Black Chicken" (Columbia 15318-D, 1928)
New Lost City Ramblers, "Crow Black Chicken" (on NLCR04, NLCR11, NLCR12, NLCRCD1)
CROSS_REFERENCES:
cf. "Chickens They Are Crowing" (words)
cf. "It's Almost Day" (words)
cf. "Letter from Down the Road" (words)
cf. "Jubilee" (words)
NOTES: The authorship on this one is up in the air. The headnotes in Cohen/Seeger/Wood read: "Words - NLCR [New Lost City Ramblers], Vol. 4, tune and source text from the Leake County Revelers, Col. 15318." This may mean that the NLCR rewrote the original words, but without hearing the Leake County Revelers' version it's hard to tell. - PJS
I haven't heard the Leake County Revelers version, either, but I have heard Bob Bovee and Gail Heil sing that form, and it is shorter and more "chickenish" than the NLCR text. It would appear that the NLCR reshuffled the verses, then added a couple of floaters (e.g. "Went up on a mountain, Give my horn a blow...") to make a short piece longer. - RBW
File: CSW207
===
NAME: Crowd of Bold Sharemen, A
DESCRIPTION: "It was early in June, b'ys, When we sailed away" with a young skipper and crew, "And a crowd of bold sharemen." Skipper withholds oil until the sharemen threaten to destroy the catch. Skipper threatens to go home until the sharemen threaten to sue.
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: bargaining fishing ship sea work ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 121, "The Crowd of Bold Sharemen" (1 text, 1 tune)
Peacock, pp. 113-115, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Doyle3, p. 8, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Blondahl, p. 58, "A Crowd of Bold Sharemen" (1 text, 1 tune)
Roud #6344
NOTES: A shareman shares in expenses and profits.
Greenleaf/Mansfield discusses the codfishery that flourished along the Labrador coast during spring and summer. The "sharemen are usually young fellows trying to get enough money together to buy their own fishing outfits." - BS
File: Doyl3008
===
NAME: Crown For Us All, A
DESCRIPTION: "I had a pious (father/mother/brother/sister) that I once loved dear, He's been gone for many a year, He has lain in his grave for many a day Till the power of God shall call him away. There's a crown for you, and a crown for me, Glory be to God...."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 211, "A Crown For Us All" (1 text)
ST Fus211 (Partial)
Roud #16372
File: Fus211
===
NAME: Crows in the Garden
DESCRIPTION: "Crown in the garden, pulling up corn (x2), Catch 'em, catch 'em, string 'em up and stretch 'em." The marauding crows are condemned; the gardeners who cannot stop them insulted. The world is said to be full of crows -- some of whom seek money, not corn
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: gardening bird work lawyer money gold
FOUND_IN: US(So)
REFERENCES: (3 citations)
Hudson 137, pp. 283-284, "Crows in the Garden" (1 text)
Lomax-ABFS, pp. 314-316, "Crows in the Garden" (1 text, 1 tune)
DT, CRWGARDN*
Roud #4505
File: LxA314
===
NAME: Cruel Brother, The [Child 11]
DESCRIPTION: A man and woman agree to wed, but fail to ask her brother's permission. As the woman prepares for the wedding, her brother stabs her. She does not name her murderer, but reveals the facts in the terms of her will.
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: murder brother marriage jealousy revenge lastwill
FOUND_IN: Britain(England (West),Scotland) Ireland US(NE,SE)
REFERENCES: (14 citations)
Child 11, "The Cruel Brother" (14 texts, 1 tune) {Bronson's #1}
Bronson 11, "The Cruel Brother" (10 versions)
SharpAp 6 "The Cruel Brother" (2 texts, 2 tunes) {Bronson's #3, #4}
BarryEckstormSmyth pp. 431-433, "The Cruel Brother" (1 text, 1 tune) {Bronson's #2}
Flanders-Ancient1, pp. 171-174, "The Cruel Brother" (1 text, 1 tune)
BrownII 5, "The Cruel Brother" (2 texts)
Leach, pp. 78-81, "The Cruel Brother" (2 texts)
OBB 64, "The Cruel Brother" (1 text)
Friedman, p. 175, "The Cruel Brother" (1 text)
PBB 32, "The Cruel Brother" (1 text)
Niles 8, "The Cruel Brother" (1 text, 1 tune)
Gummere, pp. 185-187+344, "The Cruel Brother" (1 text)
LPound-ABS, 8, pp. 21-23, "The Cruel Brother" (1 text)
DT 11, CRUELBRO*
Roud #26
ALTERNATE_TITLES:
Brother's Revenge
Oh Lily O
Lily O
Three Ladies Played at Ball
NOTES: Flanders, in her notes in _Ancient Ballads_, observes that some scholars have seen the possibility of an incest motif in this song. Possible, of course, since the brother's extreme rage seems unreasonable. But the only real evidence is the last will scene, found in the incest ballad of "Lizzie Wan" -- but *not*, we note, in "Sheathe and Knife," nor is the last will scene in Lord Randall in any way linked with incest. - RBW
Compare the first verse lines of Child 10.H to Opie-Oxford2 479, "There were three sisters in a hall" (earliest date in Opie-Oxford2 is c.1630)
Child 10.H: "There were three sisters lived in a hall, ... And there came a lord to court them all...."
Opie-Oxford2 479 is a riddle beginning "There were three sisters in a hall, There came a knight amongst them all ...." - BS
This item is also found as Baring-Gould-MotherGoose #702, p. 275, but this appears to be simply a greeting rhyme unrelated to the various rather murderous ballads (notably Child 10 and 11) using these lines. - RBW
File: C011
===
NAME: Cruel Gardener, The: see The Bloody Gardener (File: Pea668)
===
NAME: Cruel Lowland Maid, The: see The Lovely Lowland Maid (File: Pea620)
===
NAME: Cruel Miller, The: see The Wexford (Oxford, Knoxville, Noel) Girl [Laws P35] (File: LP35)
===
NAME: Cruel Mother, The (Or Three Children): see The Wife of Usher's Well [Child 79] (File: C079)
===
NAME: Cruel Mother, The [Child 20]
DESCRIPTION: A woman is (preparing to be wed, but is) pregnant (by another man). When her child(ren) is/are born, she kills him/them. As she proceeds to the church to be wed, the child(ren) appear to her to condemn her for her act.
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: murder pregnancy adultery wedding childbirth burial children accusation supernatural ghost bastard
FOUND_IN: Britain(England,Scotland(High,Aber)) Ireland US(Ap,MA,MW,NE,SE,So) Canada(Mar,Newf)
REFERENCES: (36 citations)
Child 20, "The Cruel Mother" (17 texts, 1 tune) {Bronson's #5}
Bronson 20, "The Cruel Mother" (56 versions plus 1 in addenda)
Dixon VI, pp. 46-49, "The Cruel Mother"; VII, pp. 50-52, "The Minister's Dochter o' Newarke" (2 texts)
GreigDuncan2 193, "The Cruel Mother" (7 texts, 3 tunes) {A=Bronson's #12, B=#3, C=#15}
BarryEckstormSmyth pp. 80-93, "The Cruel Mother" (6 texts plus a fragment, 1 tune) {Bronson's #6}
Flanders/Olney, pp. 66-67, "The Cruel Mother" (1 text, 1 tune) {Bronson's #21}
Flanders-Ancient1, pp. 230-238, "The Cruel Mother" (3 texts (all missing parts of  the plot) plus 3 fragments probably of this; 3 tunes) {A=Bronson's #21, B=#34}
Eddy 7, "The Cruel Mother" (1 text, 1 tune) {Bronson's #14}
Randolph 8, "Down by the Greenwood Side" (1 text, 1 tune) {Bronson's #54}
Davis-Ballads 9, "The Cruel Mother" (4 texts plus a fragment, 4 tunes) Bronson's #35, #48, #43, #44}
Davis-More 12, pp. 81-83, "The Cruel Mother" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 167-169, "(The Cruel Mother)" (1 text, from Randolph; tune on p. 403) {Bronson's #54}
Creighton/Senior, pp. 17-20, "The Cruel Mother" (2 texts plus 2 fragments and1 excerpt, 4 tunes) {Bronson's pp. #18, #45, #13, #20}
Creighton-NovaScotia 2, "Cruel Mother" (1 text, 1 tune) {Bronson's #37}
Greenleaf/Mansfield 6, "Fair Flowers of Helio" (2 texts, 1 tune) {Bronson's #28}
Peacock, pp. 804-805, "The Babes in the Greenwood" (1 text, 2 tunes)
Karpeles-Newfoundland 5, "The Cruel Mother" (5 texts, 7 tunes) {Bronson's #26}
Mackenzie 3, "The Greenwood Siding" (1 text, 1 tune) {Bronson's #19}
Manny/Wilson 56, "There Was a Girl Her Name Was Young (Down by the Greenwood Side-I-O) (The Cruel Mother)" (1 text, 1 tune)
Leach, pp. 103-106, "The Cruel Mother" (3 texts)
OBB 22, "The Cruel Mother" (1 text)
Friedman, p. 181, "The Cruel Mother" (1 text+1 fragment)
FSCatskills 68, "Down by the Greenwood Shady" (1 text, 1 tune)
PBB 27, "The Cruel Mother" (1 text)
SharpAp 10 "The Cruel Mother" (13 texts, 13 tunes){Bronson's #51, #55, #42, #44, #17, #32, #46, #40, #11, #10, #52, #30, #41}
Sharp-100E 13, "The Cruel Mother" (1 text, 1 tune) {Bronson's #31}
Ord, pp. 459-460, "Hey Wi' the Rose and the Lindsay, O" (1 text)
Niles 20, "The Cruel Mother" (2 texts, 2 tunes); also possibly Niles 15, "The Maid and the Palmer" (1 text, which Niles identifies with Child 21, but the fragment is so short that it could equally be part of Child 20)
Sharp/Karpeles-80E 9, "The Cruel Mother" (1 text, 1 tune -- a composite version) {Bronson's #42}
Hammond-Belfast, p. 54, "All Round the Loney-O" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 28, "The Cruel Mother" (1 text, 1 tune) {Bronson's #16}
Hodgart, p. 36, "The Cruel Mother" (1 text)
JHCox 5, "The Cruel Mother" (3 texts, 1 tune) {Bronson's #7}
Silber-FSWB, p. 222, "The Cruel Mother" (1 text)
BBI, ZN2495, "There was a Duke's Daughter Lived in York"
DT 20, CRUELMOT* CRUELMO2* CRUELMO3
Roud #9
RECORDINGS:
A. L. Lloyd, "The Cruel Mother" (ESFB1, ESFB2)
Lizzie Higgins, "The Cruel Mother" (on Voice03)
Thomas Moran, "The Cruel Mother" (on FSB4)
Duncan Burke, Cecilia Costello, Thomas Moran [composite] "The Cruel Mother" (on FSBBAL1) {cf. Bronson's #19.1 in addenda}
Lucy Stewart, "Down by the Greenwood Sidie O" (on LStewart1)
ALTERNATE_TITLES:
Fine Flowers in the Valley
Three Little Babies
The Lady of York
Greenwood Siding
The Minister of New York's Daughter
Hey My Rose
NOTES: Although this has not been linked with any historical incident, there are a number of cases in history which are at least vaguely similar. One which struck me was the case of Will Darrell, reportedly from 1575 (as told in Peter Underwood's _Gazetteer of British, Scottish & Irish Ghosts, pp. 123-124_).
Darnell, having gotten one of his sundry mistresses pregnant, brought in a midwife (blindfolding her to conceal the place) to help the mother, then killed the child. The midwife left a deathbed testament, but Darnell was acquitted at trial. Later, when riding a horse, he saw the ghost of the dead baby; his horse bolted and he was killed.
You can believe as much of that as you like; I don't believe much. But it shows that stories like this were circulating.
Some versions, including Creighton's from Nova Scotia, have a secondary folklore motif: The unremovable stain (in this case, of blood on the knife). This is most famous for Shakespeare's application to Lady MacBeth (Macbeth V.i, a part of the play which is more Shakkespeare than Holinshed), but it is common in folklore: Compare Asbjornson and Moe's "East of the Sun and West of the Moon," I seem to recall also a story of three drops of blood arranging for their own revenge, though I can't recall the source.
Dixon's version (Child's F, taken from Buchan) ends with the mother's suicide, something rare in other versions. The form appears to have been influenced by "The Twa Sisters." I wonder a little if there has not been some rewriting involved. - RBW
Also collected and sung by David Hammond, "All Round the Loney-O" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) The Hammond versions have the common form for this ballad of rhyming couplet interspersed with "All round the Loney-O" and "Down by the greenwood side-O." According to Sean O Boyle's notes to the album the version "has been localized by Belfast singers, who identify the Loney with a street called The Pound Loney. The Castle Pound in old Belfast stood here by a boundary river among the trees of the Falls (Hedge) Road; thus giving all features of the song a local habitation." The version survives stripped of all supernatural references as both the (suicidal?) mother and murdered baby "sleep" in the river. - BS
File: C020
===
NAME: Cruel Ship's Carpenter, The (The Gosport Tragedy; Pretty Polly) [Laws P36A/B]
DESCRIPTION: The carpenter gets the girl pregnant. They meet, allegedly to plan their wedding. He announces he spent the night digging her grave, then murders her. He flees to sea; her ghost follows to demand justice. His crime is revealed, and the man dies
AUTHOR: unknown
EARLIEST_DATE: 1767 (Journal from the Vaughn)
KEYWORDS: murder burial ghost pregnancy betrayal sailor
FOUND_IN: Britain(England,Scotland) US(Ap,SE) Canada(Mar,Newf)
REFERENCES: (20 citations)
Laws P36A, "The Cruel Ship's Carpenter A (The Gosport Tragedy)/The Cruel Ship's Carpenter B (Pretty Polly)"
GreigDuncan2 201, "The Gosport Tragedy" (1 fragment, 1 tune)
BrownII 64, "The Gosport Tragedy" (3 texts plus 1 excerpt and mention of 1 more; Laws lists the "A" text as P36A, and the rest as P36B, but "D" and probably "C" are "Pretty Polly (II)")
JHCoxIIA, #17A-C, pp. 73-78, "Pretty Polly," "Come, Polly, Pretty Polly" (2 texts plus an excerpt, 2 tunes; the "A" text is the full "Cruel Ship's Carpenter" version; "B" is the short "Pretty Polly (II)"; the "C" fragment is too short to tell but has lyrics more typical of the latter)
Creighton/Senior, pp. 114-120, "The Ship's Carpenter" (4 texts, 2 tunes)
Fowke/MacMillan 70, "The Ship's Carpenter" (1 text, 1 tune)
Peacock, pp. 404-406, "The Ship's Carpenter" (1 text, 1 tune)
Karpeles-Newfoundland 27, "The Cruel Ship's Carpenter" (1 text, 1 tune)
Mackenzie 29, "The Gaspard Tragedy" (1 text, 1 tune)
Leach, pp. 698-700, "The Gosport Tragedy" (2 texts, but the second goes with "Pretty Polly (II)")
Cambiaire, pp. 74-75, "The Cruel Ship's Carpenter (Pretty Polly)" (1 text, with the moralizing ending in which the ship sinks but no ghost)
Scarborough-SongCatcher, pp. 128-134, collectively titled "The Cruel Ship's Carpenter" but with individual titles "Pretty Polly," "Dying Polly," "Pretty Polly," "Pretty Polly," "Pretty Polly," "Oh, Polly!" (6 texts; 5 tunes on pp. 395-398; of these only the "C" text has a ghost; in "D" and "E" there is no ghost but Willie's ship sinks; the others by our criteria are versions of "Pretty Polly (II)")
SharpAp 49, "The Cruel Ship's Carpenter" (21 texts, 21 tunes -- but many of them, being fragmentary, could as easily be classified under "Pretty Polly (II)")
Sharp/Karpeles-80E 36, "The Cruel Ship's Carpenter" (1 text, 1 tune)
Huntington-Whalemen, pp. 129-131, "The Ship Carpenter" (1 text, long but broken off just before the murder, 1 tune)
Leach-Labrador 20, "Pretty Polly" (2 texts, 2 tunes)
Manny/Wilson 92, "The Ship's Carpenter" (1 text, 1 tune)
BBI, ZN1429, "In Gosport of late there a damsel did dwell"
DT 311, SHIPCARP* SGIOCRP2*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, p. 24, "Miss Brown" (1 text, 1 tune, short enough that it might be any of several murder ballads, but some of the material seems characteristic of this song)
Roud #15
RECORDINGS:
Harry Cox, "In Worcester City" (on Voice17)
Sam Larner, "The Ghost Ship" (on SLarner02)
Mike Waterson, "The Cruel Ship's Carpenter" (on ESFB2)
BROADSIDES:
Bodleian, Harding B 28(267), "Love and Murder" ("In Worcester town, and in Worcestershire"), W. Armstrong (Liverpool), 1820-1824; also Harding B 25(1156), Harding B 28(285), Harding B 28(24), "Love and Murder"; Harding B 11(3053A), "Polly Love" or "The Cruel Ship-Carpenter"; Johnson Ballads 458, Harding B 11(3057), Harding B 11(3058), Harding B 11(3056), Harding B 11(49), Firth c.13(205), Harding B 25(1520), "Polly's Love" or "The Cruel Ship Carpenter[!]"; Harding B 15(74b), Firth c.13(290), "The Cruel Ship Carpenter"; Harding B 11(824), "The Cruel Ship-Carpenter"; Harding B 3(33), "The Gosport Tragedy" or "The Perjured Ship-Carpenter"; Harding B 3(34), "The Gosport Tragedy" or "The Perjured Ship Carpenter"
CROSS_REFERENCES:
cf. esp. "Pretty Polly (II)" (a much-reduced form of this ballad which as now sung has a different plot)
cf. "The Sailor and the Ghost [Laws P34A/B]"
cf. "Pat O'Brien" [Laws P39]
cf. "Captain Glen/The New York Trader (The Guilty Sea Captain A/B)" [Laws K22] and references there
cf. "Willie Was As Fine a Sailor"
cf. "The Fog-bound Vessel" (parody of this)
ALTERNATE_TITLES:
Willie and Nancy of Yarmouth
NOTES: Although there is no clear dividing line between the full ballad "The Gosport Tragedy" and the drastically shortened form "Pretty Polly," the latter has now clearly taken on a life of its own. I tend to distinguish them by the presence or absence of the ghost. - RBW
File: LP36
===
NAME: Cruel Sister, The: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Cruel War is Raging: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: Cruel Was the Press Gang
DESCRIPTION: "Oh! cruel was the press-gang That took my love from me; Oh! cruel was the little ship That took him out to sea; And cruel was the splinter-board That took away his leg; Now he is forced to fiddle-scrape And I am forced to beg."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould-MotherGoose)
KEYWORDS: husband wife pressgang injury begging disability
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #196, p. 137, "(Oh! cruel was the press-gang)"
NOTES: Although I haven't met this in any traditional collections, it sounds so traditional that I decided to risk including it in the Index. - RBW
File: BGMG196
===
NAME: Cruel Waves of Huron
DESCRIPTION: "On the nineteenth of May, ninety-four... Was the loss of the schooner Shupe, which I am going to tell." The Shupe is sinnking near Port Huron. A tug, the Thompson, tries to help. The Shupe's crew is saved, but four from the tug die; Dan Lynn survives
AUTHOR: unknown
EARLIEST_DATE: 1933 (assembled by several informants for Walton)
KEYWORDS: ship wreck drowning
HISTORICAL_REFERENCES: May 19, 1894 - the _William Shupe_ breaks up near Port Huron, Michigan. Five men in a rescue boat are cast into the water. Only Daniel Lynn can be saved. He later is given a congressional medal for heroism (source: Walton)
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 205-208, "Cruel Waves of Huron" (1 text, 1 tune)
File: WGM205
===
NAME: Cruel Wife, A: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Cruise of the Bigler, The: see The Bigler's Crew [Laws D8] (File: LD08)
===
NAME: Cruise of the Calabar, The: see The Calabar (File: HHH502)
===
NAME: Cruise of the Calibar, The: see The Calabar (File: HHH502)
===
NAME: Cruise of the Dove, The
DESCRIPTION: The whaling vessel fits out and sails. The singer names the owners and captain. They visit Peru and Japan. The sailors spot a whale and compete to catch it first. They return home. The singer prepares to make merry.
AUTHOR: unknown
EARLIEST_DATE: 1845 (Journal from the Minerva)
KEYWORDS: whaler sea sailor travel
FOUND_IN: 
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 13-15, "The Cruise of the Dove" (1 text, 1 tune)
DT, CRUISDOV*
Roud #1999
File: SWMS013
===
NAME: Cruising Round Yarmouth
DESCRIPTION: Sailor on leave in Yarmouth tells a girl he's a fast-going clipper; he takes her in tow to her  house, where he puts his jib boom into her cabin. He drinks a health to the girl, and to the doctor who "squared his main yards -- he's a-cruising again"
AUTHOR: unknown
EARLIEST_DATE: 1953 (recorded from Harry Cox)
LONG_DESCRIPTION: Singer, a sailor taking shore leave in Yarmouth, meets a young woman. He tells her he's a fast-going clipper; she tells him her hold is free. She looks Dutch, "round at the quarters and bluff in the bow"; he takes her in tow through the town to her  house, where she lowers her topsails and he puts his jib boom into her cabin. With his shot-locker empty and powder spent, "I can't fire a shot for it's choked at the vent." He drinks a health to the girl, and to the doctor who "squared his main yards -- he's a-cruising again"
KEYWORDS: disease sex beauty ship bawdy humorous sailor whore
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Bone, pp. 77-82, "Blow th' Man Down" (2 texts, 1 tune, of which the second text may have a bit of "Cruising Round Yarmouth" in it, though that fragment may have been the inspiration for this song)
Roud #2432
RECORDINGS:
Harry Cox, "Cruising Round Yarmouth" (on LastDays)
ALTERNATE_TITLES:
While Cruising Round Yarmouth
NOTES: It's worth noting that many Dutch prostitutes worked the streets of British ports. - PJS
File: RcCRYar
===
NAME: Cruiskeen Lawn
DESCRIPTION: "Let the farmer praise his grounds, as the hunter does his hounds" and so on, but the singer prefers his full jug. He reviews the benefits and when death comes to take him he will have death wait while he has "another crooskeen lawn"
AUTHOR: Dion Boucicault
EARLIEST_DATE: before 1884 (broadside, Bodleian Harding B 15(73b))
LONG_DESCRIPTION: Partly in Gaelic. Singer says farmers may praise their grounds, the huntsman his hounds, but he's happy with his cruiskeen lawn (little full jug). He toasts his companions, proposing not to go home although it's morning, and swears that when Death approaches, he will beg off to "have another cruiskeen lawn" Chorus: "Gramachree ma cruiskeen, slanthe gal mavourneen, Erin mavourneen lawn"
KEYWORDS: drink humorous nonballad death party foreignlanguage
FOUND_IN: Canada(Ont) Ireland
REFERENCES: (4 citations)
O'Conor, p. 54, "Crooskeen Lawn" (1 text)
DT, CRUSKEEN*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 259-260, "The Cruiskeen Lawn" (1 text)
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 485-486, 511, "An Cruiscin Lan"
Roud #2309
RECORDINGS:
O. J. Abbott, "The Cruiskeen Lawn" (on Abbott1)
The Clancy Brothers and Tommy Makem, "Cruiscin Lan" (on IRClancyMakem01)
BROADSIDES:
Bodleian, Harding B 15(73b), "Crooskeen Lawn," Henry Disley (London), 1860-1883 
LOCSinging, as102580, "Cruiskeen Lawn," George S. Harris (Philadelphia), 19C
CROSS_REFERENCES:
cf. "John Anderson, My Jo, John" (tune)
cf. "John Anderson, My Jo (I)" (tune)
NOTES: "Cruiskeen lawn" is, in Irish, a "full jug." (source: radiohaha: the online encyclopaedia of contemporary british radio comedy. [Also Hoagland, who renders the title "My full little jug" - RBW]).
Sparling: "Originated among convivial circles of Dublin, but embodies fragments of a much older Celtic song. The tune is clearly not Irish; said to be of Danish origin, and a variant of that which has reached modern times as 'There was a little man and he had a little gun!'" It appears here that Sparling is referring to the melody of Opie-Oxford2 325, "There was a little man, and he had a little gun." - BS
Although apparently the work of a known author, it has quickly been "anonymized"; the several popular books of poetry which include it (Stevenson's Home Book of Verse v. 2, Hoagland) list no author. - RBW
File: OCon054A
===
NAME: Crummy Cow, The
DESCRIPTION: Pat O'Hurry tries to sell his old cow, but has no luck. She refuses to travel further; when he threatens to butcher her, she comes back to life. She costs him dearly in travel expenses. At last he manages to foist off the animal
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: animal commerce humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H501, pp. 25-26, "The 'Crummy' Cow" (1 text, 1 tune)
Roud #13348
CROSS_REFERENCES:
cf. "The Bigler's Crew" [Laws D8] (tune) and references there
File: HHH501
===
NAME: Cryderville Jail, The
DESCRIPTION: Complaints about prison life. Refrain: "It's hard times in (Cryderville) jail, It's hard times, poor boy." Sample stanzas: "Durant jail beats no jail at all; If you want to catch hell, got to Wichita Falls." "Lice and the bedbugs have threatened my life."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prison hardtimes trial punishment gambling
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
BrownIII 354, "Durham Jail" (1 text)
Lomax-FSUSA 90, "The Durant Jail" (1 text, 1 tune)
Lomax-ABFS, pp. 138-142, "The Cryderville Jail", pp. 142-143, "Po' Boy" (3 texts plus scattered addenda, 2 tunes)
Lomax-FSNA 228, "Hard Times" (1 text, 1 tune)
Botkin-AmFolklr, pp. 887-888, "Hard Times in Mount Holly Jail" (1 text, 1 tune)
cf. Greenway-AFP, p. 141, "Hard Times at Little New River" (1 text, adapted to mill conditions, but too short to tell if it was a full adaption or just a spur-of-the-moment change)
DT, DRNTJAIL*
Roud #822
RECORDINGS:
Dock Boggs, "Wise County Jail" (on Boggs2, BoggsCD1)
Logan English, "Durant Jail" (on LEnglish01)
CROSS_REFERENCES:
cf. "County Jail (II)" (theme)
cf. "Dawsonville Jail" (subject)
File: LxU090
===
NAME: Crying Family, The (Imaginary Trouble)
DESCRIPTION: Tom is courting Nancy; her parents worry. Old Kate fears that the lovers will have a child who will drown. She tells the young ones, and "They all went crying home, Tom, old man, wife and daughter. Each night the ghost doth come and cries upon the water"
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: ghost courting
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Warner 62, "Imaginary Trouble" (1 text, 1 tune)
DT, IMAGTRBL*
ST Wa062 (Full)
Roud #4653
NOTES: This is believed to be the only ballad in which the ghost of someone who never existed appears. One wonders whose achievement is greater -- the ghost's or the songwriter's.
Flanders compares this with item #34 in the Grimm collection, "Clever Else" ("Die kluge Else," from Dortchen Wild, 1819). This is sort of semi-true: In the folktale, Else and her family are paralyzed by fear of a future disaster to a child. But while the gimmick is the same (monomaniacal fears of an improbable and preventable death), the plot is quite different. - RBW
File: Wa062
===
NAME: Crystal Spring, The
DESCRIPTION: Captain courts his true love; promises to maintain her, mentions his loaded ship just arrived from Spain. She says men are fickle; he promises to be true
AUTHOR: unknown
EARLIEST_DATE: 1916
KEYWORDS: courting ship promise
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Sharp-100E 32, "The Crystal Spring" (1 text, 1 tune)
Roud #1391
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing)" [Laws P14] (theme)
NOTES: This may well be a fragmentary version of "One Morning in May", but so many elements of the latter song are missing that it could just as easily be an independent song. It does, however, mention a nightingale briefly in the first line. -PJS
File: ShH32
===
NAME: Cuatro Palomitas Blancas (Four While Doves)
DESCRIPTION: Spanish: "Cuatros palomitas blancas (x3), Sentadas en un alero (x2)." "Unas a las otras dicen, 'No hay amor como el primero.'" Four white doves perch and tell each other, "'There is no love like the first.'" They (or the singer) prefer kisses to food.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: foreignlanguage love bird
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 366-368, "Cuatro Palomitas Blancas" (1 text plus translation, 1 tune)
File: LxA366
===
NAME: Cucaracha, La
DESCRIPTION: Recognized by the references in the chorus to "la cucaracha" (the cockroach). The verses may describe the girls in various towns, and the way to court them. The chorus translates, "The cockroach doesn't want to travel because she has no marijuana"
AUTHOR: unknown
EARLIEST_DATE: 1916 (Canciones Mexicanas)
KEYWORDS: drugs bug nonballad courting Mexico foreignlanguage
FOUND_IN: Mexico
REFERENCES: (2 citations)
Sandburg, pp. 289-291, "La Cucaracha (Mexican Cockroach Song)" (1 text plus translation, 1 tune)
Fuld-WFM, p. 188, "La Cucaracha"
NOTES: Sandburg suggests that La Cucaracha may mean "The Little Dancer," but its natural meaning is "The Cockroach." - RBW
File: San289
===
NAME: Cuckoo Is A Merry Bird, The: see The Cuckoo (File: R049)
===
NAME: Cuckoo She's a Pretty Bird, The: see The Cuckoo (File: R049)
===
NAME: Cuckoo Waltz
DESCRIPTION: "Three times round the Cuckoo Waltz (x3), Lovely Susie Brown. Fare thee well, my charming girl, Fare thee well I'm gone, Fare the well, my charming girl, With golden slippers on." "Choose your pard as we go round, We'll all take Susie Brown...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: playparty nonballad
FOUND_IN: US(Ap,MW)
REFERENCES: (2 citations)
Sandburg, p. 160, "Cuckoo Waltz" (1 short text, 1 tune)
Cambiaire, p. 136, "Susie Brown" (1 text, a mixed text which has two verses typical of "Cuckoo Waltz" or something like it and two from "Go In and Out the Window")
ST San160 (Full)
Roud #7893
CROSS_REFERENCES:
cf. "Old Joe Clark" (floating lyrics)
File: San160
===
NAME: Cuckoo, The
DESCRIPTION: "The cuckoo is a pretty bird, she sings as she flies; she brings us glad tidings, and she tells us no lies." Many versions are women's complaints about men's false hearts (usually similar to "The Wagoner's Lad/Old Smokey")
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
KEYWORDS: bird nonballad lament lyric floatingverses
FOUND_IN: Britain(England(South),Scotland(Aber)) US(Ap,MA,NE,SE,So,SW) Canada(Mar,Newf) Ireland
REFERENCES: (25 citations)
Randolph 49, "The Cuckoo" (4 texts, of which "A" is about half "Inconstant Lover/Old Smokey" verses and "B" never mentions the cuckoo and appears to be mostly floating verses; 1 tune)
Randolph/Cohen, pp. 117-118, "The Cuckoo" (1 text, 1 tune -- Randolph's 49A)
Belden, pp. 473-476, "The Unconstant Lover" (3 texts, 1 tune, of which the first is "Old Smokey"; the second mixes that with "The Cuckoo," and the third is short enough that it might be something else)
BrownIII 248, "The Inconstant Lover" (5 texts plus a fragment, admitted by the editors to be distinct songs but with many floating items; "A,"  "B," and "C" are more "On Top of Old Smokey" than anything else, though without that phrase; "D" is primarily "The Broken Engagement (II -- We Have Met and We Have Parted)," "E" is a mix of "Old Smokey" and "The Cuckoo," and the "F" fragment may also be "Old Smokey")
Scarborough-SongCatcher, pp. 313-314, "The Cuckoo" (1 short text, with local title "Too Wandering True Loves"; the piece, which begins "A-walking and a-talking and a-courting goes I," never mentions a cuckoo and consists mostly of floating material similar to Randolph's; it could well be an "Inconstant Lover" type but is too short to classify; placed here because Scarborough does)
FSCatskills 34, "A-Walking and A-Talking" (1 text, 1 tune)
Creighton/Senior, pp. 142-144, "The Cuckoo" (1 text plus 2 fragments, 1 tune)
Karpeles-Newfoundland 85, "The Cuckoo" (1 text, 1 tune)
SharpAp 140, "The Cuckoo" (13 texts, 13 tunes)
Sharp-100E 35, "The Cuckoo" (1 text, 1 tune)
Sharp/Karpeles-80E 38, "The Cuckoo" (1 text, 1 tune -- a composite version)
SHenry H479, pp. 347-348, "The Cuckoo" (1 text, 1 tune)
Kennedy 148, "The Cuckoo" (1 text, 1 tune)
MacSeegTrav 57, "The Cuckoo" (1 text, 1 tune)
Lomax-FSNA 110, "The Cuckoo"; 111, "The Fourth Day of July" (2 texts, 2 tunes)
Ritchie-SingFam, pp. 255-256, "[The Cuckoo She's a Pretty Bird]" (1 text, 1 tune)
Opie-Oxford2 121, "The cuckoo is a merry bird" (2 texts)
Baring-Gould-MotherGoose #475, p. 210, "(The cuckoo is a bonny bird)"
Montgomerie-ScottishNR 18, "(The cuckoo's a bonnie bird)" (1 text)
Flanders/Olney, p. 163, "[Cuathiciag Ghorm]" (1 short text, purporting to be a translation of a Gaelic text of "The Cuckoo")
Scarborough-SongCatcher, p. 69, (no title) (1 fragment, the single floating stanza "I'll build me a cabin On the mountain so high" that is perhaps most typical of this song)
Asch/Dunson/Raim, p. 79 "The Coo Coo Bird" (1 text, 1 tune)
Silber-FSWB, p. 164, "The Cuckoo" (1 text)
DT CUKOO2 CUCKBIRD* CUCKBIR2*
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 44, "The Cuckoo" (1 text, 1 tune)
Roud #413
RECORDINGS:
Clarence "Tom" Ashley, "The Coo Coo Bird" (Columbia 15489-D, 1929; on AAFM3)
Clarence Ashley & Doc Watson, "The Coo-Coo Bird" (on Ashley03, WatsonAshley01)
Charlie Black, "The Cuckoo is a Pretty Bird" (AAFS 1389 B1)
Anne Briggs, "The Cuckoo" (on Briggs2, Briggs3)
Mrs. Joseph Gaines, "The Cuckoo" (AAFS 832 A1)
Gant Family, "The Cuckoo" (AAFS 72 B1)
Maggie Gant, "The Cuckoo" (AAFS 66 A2)
Kelly Harrell, "The Cuckoo She's a Fine Bird" (Victor V-40047, 1926; on KHarrell02)
Aunt Molly Jackson, "The Cuckoo" (AAFS 823 B1/B2, 1935)
Mrs. C. S. MacClellan, "The Cuckoo is a Pretty Bird" (AAFS 986 B2)
Jonathan Moses, "Cuckoo is a Fine Bird" (AAFS 3705 A2)
New Lost City Ramblers, "The Coo Coo Bird" (on NLCR04, NLCR11)
Lize Pace, "The Cuckoo" (AAFS 1437 A1)
Mr. & Mrs. John Sams, "The Coo-Coo" (on MMOKCD)
John Selleck, "The Cuckoo" (AAFS 4219 A2)
Vivian Skinner, "Cuckoo is a May Bird" (AAFS 2997 A2)
Pete Steele, "The Cuckoo" (on PSteele01)
John Williams, "Cuckoo Song" (AAFS 4182 A2/B)
BROADSIDES:
Bodleian, Firth c.12(211), "The Cuckoo" ("Come all you pretty fair maids, wherever you be"), J. Evans (London), 1780-1812; also Harding B 11(762), Harding B 15(77a), Harding B 11(1231), "The Cuckoo"
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
cf. "Sumer Is I-cumen In"
cf. "If I Were a Fisher" (floating verses)
cf. "The Streams of Bunclody" (floating verses)
NOTES: Legends about the cuckoo bringing in summer (and infidelity) are common and early.
The cuckoo loves warmth, and so arrives late during migration; it is thus held to signal summer. Certain species of cuckoo also lay their eggs in other birds' nests (whence probably the word "cuckold"), hence their association with lustiness.
The legend is ancient; Alcuin (died c. 804) wrote a piece, "Opto meus veniat cuculus, carrisimus ales," in which spring begs for the cuckoo to come. And Alcuin was English. But he worked in Charlemagne's France, and wrote in Latin, so we cannot prove that the idea was that old in England. But we do have the very old English song "Sumer Is I-cumen In"; showing that the cuckoo legend had made it to England by then; see the entry on that piece for more details on the dating.
Outside England, we find a number of other songs on the theme: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 115, prints "L'inverno e passato," "Oh past and gone is winter, And March and April too, And May is here to greet us And songs of the cuckoo.... May's the month for lovers And songs of the cuckoo" (Italian, from Switzerland), as well as "Kukuvaca," "Cuckoo, cuckoo, sings the cuckoo," in which a girl asks a mower, "Have you cut the grass for me?" (p. 217, from Croatia).  - RBW
File: R049
===
NAME: Cuckoo's Nest (I), The
DESCRIPTION: Singer meets a girl and tells her his inclination lies in her cuckoo's nest. She's shocked at first, but his words are convincing; she consents. (He leaves her with the makings of a young cuckoo.)
AUTHOR: unknown
EARLIEST_DATE: Early 1950s (recorded from Jeannie Robertson & John Strachan)
LONG_DESCRIPTION: Singer meets a girl and tells her his inclination lies in her cuckoo's nest. She's shocked at first, but as his intentions are good and his words are convincing, she consents. (He leaves her with the makings of a young cuckoo.) Chorus: "Some like  the lassie's that's gay weel dressed/And some like the lassies that's lecht aboot the waist/But it's in amang the blankets that I like best/To get a jolly rattle at the cuckoo's nest" or words to that effect
KEYWORDS: courting sex pregnancy animal bird lover dancetune
FOUND_IN: Britain US(SW)
REFERENCES: (3 citations)
Peacock, pp. 259-260, "Cuckoo's Nest" (1 text, 1 tune)
Logsdon 48, pp. 231-233, "The Cuckoo's News" (1 text, 1 tune)
DT, CUKONEST*
Roud #5407
RECORDINGS:
Sean McGuire, "The Cuckoo's Nest" [instrumental] (on FSB2, FSB2CD)
Jeannie Robertson "The Cuckoo's Nest" (on FSB2, FSB2CD)
John Strachan, "Twa and Twa" (on FSB2, FSB2CD)
CROSS_REFERENCES:
cf. "The Cuckoo's Nest (II)" (tune, subject)
cf. "The Magpie's Nest" (tune)
NOTES: Three songs (two erotic) share this tune, which is also a common fiddle tune. "Cuckoo's Nest (I)" and "Cuckoo's Nest (II)" overlap some, but as one is always a ballad while the other is really a lyric song, I've split them. (They're most easily distinguished by the chorus; in (I) the man expresses his preferences in women, in (II) he doesn't.) [Note, however, that Logsdon's version, from Riley Neal, has no chorus. - RBW] Better check out both, though -- and "The Magpie's Nest." - PJS
File: RcTCN01
===
NAME: Cuckoo's Nest (II), The
DESCRIPTION: Lyric song in praise of the female "cuckoo's nest." Behind a thorn bush a man and woman are busy "hairing at the cuckoo's nest,"  which " isn't easy found"
AUTHOR: unknown
EARLIEST_DATE: 
LONG_DESCRIPTION: Lyric song in praise of the female "cuckoo's nest." Behind a thorn bush a man and woman are busy "hairing at the cuckoo's nest." "It is thorned, it is sprinkled, it is compassed all around/It is thorned, it is sprinkled, and it isn't easy found"; Chorus: "Hi the cuckin', ho the cuckin', hi the cuckoo's nest...I'll gie onybody a a shilling and a bottle o' the best/If they'll ramble up the feathers o' the cuckoo's nest"
KEYWORDS: sex dancetune lyric nonballad
FOUND_IN: Britain(England, Scotland) Ireland
REFERENCES: (1 citation)
DT, CUKOO3
CROSS_REFERENCES:
cf. "The Cuckoo's Nest (I)" (subject, tune)
cf. "The Magpie's Nest" (tune)
NOTES: Three songs (two erotic) share this tune, which is also a common fiddle tune. "Cuckoo's Nest (I)" and "Cuckoo's Nest (II)" overlap some, but as one is always a ballad while the other is really a lyric song, I've split them. (They're most easily distinguished by the chorus; in (I) the man expresses his preferences in women, in (II) he doesn't.) Better check out both, though -- and "The Magpie's Nest." - PJS
Kennedy cites the text in Ford, "The Bonnie Brier Bush," as an offshoot of this. Offshoot it may be, but it's not the same song, and Ford indicates no tune. Kennedy is overreaching. Again. - RBW
File: RcTCN02
===
NAME: Cuddy, The
DESCRIPTION: The singer tells Jock that idleness is the cause of poverty. Now well off, he began with only a cuddy [donkey] and a pack. Finally, he opened a shop, married and had children. "Freens tak my advice ... If a stout heart ye hae ye may climb a stiff brae"
AUTHOR: Thomas Denham (source: Greig)
EARLIEST_DATE: 1854 (_The Aberdeenshire Lintie_, according to Greig)
KEYWORDS: virtue work
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig 109, p. 2, "The Cuddy" (1 text)
GreigDuncan3 661, "The Cuddy" (1 text, 1 tune)
Roud #6088
File: GrD3661
===
NAME: Culling Fish
DESCRIPTION: In August the crew took its dried codfish to Monroe. There was no one at the plant to cull [grade] the fish. The new rules make grading more strict. "According to instructions and the outline in view, There's no 'number one' so [it] must go 'number two'"
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: commerce fishing
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 118-119, "Culling Fish" (1 text, 1 tune)
Roud #9961
File: Pea118
===
NAME: Culloden Field
DESCRIPTION: "The heather bell blooms o'er the dead ... They mark the warrior's gory grave ... Where mouldering in the dust is laid The hero of the plume and plaid"
AUTHOR: unknown
EARLIEST_DATE: 1917 (GreigDuncan1)
KEYWORDS: battle death nonballad Jacobites
HISTORICAL_REFERENCES: Apr 16, 1746 - Battle of Culloden Muir ends the 1745 Jacobite rebellion (see the NOTES to "The Muir of Culloden" for details)
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 129, "Culloden Field" (1 fragment, 1 tune)
Roud #5780
CROSS_REFERENCES:
cf. "The Muir of Culloden" (subject) and notes and references there
cf. "Culloden Moor" (tune)
NOTES: The current description is based on the GreigDuncan1 fragment. - BS
File: GrD1129
===
NAME: Culloden Moor
DESCRIPTION: "Culloden moor, Long wilt thou be remembered ... On thee the clans of Scotland bled for their dear royal Charlie...." "Traitor knaves with bribery base Made death's darts fly fu' rarely, Ah! Scotland lang will min' the place She lost her royal Charlie"
AUTHOR: unknown
EARLIEST_DATE: 1917 (GreigDuncan1)
KEYWORDS: battle betrayal death patriotic Jacobites
HISTORICAL_REFERENCES: Apr 16, 1746 - Battle of Culloden Muir ends the 1745 Jacobite rebellion (see the NOTES to "The Muir of Culloden" for details)
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 128, "Culloden Moor" (1 text, 1 tune)
Roud #5779
CROSS_REFERENCES:
cf. "The Muir of Culloden" (subject) and notes and references there
cf. "Culloden Field" (tune)
NOTES: GreigDuncan1: "Learnt from her brother, James Birnie, who probably had it from ... from fifty to sixty years ago." - BS
File: GrD1128
===
NAME: Cum, Geordy, Haud the Bairn
DESCRIPTION: "Cum , Geordy, haud the bairn, Aw's sure aw'll not stop lang." The woman goes out briefly, leaving the child because she is "not strang." When the child becomes upset, Geordy is unable to calm it, and talks of the weary work his wife must do
AUTHOR: Joseph Wilson
EARLIEST_DATE: 1900 (Stokoe/Reay); Wilson died 1875
KEYWORDS: mother father children humorous
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 136-137, "Cum, Georfy, Haud the Bairn" (1 text, 1 tune)
Roud #3161
File: StoR136
===
NAME: Cumberland and the Merrimac, The: see The Cumberland [Laws A26] (File: LA26)
===
NAME: Cumberland Crew, The [Laws A18]
DESCRIPTION: The crew of the Cumberland, attacked by the CSS Virginia/Merrimac, fight back as best they can, though their shot bounces off the Confederate's armored hull. The Cumberland fights until it is rammed and sunk
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, LOCSinging sb10061b)
KEYWORDS: Civilwar ship
HISTORICAL_REFERENCES: March 8, 1862 - U.S. frigates Congress and Cumberland sunk by the CSS Virginia (formerly USS Merrimack). The Minnesota runs aground; had not the Monitor arrived the next day, the Merrimac would have sunk that ship also
FOUND_IN: US(MA,MW,NE) Canada(Mar,Ont) Ireland
REFERENCES: (11 citations)
Laws A18, "The Cumberland Crew"
Doerflinger, pp. 134-135, "The Cumberland's Crew" (1 text, 1 tune)
Rickaby 39, "The Cumberland's Crew" (1 tune, partial text)
Dean, pp. 36-37, "The Cumberland's Crew" (1 text)
Smith/Hatt, pp. 102-103, "The Cumberland's Crew" (1 text)
Ranson, pp. 106-107, "The Cumberland's Crew" (1 text, 1 tune)
Beck 87, "The Fate of the 'Cumberland' Crew" (1 text)
Creighton-NovaScotia 113, "Cumberland's Crew" (1 text, 1 tune)
Ives-DullCare, pp. 16-17,244, "The Cumberland's Crew" (1 text, 1 tune)
Silber-CivWar, pp. 24-25, "The Cumberland Crew" (1 text, 1 tune)
DT 366, CUMBCREW*
Roud #707
RECORDINGS:
Stanley Baby, "The 'Cumberland's Crew (1)'" (on GreatLakes1)
Orlo Brandon, "The 'Cumberland's Crew (2)'" (on GreatLakes1)
Warde Ford, "The Cumberland crew (The Cumberland's crew)" [fragment] (AFS 4202 B5, 1938; tr.; in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 18(108), "Cumberland's Crew," Bell and Co. (San Francisco), c.1860; also Firth c.12(72), "The Cumberland's Crew"
LOCSinging, sb10061b, "The Cumberland's Crew," H. De Marsan (New York), 1861-1864
CROSS_REFERENCES:
cf. "The Cumberland" [Laws A26] (subject)
cf. "Iron Merrimac" (subject)
cf. "Jack Gardner's Crew" (tune & meter)
NOTES: To tell this song from "The Cumberland," refer to this text from the broadside version of 1887:
Oh, shipmates, come gather and join in my ditty,
Of a terrible battle that happened of late;
Let each Union tar shed a sad tear of pity
When he thinks of the once-gallant Cumberland's fate.
The eighth day of March told a terrible story,
And many a brave tar to this world bid adieu,
Yet our flag it was wrapped in a mantle of glory
By the heroic deeds of the 'Cumberland' crew."
The first day of the Battle of Hampton Roads, March 8, 1862, has been called the worst day in the history of the United States Navy prior to Pearl Harbor (Holzer/Mulligan, p. 148. For the references cited in this note, see the Bibliography near the end).
The _Monitor_ and the _Virginia/Merrimack_ are often referred to as the "first ironclads," that is, the first ships with iron armor. This is absolutely false; Preston, p. 15, reports that France and Britain had fiddled with wrought iron ships as early as the 1840s, but temporarily abandoned the idea because the iron splintered too much when hit by solid shot.
Several things changed the equation. The Crimean War caused such terrific casualties that it became vital to build armored floating batteries, technological progress made metal less brittle -- and the introduction of shell-firing naval guns meant that the old wooden walls were just too vulnerable to fire; a way had to be found to make ships safe against burning. The French were the first out of the gate, producing in 1859 _La Gloire_, a wooden ship fitted with iron plating (Preston, pp. 16-17). She was ugly and slow, but at least one hot shot could not sink her.
Britain promptly went one better, with _Warrior_ -- the first all-iron warship ever built (Paine, p. 566).
Nelson, p. 3,notes that the combatants at Hampton Roads were not even the first *American* ironclads. The Confederates at New Orleans had tried to build one, the _Louisiana_ (though she was still incomplete when the city fell; McPherson, p. 420), and on the Tennessee front, the Union had built "Pook's Turtles," light ironclads designed for work in shallow waters. They had a lot of problems, but they fought at Forts Henry and Donelson in February 1862 (Nelson,p. 183, describes them as the first ironclads in Federal service, and praises their performance, though Woodworth, pp. 76-77, 90-91, in giving details of their activity notes that the light armor of these vessels could not always stop a heavy cannonball). Nelson, p. 144, argues that the very first ironclad in action was in fact the Confederate ram _Manasses_, which went into action at the mouth of the Mississipi in 1861 (though it wasn't much of an action).
But neither the British nor the French ironclads had ever fired a gun in anger in 1862, and while the American ships had, they had not engaged other ships of the same type. The Battle of Hampton Roads was the first *battle* of self-powered ironclad vessels. What's more, _La Gloire_ and _Warrior_ were basically conventional designs, designed to fight under steam but cross large distances under sail, and both fired standard broadsides. The American designs would be radically different. (In the Confederate case, largely by necessity; Nelson, p. 162, reports that the Confederate navy had concluded that "[t]here was no possibility of building such a ship in the Confederacy.")
From the moment the Civil War began, both sides tried for control of the sea and rivers. The Union, which controlled the American navy, striving to blockade the Confederacy so that it could not sell its cotton or gain raw materials from outside, while the southerners tried to break the blockade.
Given Union naval superiority, the Confederacy had no hope of winning a pitched battle on water. Rather, they had to try to nibble a little bit here and there -- or they had to come up with a superweapon. Holzer/Mulligan, p. 23, reports that the Confederates briefly tried to buy _La Gloire_ or one of its sisters. The French, who still had only a handful of ironclads, weren't selling. The Confederates would have to do it on their own.
They had just the man to arrange it. Confederate Secretary of the Navy Stephen Mallory had not had a very distinguished career in the United States Senate (Hendrick, p. 365), and had had only one year of formal schooling (Hendrick, p. 366) -- but he was creative, and fascinated by ships. He served well enough that he ended up being the only member of the Confederate cabinet to serve the entire war (Hendrick, p. 364).
And where better to do it than in Chesapeake Bay? It controlled the sea approach to both Richmond and Washington. If the Confederates could somehow clear out the Union navy from the bay's outlet near Hampton Roads, it could change the course of the war.
And, in that quest, the Union had given the Confederacy a great gift: the Gosport naval yard in Norfolk, Virginia, its chief naval base. Not only were there naval facilities there, there were even some salvagable ships. When Virginia seceded, the commander of the yard, 67-year-old Charles Stewart McCauley (an alcoholic, according to Nelson, p. 37, and he certainly sounds senile), had feared the Confederates, and ordered a premature and disorderly abandonment of Norfolk (Holzer/Mulligan, pp. 23-24; even Wood-BL, a Confederate officer, says that Norfolk was "hurriedly abandoned by the Federals, why no one could tell"; Wood-BL, p. 98). The one vessel to escape the chaos was the U.S.S. _Cumberland_, the subject of this song, since she was properly manned and able to sail (Nelson, p. 53)
Not so fortunate was the USS _Merrimack_ (correct spelling). She was one of the newest and strongest vessels in the U. S. navy, having been built in 1854 and commissioned in 1855 (Paine, pp. 557-558; Nelson, p.36, gives her year of commission as 1856). But her engines were incredibly balky; they had been overhauled in 1857 (Holzer/Mulligan, p. 25), and by 1861 were out of commission again -- the main reason she was rotting in port (Nelson, p. 37, says she was "all but disassembled," and adds on p. 141 that "the engine was so bad that the [United States] navy had decided to condemn it". H. Ashton Ramsey, who had been an engineer on _Merrimac_ before the war and then went south to become the new vessel's chief engineer, called them "radically defective"; Nelson, p. 140). The navy tried to rescue the ship (Holzer/Mulligan, p. 60), but McCauley, confused and fearful of provoking the locals, interfered with the repair attempts.
Official Washington made several attempts to get the ship away (this is the primary subject of Nelson, pp. 36-50). But the government did not want to provoke the state of Virginia, which was teetering on the brink of secession. That, combined with McCauley's inept attempt to prevent trouble, eventually gave rise to a situation in which _Merrimack_ was able to sail, but had no crew and no weapons. No one seemed able to figure out what to do from there. An expedition was finally sent to Norfolk, but it arrived just a few hours too late to save the ship or the naval yard (Nelson, p. 50). By then, the (mostly secessionist) workers at the yard had quit (Nelson, p. 51), so the few naval personnel could no longer accomplish any real repairs. It is just possible that the naval yard could have been saved -- the _Cumberland_, after all, was in the waters of Hampton Roads, and had enough heavy guns to make any infantly attacker think twice (Nelson, p. 52), and another heavy ship, the _Pawnee_, was soon to arrive. But McCauley had already ordered the several ships in the yard, destroyed. (When Commodore Pauling of the _Pawnee_ heard about that, he had McCauley relieved; Nelson, p. 55.) Still, those ships were of relatively little value. It was _Merrimack_ that everyone wanted.
By then, the ship was settling in the water; she too had been scuttled. At this point, confusion in command took hold. Paulding, who had hoped to save the naval yard, concluded that McCauley had given too much away; the yard could not be defended (a debatable point, given the weakness of Confederate forces in the area; Nelson, pp. 63-64). So he ordered its destruction instead.
This was done rather ineptly. Quite a few buildings were damaged or destroyed, but there wasn't enough time to destroy most of the heavy guns (Nelson, p. 56). And, in a blatantly stupid move, _Merrimack_ was one of the things set afire as she sank -- which meant that the rising waters put out the flames before they could reach the lower decks (Holzer/Mulligan, p. 62). Instead of being destroyed, the ship's hull and engines were largely intact (as balky as ever -- Wood-BL says "We could not depend on them for six hours at a time" -- but intact). The ship's rig was gone, and the engines suffered further damage from salt water -- but they could be used. In particular, the propeller shaft remained whole (Nelson, p. 95) -- one of the trickiest thing for the Confederates to fabricate.
"If the federals had simply burned _Merrimack_ as she floated on her waterline, and not scuttled her first, there would have been nothing for the Confederates to salvage. But as it was, the water flooding the hull protected the lower part of the vessel from the flames, and left it virtually intact" (Nelson, p. 95). In a way, the damage actually helped the Confederacy: It was cheaper to rebuild the _Merrimack_ without masts than with. And a ship without masts could mount a heavier broadside and was less vulnerable to damage.
A rebuild was easily undertaken because the attempts to render the yard unusable had been a complete failure. As the officer who occupied it noted, "Only an inconsiderable portion of the property, with the exception of the ships, was destroyed" (Nelson, p. 67). "The U. S. Navy left for the southerners 130 gun carriages and over a thousand guns, from 11-inch to 32-pounders. They left most of the machinery in repairable condition. They left two thousand barrels of gunpowder, thousands of cartridges, thousands and thousands of shot and shells" (Nelson, p. 68). The yard did end up somewhat debilitated, but that was mostly the fault of the Confederates themselves, engineers would complain that the yard had been stripped of both essential equipment and personnel (Nelson, p. 159).
It was quickly decided to rebuild _Merrimack_. After some discussion, the Confederates settled on a design that "reminded observers of a barn floating with only its roof above water" (McPherson, p. 373). In simplest terms, they cut off the top of the ship right about at the waterline, put a sheathe of iron over it as a deck, then built a small iron citadel, with sides sloped at 36 degrees, on top (Holzer/Mulligan, p. 24). The citadel wasn't the whole ship, but it was all that could be seen at a distance; hence the barn-like apearance.
Armoring the ship proved a major challenge. The major structural element of the armored citadel was in fact wood (several feet of it, running in different directions and of several different types), but this had to be plated with iron -- a difficult item to obtain, since the total amount of iron needed was very large -- nearly 800 tons, according to Holzer/Mulligan, p. 25, or even 1000 tons, accoring to Nelson, p. 109. I've often seen it stated that the _Merrimack_ was plated with rail iron (e.g. Foote, p. 255) -- which gave me the impression that someone covered her sides with sections of track. Not quite -- but the Confederates took up a lot of railroad iron (Nelson, p. 109) and melted it down so the Tredegar Iron Works (the only place in the Confederacy capable of producing the plates) could make the plating. It was a desperate measure that would prove costly later on, as the Confederate rails wore out. And even so, it took months for all the armor to be rolled; the first deliveries were in October 1861, and the last did not arrive until February 1862 (Holzer/Mulligan, pp. 25-26).
The ship almost didn't make it into action; workmen put in long hours, seven days a week (Holzer/Mulligan, p. 69), but the Confederacy was not an industrial nation. (Just to give an illustration of how hard this was for them, there are no photographs at all of _Virginia_, and no authoritative plans; scholars aren't even sure how many pilothouses she had; Nelson, p. 142).
The problems with creating materials meant that frantic changes had to be made once tests showed that the 1-inch-thick iron plates originally specified were not strong enough; 2-inch plates had to be substituted. Even the Tredegar Iron Works -- the only place in the Confederacy that was up to dealing with all that metal -- had trouble with that; the plates were hard to roll, and the holes for bolts could not be punched; they had to be drilled (Nelson, pp. 112-113). Even transporting the stuff was almost impossible. But Tredegar rebuilt its facilities, and eventually they worked out the transport, too. The designers were constantly fiddling with the design, as well. They even created a new type of rifled gun (Nelson, pp. 109-110). But finally they managed to put her in the water.
She wasn't a healthy ship; her ventilation was terrible, and the citadel on top had no roof except a grating, so it was open to rain; her officers reported that dozens of crewmen were sick on most days (Nelson, p. 195. Her opponent the _Monitor_ was also very bad in that regard; Greene-BL, p. 118, declares that "Probably no ship ever devised was so uncomfortable for her crew"). Still, she floated, and she could fight.
The result was renamed CSS _Virginia_, but is often (perversely) called the _Merrimac_ (note the different spelling). The confusion is partly the Confederate fault; several of the new ship's officers (including even her commander Franklin Buchannan -- Nelson, p. 180 -- and her executive officer, Catesby ap Roger Jones, who commanded her on March 9) had served aboard her in the U. S. Navy and tended to keep the old name. And some of them misspelled it _Merrimac_ (Holzer/Mulligan, p. 58). According to Nelson, p. 193, the name _Virginia_ didn't take hold until about the time she was relaunched.
Whatever they called her, she had one major advantage. As Foote says, "What she lacked in looks, and she was totally lacking there, she made up for in her ability to give and take a pounding" (p. 255).
Had she taken much longer, Union general George B. McClellan's Peninsular Campaign might have stopped work on her before she even went to sea. Plus her design was wrong: Her displacement had been miscalculated, so that her hull rode too high, exposing the unarmored portions that were supposed to be below the waterline (Holzer/Mulligan, p. 69). Ballast was added, but as she burned shot and coal, she would rise and expose her underbelly. Plus her ram, which was her most deadly weapon, was not attached very securely. She also suffered from having a crew with inadequate sea experience (Holzer/Mulligan, pp. 69-70; Nelson, pp. 180-181, tells how Lt. Wood, of Wood-BL, had to scour army artillery units to find gunners).
It wasn't until March 4, 1862 that the new ship was ready for a shakedown cruise (Holzer/Mulligan, p. 71). Even her guns had hardly been proved -- they were a new design, but her officers has been alotted only 300 pounds of gunpowder to test it! (Nelson, p. 177; Wood-BL, p. 103, reports that at one point on her voyage, her guns would stop firing for fear of wasting powder. To put this powder-pinching in perspective, she would sail with some 18,000 pounds of powder; Nelson, p. 211). But her commander, Franklin Buchanan, decided to make that test run a trial by fire -- though he didn't even tell most of his crew until the trip was underway. This even though workmen had still been on the ship that very morning and much work still had to be done: Her weapons to prevent boarding had not been fitted,she needed shutters over most of her gunports (Nelson, p. 213), and the guns themselves were untested (Nelson, p. 7), her rudder was giving problems, and her internal arrangements were incomplete (Konstam, pp. 16-17).
 (We might note incidentally that, technically speaking, Buchanan wasn't her captain; _Virginia_ never had a captain. This is because Buchanan was junior to some other naval officers who had headed south, and who considered themselves more deserving of being ship's captains. The Navy department circumvented this by making Buchanan a commodore; Nelson, pp. 195-196. This made him technically a fleet commander, not a ship commander -- but in practice he commanded _Virginia_ as well as the whole James River squadron. Buchanan's career was full of such contradictions -- he had resigned from the United States navy when he thought Maryland would secede, but it didn't leave the Union. He tried to rescind his resignation, but this understandably was not allowed, so he went to the Confederacy; Nelson, pp. 198-199.)
Bad weather on March 6 and 7 forced Buchanan to wait until March 8 (Holzer/Mulligan, p.72). But when he did, he came out with a bang.
It was quickly discovered that _Virginia_ was hideously hard to handle. One of her officers reported that the best possible speed she could make was five knots (Wood-BL, p. 100), and that was with everything perfect: smokestacks intact and drawing well, the ship level, the crew at full strength. Other estimates vary; Nelson, p. 8, estimates her speed at seven knots before battle damage affected her smokestack -- though a comment on p. 108 implies that her propeller was too high in the water to be very efficient. No matter which calculation is right, she was not fast. And it took her at least half an hour to turn about (Wood-BL, p. 100, says "it took from thirty to forty minutes to turn" -- and it also required a lot of room, because of _Virginia's_ deep draught. Most of Hampton Roads was so shallow that she literally could not turn about. By comparison, the _Monitor_, which could make eight knots, could turn in four minutes and fifteen seconds; Nelson, p. 227). And she drew so much water (22 feet) that she couldn't really maneuver at all in the James River; it was too shallow for her rudder to have much effect (Holzer/Mulligan, pp. 72-73). Plus there were many places in Hampton Roads which were accessible to other ships where she simply could not sail -- to some extent Union ships could avoid her (or at least her ram) by putting a shoal between them.
To be sure, the Confederates had other ships in the area -- Konstam, pp. 18-19, lists five other Confederate vessels based in Norfolk and on the James River, two of which, though armed, served mostly as tugs to get the _Virginia_ to where she would fight (Nelson, p. 10); most of the rest would sortie with her. But the five combined mounted only about two dozen guns (the biggest, _Patrick Henry_, had ten, but was a sidewheel steamer, which made her very vulnerable; Nelson, p. 216); on their own, they were not even as strong as one of the Union blockading ships. They did fight, and take casualties (Nelson, p. 233) and in one case fairly severe damage (Nelson, p. 247); indeed, the _Jamestown_ and _Patrick Henry_ did most of the slight damage to the _Minnesota_ (Nelson, p. 249).. But they were sort of like cavalry raiders hiding behind an infantry screen: more irritant than anything else; they could only fight because, if they had to, they could hide behind the big ironclad. It was essentially the _Virginia_ against the entire Union fleet.
As long as _Virginia_ couldn't be hurt, it hardly mattered. Maybe she couldn't catch the enemy ships, but they could not survive where she was.
When she came out on March 8, there were five major representatives of the Union navy in Hampton Roads: The _Cumberland_ (26 guns, under Captain William Radford), the _Congress_ (52 guns; under Lieutenant Joseph Smith), the _Minnesota_ (47 guns; Captain Gershon Van Brunt), the _Roanoke_ (42 guns; Captain John Marston, though her engines were temporarily disabled; Nelson, p. 234), and the _St. Lawrence_ (50 guns; Captain H. Purveyance) (for the ship's armaments, see Holzer/Mulligan, p. 73; for their skippers, Konstam, p. 22). _Roanoke_ and _Minnesota_ were in fact sisters of the _Merrimack_ (Holzer/Mulligan, p. 58. Nelson, p. 73, notes the irony that Confederate Secretary of the Navy Stephen Mallory was chair of the Senate committee which approved these ships, and had been one of the senators most responsible for their construction). Many of them had been on blockade duty for quite a while; Nelson, p. 11, says that _Cumberland_ and _Congress_ had been at Hampton Roads since at least November.
The ironclad's first shots went into _Congress_, which was closest (Nelson, p. 14), but _Virginia_ fired on her only in passing. She was heading for the _Cumberland_, which had been laid down in 1826 and finally finished in 1842 as a 50-gun frigate; she was razeed (i.e. had her upper deck taken off) in 1856 and converted to a 24-gun sloop-of-war (though the guns were of heavier weight than those of the _Congress_, making her potentially more deadly to the _Virginia_; Nelson, p. 14). She was exclusively a sailing ship; without engines (Paine, p. 127) -- and there was no wind on the day of the Battle of Hampton Roads (Nelson, p. 236), so she was effectively unable to move. Indeed, both _Cumberland_ and _Congress_ were thought so vulnerable that tentative orders had been given to withdraw them from Hampton Roads (Nelson, p. 11).
When the _Virginia_ came out, _Cumberland_ was in bad shape to fight -- it was washing day (Hoehling, p. 65, Nelson, p. 12), and her captain William Radford was away on a court-martial board at the time, leaving the ship in the hands of Lieutenant George U. Morris (Hoehling, p. 66).
Hoehling, p. 67, says that 121 men died on the _Cumberland_ -- roughly a third of the ship's crew of 376 (Nelson, p. 239).
Still, she did most of the damage to the _Virginia_. The ironclad's guns tore _Cumberland_ to shreds, but then the Confederate ship decided to ram. The big blade tore a fatal hole in the _Cumberlnd_, causing her to sink quickly, with her flag famously still flying. She almost took the _Virginia_ with her; the ship rocked so violently when the ram went in that it nearly suberged the ironclad's nose (Nelson, p. 18), and one Federal officer thought he could have sunk her simply by dropping an anchor onto her as _Cumberland_ went down (Nelson, pp. 229-230). But Captain Buchanan had been clever; he had ordered the engines reversed before impact (Nelson, pp. 14, 18), and she was able to pull free.
Wood-BL, written by a man who served on the _Virginia_ during the fight, describes her end on p. 101: "[T]he _Cumberland_ continued to fight, though our ram had opened her side wide enough to drive in a horse and cart. soon she listed to port and filled rapidly. The crew were driven by the advancing water to the spar-deck, and there worked her pivot-guns until she went down with a roar, the colors still flying. No ship ever fought more gallantly."
Greene-BL, telling of arriving in Hampton Roads (without a pilot, so great was the hurry to get to the battle site) reports, "Near us, too, at the bottom of the river, lay the _Cumberland_, with her silent crew of brave men, who died while fighting their guns to the water's edge, and whose colors were still flying at the peak."
As it turned out, that heroic fight was not without its effect. _Cumberland's_ earlier broadsides had done no damage (Nelson, p. 14, says that a hundred heavy guns were fired at _Virginia_ without causing her any harm), but the collision tore off the _Virginia's_ ram (Holzer/Mulligan, p. 87), and the shots fired by the crew after they were rammed caused much harm to the _Virginia's_ upper works -- including her smokestack (Nelson, p. 229), further reducing the Confederate vessel's speed (since it reduced the draw through her furnaces; "after the loss of the smoke-stack, Mr.Ramsey, chief engineer, reported that the draft was so poor that it was with great difficulty he could keep up steam" -- WoodBL, p. 103). Hoehling, p. 68, adds that her engineers noted structural problems as well, incluing loose plates and broken beams. Nelson, p. 230, reports that several of _Virginia's_ guns were damaged by the three broadsides _Cumberland_ fired after being mortally wounded. On p. 255, Nelson adds this catalog of damage whih she had sustained by the end of the day: her surgeon would count 98 dents in her ironworks (though the yard would list the number as 97, according to Nelson, p. 301, with only six of her outer plates of iron broken and none of her inner plates); her flagstaff was down, her "less substantial gear ha been annihilated," and her bow timber was twisted and leaky as a result of the loss of the ram 
The damage was significant but did not in any way threaten _Virginia's_ buoyancy; there was no reason for her to give up the fight. She turned to destroy the USS _Congress_. The Federal ship was handled very badly -- apparently her captain ran her aground on purpose (Hoehling, p. 66) to save her from being rammed. But that made her almost useless offensively: Even without engines, she was more maneuverable than _Virginia_ and might have been able to "cross the T" on the Confederate vessel (though Nelson, p.12, notes that most of her veteran sailors had been paid off; it might have been hard for her inexperienced crew to handle her in battle). Instead, she had made herself a big fat target, and was unable to fire her broadside at the Confederate ship (Paine, p. 119).
The Confederates happily took advantage. The "crossed the T" on _Congress_, pouring their fire into her stern (Nelson, p. 237). Eventually, after her captain had been killed, the _Congress_ surrendered (Nelson, p. 238), but because she was aground in shallow water, _Virginia_ could not take her in tow. Total casualties on the _Congress_ were 136 killed, wounded, and missing out of 434 aboard (Nelson, p. 239).
Shore batteries continued to fire on _Virginia_ after the _Congress_ hauled down her flag (Nelson, p. 243, though he notes that the Federals actually caused as many casualties among their own surrendered sailors as the enemy), and Buchanan was injured while firing back at them; he would not be aboard for the next day's big fight (Holzer/Mulligan, p. 87). The Confederates would also claim that _Congress_ fired after putting up the white flag (Nelson, p. 244, though he thinks the claim false).  Buchanan then orderered hot shot to be fired into the _Congress_, setting her afire (Wood-BL,p. 102); she blew up in the night (Hoehling, p. 68, says he did this in response to being wounded; he decided to take revenge. But destroying the _Congress_ was reasonable; if he did not destroy her, the Federals were better equipped to take her away than the Confederates. His only fault was in destroying her before the sailors got off).
Having dealt with the two weakest vessels in the blockade, _Virginia_ then turned to deal with the _Minnesota_, which had also gone aground. But her extreme draught of 22 feet kept her from reaching the _Minnesota_, so _Virginia_ headed back into port to prepare to fight the next day. Overnight, strenuous attempts were made to free the _Minnesota_, but she moved only a short distance before getting stuck again. There was every reason to think that the _Virginia_ could destroy her the next day. There was panic in Hampton Roads, in Newport News, and in Washington once word arrived by cable -- Secretary of War Stanton, who was prone to fits of near-insanity, started sending telegraphing "the sky is falling" messages to cities all along the East Coast (Nelson, p. 264).
Except that, overnight, the _Monitor_ arrived an changed everything. The _Monitor_ arrived at Hampton Roads the night of March 8/9, and took position to protect the grounded _Minnesota_. Small as it was, it inspired little confidence in the Federal naval officers (Hoehling, p. 73). Events were to prove them wrong.
Early in the war, the Union was confident in the strength of its navy; it researched ironclads, but did very little about constructing seagoing iron ship. They started to have second thoughts, according to Holzer/Mulligan, pp. 126-127, when the _Trent_ affair made it possible that there might be war with Britain. The Americans knew perfectly well that their wooden walls couldn't fight _Warrior_ and her sisters.
When word came of the building of the _Virginia_, the urgency increased. There were, at that time, only two serious designs on the table, which would later become the _New Ironsides_ and the _Galena_ (McPherson, p. 374; Konstam, p. 20. For the latter disastrous design, see the notes to "Old Johnston Thought It Rather Hard"). _New Ironsides_ (which in some ways resembled the _Virginia_, save that the armored citadel covered the entire hull) was a successful design, but could not be ready in time. _Galena_ also probably would take too long. But Cornelius Bushnell, the shipbuilder on the _Galena_, had called in the brilliant but cantankerous Swedish inventor John Ericsson to look over his designs (the Navy board had not quite trusted the _Galena's_ stability, and demanded more calculations, which Bushnell could not perform but Ericsson could; Nelson, p. 102-103), and it turned out that Ericsson had his own easy-to-build ironclad concept on the shelf -- he had designed it for the French in the Crimean War, but after that war ended, Napoleon III lost interest (Nelson, p. 104).
After complicated machinations, the navy department ordered the construction of the _Monitor_ (Holzer/Mulligan, pp. 26-29; Nelson, p. 146, notes that, despite the wrangling, the urgency was such that the contract was signed only eight days after Bushnell talked to Ericsson. The flip side is, the contractors were on the hook if the ship failed; the navy would only pay if she proved a successful design; Nelson, pp. 150-151. The Navy's delays in paying the amounts it had promised caused some construction delays; Nelson,p 188).
The _Monitor_ was in many ways the weakest of the three designs; it was to prove almost unseaworthy (with only 18 inches of freeboard -- that is, height above water -- waves could easily swamp it; Konstam, p. 21), and it involved so many new ideas that naturally some of them failed to work. The pilothouse would prove  severe weakness; it was almost too small for the three sailors it needed to hold (captain, pilot, and helmsman), and yet it was large enough that the guns could not be fired near it; her internal communications systems easily broke down (Greene-BL, p. 115). Many changes would be made in future designs of this type.
But Ericsson claimed it could be built in ninety days. He was close to right; construction was started October 25, 1861, and she was launched 93 days later (Holzer/Mulligan, p. 30. Nelson, p. 146, states that claim was that she could be finished in a hundred days. Presumably one estimate counts the time needed to write the contract, the other does not. Nelson's count on p. 190 is that it took 118 days from contract signing to launch, or 105 working days. Clearly not what was promised -- but still pretty amazing.).
If the _Virginia_ looked like a barn, the _Monitor_ was the "tin can on a shingle" (Catton, p. 201): "A heavily armored turret carrying two 11-inch guns... on a long, armored hullthat had no more than a foot or two of freeboard; there was a little knob of a pilothouse forward and a smokestack aft, and nothing more."
There are a lot of what-ifs about the battle of the two ironclads. Neither ship was finished, and at the time they met, _Virginia_ was both slower (due to the damage to her stacks) and less potent (due to the loss of her ram) than before the action against the _Cumberland_.
The situation on _Monitor_ was similar. The ship itself was intact, but a lot of rough edges were left (literally -- e.g. the edges of the gunholes in the turrets had not been smoothed; Nelson, p. 188). In addition, the crew was inexperienced; it had been decided to take only volunteers, and few of the men aboard had enough service time to rate even the designation of Ordinary Seaman (Holzer/Mulligan, p. 32; Konstam, p. 22). Plus the ship had run into a storm on the way down to Hampton Roads (the same storm that had delayed the _Virginia's_ sortie), which nearly caused the _Monitor_ to go under. The heavy seas had started to flood the ship, the smokestacks poured water into the engineering spaces, and the ventilators went out in the wet (Greene-BL, pp. 112-113. Ericsson, against the advice of experienced seamens, had insisted on vent tubes that didn't extend far enough above the water; Nelson, p. 23). As a result, the blowers failed as the belts got wet, water hit the fireboxes, the engine started leaking fumes, and the pumps went out. (Holzer/Mulligan, p. 41, points out that the entire operation of the ship depended on the ventilation system, and it proved insufficient for the task. Improved designs would eventually largely cure these problems, but of course the _Monitor_ was the first of its kind. In warmer weather, the bad ventilation would also cause the ship to become almost unendurably hot; Holzer/Mulligan, p. 49).
The crew, seasick and breathing bad air, ended up extremely unwell and barely kept the ship afloat, so they were exhausted going into the big battle (Holzer/Mulligan, p. 33). Finally, the armament of their ship was not what was wanted. This was not what Ericsson had wanted; his original proposal was for two short 15 inch guns, but these were not available and were considered too big for the turret anyway; Nelson, pp. 222-223. Ericsson's next proposal was for 12-inch guns; none were to be had. They settled for 11-inch guns -- and even those had not been tested; the ship was ordered to fire undersized powder charges (15 pounds instead of thiry), significantly reducing the penetrating power of her guns (Holzer/Mulligan, p. 31) -- the more so since her cannon were not rifled (Nelson, p. 223). This may have cost her her chance at outright victory; Wood-BL, p. 103, reports that shots at point-blank range from the _Monitor_ "forced the side in bodily two or three inches." With a full charge of powder, it is possibly that some might have penetrated.
The flip side is, the Confederate cannon had no solid shot to fire (another consequence of the inadequate industrial facilities of the Confederacy; Nelson, pp. 177-178), and might have cracked the _Monitor_ had she been able to fire shot rather than shell.
There were also command and control problems on _Monitor_. Except when the gun ports were opened, the turret crew of the _Monitor_ had no way to view the outside world. They had to fire and then ask the crew in the pilothouse whether they had hit. (Ericsson's plan had been to leave the gun ports open and rotate the turret away during reloading; Nelson, p. 274. But the turret machinery proved sticky enough -- the seawater let in by the storm had damaged it; Nelson, pp. 274-275 --that the crew eventually gave up trying to start and stop it, and just left it rotating, firing when the _Virginia_ was in sight. There was little though of really aiming the thing; they just relied on the fact that they were close enough to be almost sure to hit; Nelson, p. 279) And the speaking tube connecting the turret to the pilothouse either didn't work or was damaged, so the turret crew had to keep sending runners forward (Holzer/Mulligan, pp. 44-45; Nelson, p. 271).
Aiming was a problem for other reasons. Because the turret was closed off, they had no way of knowing where the guns were pointing relative to the axis of the ship; they had chalked markings on the floor, but these were soon rubbed off (Holzer/Mulligan, p. 45).
On March 9, the _Virginia_, now commanded by executive officer Catesby ap Roger Jones (the nephew of Thomas ap Catesby Jones, who had occupied California during the Mexican War, and an ordnance expert highly esteemed by both sides; Hoehling, p. 72), headed back for the _Minnesota_. At first the _Virginia_ tried to attend to both _Minnesota_ and _Monitor_, but finding the _Monitor_ much harder to deal with, the Confederate ship quickly gave the _Monitor_ her full attention.
It was quickly evident that neither ship had weapons capable of breaching the other's armor. At best, they might get a ball into a firing shutter, or maybe get a lucky hit below the waterline or at a vulnerable seam or the like. The _Virginia_ tried to ram (though she no longer had her ram beak), but the _Monitor_ was much faster and more maneuverable; the impact was trivial (Hoehling, p. 76). So the two ships did little except throw iron at each other for several hours.
In the case of the _Virginia_, she soon gave up on firing at the _Monitor's_ turret and started firing on the pilothouse. That was too small a target, though, so she decided to go back to hitting at _Minnesota_ -- only to run aground (Nelson, p. 281). It was a dangerous fix; if the _Virginia_ couldn't move, _Monitor_ could finally pick a spot to attack her. Fortunately for the Confederate ship, the Union officers did not choose wisely (Nelson, p. 282). The Confederates almost burst their boilers, but they finally worked the _Virginia_ free (Nelson, p. 283). After that, the _Virginia_ stopped worrying about _Minnesota_ and went back to slugging at the _Monitor_. She made an attempt to ram, despite having lost her ram bow, but the only real effect of this was to make the leak in her bow worse (Nelson, p. 285).
Eventually a lucky shot from _Virginia_ hit the _Monitor's_ pilothouse, injuring commander John Worden though it luckily did not affect _Monitor's_ steering (Nelson, pp. 288-289). (Incidentally, there was a sort of a "Brave Wolfe" moment in the battle; Worden was bruised and temporarily blinded by the debris, and had to ask, "Have I saved the _Minnesota_? Told he had, and that the _Virginia_ was leaving, he declared, "Then I don't care what happens to me." See Greene-BL, p. 117. But he would live, though he carried metal in his face for the rest of his life, and he also recovered his sight -- at least in one eye; Nelson, p. 341).
Given her communications problems, it took some time for the exec to make his way from the turret to the front; as a result, the ship backed away from the fighting for half an hour. Confederates sometimes claim victory in the battle on this basis (Holzer/Mulligan, p. 88). But _Monitor_ was still functional, and the retreat would probably have been temporary had _Virginia_ tried to continue the fight.
But the battle was over. The _Virginia_ made one more run at the _Minnesota_, but then Lieutenant Jones talked to his officers and decided to head for home (Nelson, pp. 290-291); safer, in her case, to spend the night in port -- and to refill her coal bunkers and shot lockers; the more she used up, the higher she rose, and her armor ended not much below the waterline even when she was full. After another day without refilling, she would be very vulnerable. This led Union newspapers, which claimed she was towed from the battle (which she was not), to assert victory (Holzer/Mulligan, p. 93).
You still see occasional claims that one ship or the other "won" -- e.g. Mabry Tyson's article in Holzer/Mulligan claims victory for the _Virginia_ (p. 109). But Tyson is the great-grandson of Catesby ap Roger Jones; his is hardly an unbiased view!
From a pure tactical standpoint, it was a draw (unless you count the damage the _Virginia_ did to the _Minnesota_ during the engagement, which was fairly severe -- she had briefly been on fire, and her crew was exhausted and her ammunition nearly gone; Hoehling, p. 79). Neither ship could damage the other significantly (men were stunned if they touched the armor when it was hit -- Hoehling, p. 77 -- but eventually learned not to do that). The _Monitor_ suffered no real damage, and the damage to the _Virginia_ was almost all from the _Cumberland_, so they were well-matched. A case could be made that, had the _Virginia_ met the _Monitor_ on the first day, she might have won (_Monitor's_ armor stopped cannonballs, but would not be enough to stop _Virginia's_ ram if it hit home straight-on, and _Monitor_ certainly didn't have the reserve buoyancy to survive such a blow!). Or you might claim the _Virginia_ won "on points": although both ships withdrew, the _Monitor_ withdrew first.
That, though, is like claiming Germany won the Battle of Jutland because they sank more ships: The latter part of the claim is true but doesn't mean anything. Strategically, the Battle of Hampton Roads was a clear Union victory; _Virginia_ could not clear the Roads of Federal shipping, and while _Monitor_ could not stop blockade runners, she could guard the faster frigates that could. And, over the following months, additional ironclads would support her. For _Virginia_, it was win in March or not at all -- and she didn't win in March. Due, in no small part, to the damage inflicted by the _Cumberland_ .
Nelson, p. 295, cites Jones's report on damage to _Virginia_: "Our loss is 2 killed and 19 wounded. The stem is twisted and the ship leaks. We have lost the prow, starboard anchor, and all the boats. The armor is somewhat damages; the steam pipe and smokestack both riddled; the muzzles of two of the guns shot away. It was not wasy to keep a flag flying. The flagstaffs were repeately shot away." Nelson adds: "Virtually all of the damage and casualties occurred on the first day of fighting. _Monitor_ had inflicted alost no injury at all."
Nelson's conclusion is that both Jones of _Virginia_ and Greene of _Monitor_ were right to break off the fight, even though it raised questions about their characters (Nelson, p. 297). _Virginia_ really needed time in dry-dock to replenish and to make minor fixes; _Monitor_ was in better shape, but the crew was bone-weary and there were hardly enough officers left even to stand watches -- a major concern with a scratch crew.
The Confederates probably thought _Virginia_ would be back in service soon. Certainly it would have taken only a little while to patch up her leaks. But the _Virginia_ spent most of a month in dry dock, where her damage was repaired, her ram replaced, and some of her more glaring problems remedied, including the fitting of some additional armor near the waterline (Holzer/Mulligan, p. 76; Nelson, p. 308) -- though this cost her another knot of speed (Wood-BL, p. 105), and left her engines even more overburdened than before; the engineer now said they could be relied on for only a few hours (Nelson, p. 308).
Now commanded by Josiah Tattnall, _Virginia_ made one more brief sortie on April 10/11, with some officers contemplating a harebrained scheme to try to board the _Monitor_ (Nelson, pp. 310-311), but by this time the _Monitor_ had been joined by another ironclad, _Naugatuck_, and in essence the two Union ships stood guard while the rest of the Northern ships fled. The two sides didn't really engage, and the _Virginia_ eventually headed back to base (Holzer/Mulligan, p. 78). According to Nelson, p. 313, Tattnall commanded _Virginia_ for 45 days, and she spent 32 of them in dry-dock or under repair, though she made a total of five trips toward Hampton Roads (the others were even less eventful than the sortie of April 11). Mostly she just made her men miserable, since living conditions were terrible and steam had to be kept up at all times to allow her to respond quickly in the event of Union action.
In May, as Union general George B. McClellan's Army of the Potomac approached Richmond during the Peninsular campaign, the Confederates decided (almost certainly correctly) that they had to scrape up every available man to defend the city. The division defending Norfolk was taken north of the James on May 3 (Holzer/Mulligan, p. 79). The _Virginia_ for the time being stayed at Norfolk, but now she was vulnerable to being captured from land. At the very least, she had to be kept from Federal hands.
It was Abraham Lincoln himself who ordered federal troops to make a move on Norfolk on May 9 (Holzer/Mulligan, p. 90). When the last Confederate forces pulled out, no one even told the _Virginia's_ commander (Wood-BL, p. 106; Nelson, pp. 317-318). 
Foote, p. 415, notes that the Confederates made desperate attempts to take the _Virginia_ up the James River (the only other alternative being a death-or-glory attack on the Federal blockade). They lightened her enough to expose several feet of unarmoured hull. But then came word that conditions on the James had changed; although the ship had been lightened enough that she drew "only" 18 feet, which was supposed to be sufficient to get her to within 40 miles of Richmond (Nelson, p. 318), conditions had changed and she would have to work her way up a channel only 15 feet deep. That was impossible (Holzer/Mulligan, p. 81; Wood-BL, p. 107), and there was no time for more lightening anyway.
Tattnall, understandably upset, thought that the pilots were cowards who had concocted their story to keep the ship from battle.(Nelson, p. 319). Lightening ship meant that she would be floating with her armor deck above water level. With her hull exposed, _Virginia_ could no longer fight as an ironclad, ruling out the death-or-glory ride.
The only remaining alternative was to scuttle her. After only three months afloat, and two months of active serve, she was -- for the second time -- set on fire on May 11, 1862 (Wood-BL, p. 107, tells of being one of the last two men aboard, and of setting her afire). And the Confederates did what the Union navy had not done: They successfully destroyed the hull of the _Merrimack_. She would rise no more. Her second commander, Josiah Tattnall, was savaged in the press and a preliminary court of inquiry, and demanded a court-martial, which acquitted him (Wood-BL, pp. 107-108; Nelson, p. 344).
After _Virginia_ was out of the way, _Monitor_ was taken up the Potomac for various improvements (Nelson, p. 323). She then was ordered to Wilmington, North Carolina. Once again there was bad weather along the way (Nelson, p. 324). The _Monitor_ sank in a storm at the end of December 1862 off Cape Hatteras (Holzer/Mulligan, p. 51). Her wreck has of course been discovered (e.g. Delgado, pp. 117-119), and portions are being brought to the surface to highlight a museum (Holzer/Mulligan in fact was inspired by the opening of the Mariner's Museum; pp. xiii, xviii).
Nelson, p. 339, makes an interesting point about this song and the whole fame of the Battle of Hampton Roads: It became a household name simply because of the timing. Had _Monitor_ arrived on any day other than the day it did, there would have been no battle (had it arrived, say, a month earlier), or a likely draw with no Union ships sunk (had it arrived a day earlier), or a complete Union fiasco (had it arrived even one day later). Hanpton Roads became famous only because the _Monitor_ arrived exactly when it did, like the cavalry coming to the rescue (to use NelsonÕs metaphor).
Despite _Monitor's_ poor sea qualities, there was a rush to build monitors around the world. Jane's-WWI, pp. 63-64, lists ten named monitors (including two christened _Erebus_ and _Terror_) and fifteen numbered monitors in service with the British navy in World War I, and p. 314 lists eight that were lost during the War or in the operations in Russia in 1919. Marshall-Encyclopedia, entry on the _Florida_, says that the U. S. Navy built its last class of monitors in 1901, with one of them not decomissioned until 1939. But they were hardly ships that John Ericsson would have recognized. The ones I've seen all had large upperworks, and in most of the British examples, the turret was raised high above the waterline, and the ships had masts. They were monitors only in the sense that they had very little freeboard.
And I never heard of any of those twentieth century monitors doing anything useful. _Monitor_ included many ideas which would be very useful in future warships -- the turret being the most important -- but the ships themselves were just too problematic. And their low profiles, which made them harder to hit with cannon, would become nearly useless once self-propelled torpedoes were invented.
The _Cumberland_, like the _Monitor_, has been rediscovered. Delgado, p. 115, notes that she was found in 1980. Unfortunately, she is in shallow water, and souvenir hunters did a great deal of damage before serious efforts were made to protect the wreck.
>>BIBLIOGRAPHY<<
Catton: Bruce Catton, _Terrible Swift Sword_. (being the second volume of The Centennial History of the Civil War), Doubleday, 1963 (I use the 1976 Pocket Books edition)
Greene-BL: S. Dana Greene, "We thought we had gained a great victory: In the 'Monitor' Turret," article in Clarence C. Buel and Robert U. Johnson, editors, _Battles and Leaders of the Civil War_, four volumes, 1888. For convenience of transport, I used the version of the article printed in the abbreviated one-volume edition "edited" (read: hacked down almost to uselessness) by Ned Bradford, 1956; page references are to the 1979 Fairfax Press edition. Greene was the executive officer of the _Monitor_ and commanded the turret in the early stages of Hampton Roads, then briefly commanded the whole ship. (He notes ironically that _Monitor_ had five captains, but he was her only executive officer; p.111).
Delgado: James P. Delgado, _Lost Waships: An Archaeological Tour of War at Sea_, Checkmark, 2001
Foote: Shelby Foote, _The Civil War: A Narrative_, Volume I: Fort Sumter to Perryville, Random House, 1958
Hendrick: Burton J. Hendrick, _Statesmen of the Lost Cause: Jefferson Davis and His Cabinet_, Literary Guild of America, 1939
Hoehling: A. A. Hoehling, _Shipts That Changed History_, 1992 (I use the 2007 Barnes & Noble edition)
Holzer/Mulligan: Harold Holzer and Tim Mulligan, Editors, _The Battle of Hampton Roads_ (a collection of nine essays; Fordham/Mariner's Museum, 2006)
Jane's-WWI: _Jane's Fighting Ships of World War I_ (1919; I use the 1990 Studio Editions reprint with modern foreword by Captain John Moore, RN). Not entirely accurate, but the best in-one-place catalog of naval vessels serving c. 1918.
Konstam: Angus Konstam, _Hampton Roads 1862: First Clash of the Ironclads_, Praeger, 2004
Marshall-Encyclopedia: Chris Marshall, editor, _The Encyclopedia of Ships_ (Barnes & Noble, 1995, based at least in part on an Italian original). Silhouettes with very brief descriptions. Most useful for finding ship's specifications.
McPherson: James M. McPherson, The Battle Cry of Freedom (The Oxford History of the United States: The Civil War Era; Oxford, 1988)
Nelson: James L. Nelson, _Reign of Iron: The Story of the first Battling Ironclads, the Monitor and the Merimack_, Perennial, 2004
Paine: Lincoln P. Paine, _Ships of the World_ (Houghton Mifflin, 19970
Preston: Antony Preston, _Battleships_, Gallery, 1981
Wood-BL: John Taylor Wood, Colonel, C.S.A., "The battle was a drawn one: The first fight of iron-clads," article in Clarence C. Buel and Robert U. Johnson, editors, _Battles and Leaders of the Civil War_, four volumes, 1888. For convenience of transport, I used the version of the article printed in the abbreviated one-volume edition "edited" (read: hacked down almost to uselessness) by Ned Bradford, 1956; page references are to the 1979 Fairfax Press edition.  Wood was a lieutenant on the _Virginia_ before joining the Confederate army.
Woodworth: Steven E.Woodworth, _Nothing But Victory: The Army of the Tennessee 1861-1865_, Vintage, 2005
- RBW
Broadside LOCSinging sb10061b: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: LA18
===
NAME: Cumberland Gap
DESCRIPTION: Stories of the settlement of Cumberland Gap. Texts may have a variety of verses, about exploration or the Civil War. The chorus is diagnostic: "Lay down boys and take a little nap; (Fourteen miles to the) Cumberland Gap."
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Uncle "Am" Stuart, followed in the same year by recordings by Land Norris, Gid Tanner & Riley Puckett)
KEYWORDS: exploration settler Civilwar dancing dancetune
HISTORICAL_REFERENCES: 1750 - Thomas Walker explores and names Cumberland Gap
Jun 18, 1862 - Union troops under G.W. Morgan occupy the Gap after James Rains (who is outnumbered by two to one) evacuates the pass
Sep 17, 1862 - Morgan evacuates the Gap, his retreat having been cut off by Bragg's and Kirby Smith's campaigns in Kentucky
Oct 22, 1862 - Confederate troops from Braxton Bragg's army occupy the Gap
Sept 10, 1863 - Confederates forced from the Gap by troops under Burnside. The Gap will remain in Union hands thereafter
FOUND_IN: US(Ap,SE,So)
REFERENCES: (10 citations)
Randolph 498, "Cumberland Gap" (1fragment)
BrownIII 329, "Cumberland Gap" (1 text)
Fuson, pp. 176-178, "Cumberland Gap" (1 text)
Silber-CivWar, pp. 62-63, "Cumberland Gap" (1 text, 1 tune)
Lomax-ABFS, pp. 274-276, "Cumberland Gap" (1 text, 1 tune, composite)
Lomax-FSNA 80, "Cumberland Gap" (1 text, 1 tune)
Arnett, p. 31, "Cumberland Gap" (1 text, 1 tune)
Botkin-SoFolklr, p. 714, "Cumberland Gap" (1 text, 1 tune)
PSeeger-AFB, p. 67, "Cumberland Gap" (1 text, 1 tune)
Silber-FSWB, p. 49, "Cumberland Gap" (1 text)
ST R498 (Partial)
Roud #3413
RECORDINGS:
Dock Boggs, "Cumberland Gap" (on Boggs3, BoggsCD1)
Jack Burchett, "Cumberland Gap" (on WatsonAshley01)
Rufus Crisp, "Cumberland Gap" (on Crisp01)
The Hillbillies, "Cumberland Gap" (Vocalion 5024, rec. 1926)
Frank Hutchison, "Cumberland Gap" (OKeh 45570, 1932; rec. 1929)
Buell Kazee, "Cumberland Gap" [fragment] (on Kazee01)
Land Norris, "Cumberland Gap" (OKeh 40212, 1924)
Fiddlin' Powers and Family, "Cumberland Gap" (Victor, unissued, 1924)
Don Reno & Red Smiley, "Cumberland Gap" (King 5002, c. 1956)
Fiddlin' Doc Roberts Trio, "Cumberland Gap" (Conqueror 8239, 1933)
Rutherford & Burnett, "Cumberland Gap"  (Gennett 6706/Supertone 9310 [as Southern Kentucky Mountaineers], 1929 -- a primarily instrumental version; on BurnRuth01, KMM)
Pete Seeger, "Cumberland Gap" (on PeteSeeger07, PeteSeeger07a)
Arthur Smith, "Cumberland Gap" (on McGeeSmith1)
Uncle "Am" Stuart, "Cumberland Gap" [instrumental] (Vocalion 5035/Vocalion 14839, 1924)Gid Tanner & Riley Puckett, "Cumberland Gap" (Columbia 245-D, 1924)
Gid Tanner & His Skillet Lickers, "Cumberland Gap" (Columbia 15303-D, 1928)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Medley: Cumberland Gap/Gid Tanner's Bucking Mule/Hen Cackle" (on DownYonder)
Wade Ward, "Cumberland Gap" [instrumental] (on Holcomb-Ward1)
Williamson Bros. & Curry "Cumberland Gap" (OKeh 45108, 1927)
CROSS_REFERENCES:
cf. "Bonnie George Campbell" [Child 210] (tune)
cf. "Dogget's Gap"
NOTES: This melody is played as a dance tune throughout the southeast. - PJS
Fuson's unusually long text has also been heavily localized: "September morn in Sixty-two... Morgan's 'Yankee' all withdrew." "They burned the hay, the meal, and meat... And left the rebels nothing to eat." "Braxton Bragg with his rebel band... He run George Morgan to the bluegrass land."
Union general George W. Morgan (1820-1893) had occupied the Gap on June 18, 1862 with a division after the oversized brigade of James E. Rains withdrew. (Rains, incidentally, did his own burning of stores as he pulled out.)
In September 1862, though, two Confederate armies under Braxton Bragg and Edmund Kirby Smith were moving into Kentucky (the Perryville campaign). Kirby Smith's force threatened Morgan's communications, and on September 17, he conducted an orderly evacuation. There was no battle, but it would be another year before the Union recaptured the Gap. - RBW
File: R498
===
NAME: Cumberland Mountain Bear Chase: see The Bear Chase (File: LoF081)
===
NAME: Cumberland Traveller, The
DESCRIPTION: "Dear wife I hope this you will find In health of body and of mind And my dear babes whom I adore I live in hopes to see once more." The singer, who has left home for Cumberland, advises his wife, asks guidance of God, and hopes for peace for Cumberland
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown), from a manuscript apparently dated 1839
KEYWORDS: travel home husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 515, "The Cumberland Traveller" (1 damaged text)
NOTES: This may not be a song; it was found in a barely-legible nineteenth century manuscript book. - RBW
File: Br3515
===
NAME: Cumberland, The [Laws A26]
DESCRIPTION: The crew of the Cumberland, attacked by the CSS Virginia/Merrimac, fight back as best they can, though their shot bounces off the Confederate's armored hull. The Cumberland fights until it is rammed and sunk and goes down with all flags flying
AUTHOR: unknown
EARLIEST_DATE: 1916 (Good Old Time Songs #4; 19C (broadside, LOCSinging cw102120)
KEYWORDS: Civilwar ship
HISTORICAL_REFERENCES: March 8, 1862 - U.S. frigates Congress and Cumberland sunk by the CSS Virginia (formerly USS Merrimack). The Minnesota runs aground; had not the Monitor arrived the next day, the Merrimac would have sunk that ship also
FOUND_IN: US(MA,SE) Canada(Mar,Newf,Ont)
REFERENCES: (7 citations)
Laws A26, "The Cumberland"
FSCatskills 16, "The 'Merrimac'" (1 text, 1 tune)
Warner 11, "The Cumberland and the Merrimac" (1 text, 1 tune)
Peacock, pp. 909-910, "The Cumberland and the Merrimac" (1 text, 1 tune)
BrownII 225, "The Cumberland" (1 text plus extensive excerpts from a broadside version)
Creighton-NovaScotia 131, "Maggie Mac" (1 text, 1 tune)
DT 597, CUMBMERR*
Roud #630
RECORDINGS:
Orlo Brandon, "The 'Merrimac'" (on GreatLakes1)
"Yankee" John Galuha, "The Cumberland and the Merrimac" [excerpt] (on USWarnerColl01)
BROADSIDES:
LOCSinging, cw102120, "The Good Ship Cumberland," A. W. Auner (Philadelphia), 19C; also cw102130, "Good Ship Cumberland" 
CROSS_REFERENCES:
cf. "The Cumberland Crew" [Laws A18] (subject)
cf. "Iron Merrimac" (subject)
SAME_TUNE:
Raging Canal (per broadsides LOCSinging cw102120 and cw102130)
ALTERNATE_TITLES:
Good Ship Cumberland
Cumblom
NOTES: For historical background on this song, see the notes to "The Cumberland Crew" [Laws A18].
To tell this song from "The Cumberland Crew," refer to this text: 
Come all my jolly seamen, likewise you landsmen too.
It is a dreadful story I will unfold to you.
It's all about the Cumberland, the ship so true and brave,
And it's many the loyal seamen that met a wat'ry grave.
 ...
Was early in the morning, just at the break of day,
When our good ship the Cumberland lay anchored in the bay (cj.)
When a man from our masthead to those below did cry (cj.)
"There's something up to windward like a housetop I espy." - RBW
File: LA26
===
NAME: Cumberland's Crew, The: see The Cumberland Crew [Laws A18] (File: LA18)
===
NAME: Cunning Cobbler, The: see The Little Cobbler (File: CoSB224)
===
NAME: Cunnla: see Connla (File: DTcunnld)
===
NAME: Cup o Tay, The
DESCRIPTION: The singer praises the virtues of "a gintale (genteel) cup o' tay": "Och, prate about your wine, or poteen mighty fine, There's no such draught as mine." Whiskey makes the head sore, but tea brings good company. The singer thanks the Chinese for it
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: nonballad drink
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H489, p. 48, "The Cup o' Tay" (1 text, 1 tune)
O'Conor, p. 7, "A Cup O' Tay" (1 text)
Roud #13362
File: HHH489
===
NAME: Cup of Cold Poison, The: see Lord Randal [Child 12] (File: C012)
===
NAME: Cupid Benighted
DESCRIPTION: On a rainy night, the singer is awakened by a knocking at the door. It proves to be a winged boy with a bow (obviously Cupid). Once dry, he departs, saying, "My bow is not damaged / Nor yet is my dart / but you will have trouble / In bearing the smart"
AUTHOR: unknown
EARLIEST_DATE: 1815 (The Songster's Companion)
KEYWORDS: supernatural gods
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Olney, pp. 180-183, "The White-Headed Boy" (1 traditional text plus the Songster's Companion version; also a copy of Derby's translation of Anacreon)
ST FO180 (Partial)
Roud #4688
NOTES: Helen Flanders believes this piece to be based on the third Ode of Anacreon (floriut sixth century B.C.E.) The theme is obviously similar; presumably some broadside brought the song to popular consciousness.
Spaeth reports a piece by [Samuel?] Arnold called "Cupid Benighted," from 1795; I assume they are the same, but cannot prove it. - RBW
File: FO180
===
NAME: Cupid the Plowboy [Laws O7]
DESCRIPTION: The singer sees a youth breaking up the soil. (She calls him "Cupid the plowboy,") imagines his farm tools to be Cupid's arrows, and confesses that seeing "Cupid" has driven her current love from her mind. The plowboy hears her lament and offers marriage
AUTHOR: unknown
EARLIEST_DATE: before 1844 (broadside, Bodleian Harding B 11(773))
KEYWORDS: love marriage work
FOUND_IN: US(So) Canada(Newf) Britain(England(Lond,North,South))
REFERENCES: (4 citations)
Laws O7, "Cupid the Plowboy"
Greenleaf/Mansfield 79, "The Plowboy" (1 text)
Randolph 85, "Lone the Plow-Boy" (1 text, 1 tune)
DT 472, LONEPLOW
Roud #986
BROADSIDES:
Bodleian, Harding B 11(773), "Cupid, the Pretty Ploughboy" ("As I walk'd out one May morning"), J. Howe (Hull), 1835-1843; also Harding B 25(457), Firth c.18(231), "Cupid the Pretty Ploughboy"; Harding B 17(67a), "Cupid the Pretty Plough Boy"; Harding B 11(772), Firth c.18(169), "Cupid the Pretty Plough-boy" 
CROSS_REFERENCES:
cf. "The Rich Lady Gay" (plot)
File: LO07
===
NAME: Cupid's Garden (I) (Covent Garden I; Lovely Nancy III)
DESCRIPTION: The singer wanders down to (Cupid's/Covent) Garden and meets (lovely Nancy). He asks her if she will marry him. She says she will remain a virgin and/or she has another lover. He hopes to return and marry her
AUTHOR: unknown
EARLIEST_DATE: 1767 (Journal from the Leopart)
KEYWORDS: sailor love courting rejection
FOUND_IN: Britain(England(North)) Canada(Mar)
REFERENCES: (3 citations)
Huntington-Whalemen, pp. 90-92, "Covent Garden"; pp. 92-94, "Cupid's Garden" (2 texts, 1 tune)
Stokoe/Reay, pp. 186-187, "'Twas Down in Cupid's Garden" (1 text, 1 tune)
DT, CUPIDGRD*
Roud #297
BROADSIDES:
Bodleian, Harding B 28(40), "Cupid's Garden" or "The 'Prentice Boy," W. Armstrong (Liverpool), 1820-1824; also Firth c.12(291), 2806 c.17(85), Harding B 28(137), Harding B 15(77b), Johnson Ballads 491, "Cupid's Garden", Harding B 20(119) , "Cupid's Garden" or "The Laurel Wear" ("It was down in Covent Garden "), J. Harkness (Preston), 1840-1866, Harding B 28(255), "Laurel Wear" ("Its down in Cupid's garpen [sic] for pleasure I did go")
LOCSinging, sb30414b, "The 'Prentice Boy," J. Andrews (New York), 1853-1859; also as111300, as111310, "The 'Prentice Boy" 
NOTES: The versions of this text I have seen are, without exception, confused. The above plot summary is the best I can come up with.
Laws M12, "The Apprentice Boy," displays versions with this title, and both are about sailors and their loves. It's just possible that this is a badly damaged form of the Laws ballad. But I incline to think this is a separate song. - RBW
Broadside LOCSinging sb30414b: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: SWMS090
===
NAME: Cupid's Garden (II): see The Apprentice Boy [Laws M12] (File: LM12)
===
NAME: Cupid's Trepan (Cupid's Trappan, The Bonny Bird)
DESCRIPTION: "Once did I love a bonny brave bird, And thought he had been all my own, But he lov'd another far better than me, And has taken his flight and is flown." The jilted lover in turn has turned to another, leaving the first lover lonely
AUTHOR: unknown
EARLIEST_DATE: 1729
KEYWORDS: love separation
FOUND_IN: 
REFERENCES: (1 citation)
Chappell/Wooldridge II, pp. 149-150, "Cupid's Trepan" (1 tune, partial text)
ST ChWII149 (Full)
Roud #293
SAME_TUNE:
The Bonny Young Irish Boy [Laws P26] (File: LP26)
Of late I did hear a young man domineer/The Milkmaid's Resolution (BBI ZN2108)
I am a young man that do follow the plow/The Plowman's Art in Wooing (BBI ZN1240)
Of late did I hear a young damsel complain/Young Man put to his shifts (BBI ZN2107)
Once did I love and a very pretty Girl/The Batchellors Fore-cast..an Answer to Cupids Trappan (BBI ZN2160)
NOTES: This set of words clearly is of broadside origin (though likely  inspired by a song of the "Dear Companion" type). But the evidence of the broadsides indicates that the tune, at least, entered oral tradition. I'm indexing it on that basis.
A "trepan" (trappan) is a trick or, by extension, a trickster. Thus Cupid's trepan is a trick played by Cupid on a lover.
Although it is also possible to take "Trepan" as "Trapan," which was the kidnapping of children and sending them as servants to the colonies. There is, e.g., a song (probably of broadside origin) of "The Trapann'd Maiden," quoted by Samuel Eliot Morison in _The Oxford History of the American People_, p. 83, about a girl taken and sent to Virginia. Thus this song may even have links to songs such as "Australia (Virginny)."
Roud lumps this with all sorts of songs, I assume on the basis of tune. - RBW
File: ChWII149
===
NAME: Curly Head of Hair
DESCRIPTION: The singer at first rejoices in his head of hair, even though it has brought him unwanted attention from apes and bears. But now he has a scolding wife, who often twists his hair, and he resolves to go and have the hair cut
AUTHOR: unknown
EARLIEST_DATE: 1969 (Warner)
KEYWORDS: hair humorous
FOUND_IN: US(MA,NE)
REFERENCES: (1 citation)
Warner 39, "Curly Head of Hair" (1 text, 1 tune)
ST Wa039 (Partial)
Roud #2804
File: Wa039
===
NAME: Curragh of Kildare, The
DESCRIPTION: "Oh, the winter it has passed, And the summer's come at last, The small birds are singing in the trees." The birds are glad, but the singer is weary of being apart from his love and will set out for the Curragh of Kildare to learn of her.
AUTHOR: unknown
EARLIEST_DATE: 1788 (Rewritten by Burns as "The Winter It Is Past"; _Scots Musical Museum_ #200); the song apparently was known to Herd
KEYWORDS: love separation bird
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
BarryEckstormSmyth pp. 291-293, "The Braes of Yarrow" (1 short text plus a fragment, 1 tune; the "A" text is a composite lost love song with single stanzas from "The Braes o Yarrow," "The Curragh of Kildare," and others beyond identification; as a whole it cannot be considered a version of Child #214) {Bronson's #37}
Karpeles-Newfoundland 54, "The Winter's Gone and Past" (1 text, 1 tune)
DT, CURRKILD*
Roud #583
BROADSIDES:
Bodleian, Harding B 28(176), "Young Johnson" ("Cold winter's gone and past"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(635), Harding B 16(54c), Harding B 16(55a), Harding B 25(394), Harding B 11(636), "Cold Winter is Past"; Harding B 28(236), "Cold Winter"; Harding B 17(54a), "Cold Winter" or "Young Johnson"; Harding B 20(53), "Cold Winter's Gone and Past"
CROSS_REFERENCES:
cf. "Forglen (Forglen You Know, Strichen's Plantins)" (lyrics, form)
NOTES: Roud lumps a great many "cold winter is passed" type pieces under his #583 -- an understandable decision, given the state of the pieces. We try to restrict this item to "The Curragh of Kildare" and "The Winter It Is Past," filing the others separately
Which form is actually earliest I don't know with certanty; I called the piece "The Curragh of Kildare" rather than "The Winter It Is Past," even though the latter form seems better-attested, to make it clear that the Burns version is *not* original. - RBW
Broadside Bodleian Harding B 16(55a), among others, refers to "the borough of Kildare" rather than "the curragh of Kildare." - BS
The "winter is past" lyric may have been suggested by Song of Solomon 2:11 (a scrap which has been set to music on occasion by classical composers), but this is at best only a possibility; the parallel is slight.
Slightly closer is the parallel to one of John Gower's early French ballades (I'm not sure which one; I have only a translation, found in Garnett and Gosse's _English Literature: An Illustrated Record_, pp. 184-185 with no catalog indication), since it mentions not only the passing of winter but the rejoicing of birds, and it's a lost love piece. But while the one may have suggested the other, I doubt real dependence. - RBW
File: DTcurrki
===
NAME: Currency Lasses, The: see Botany Bay Courtship (The Currency Lasses) (File: FaE068)
===
NAME: Curse of Doneraile, The: see The Doneraile Litany (File: CrPS176)
===
NAME: Curst Wife, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Curtains of Night: see When the Curtains of Night Are Pinned Back (File: San259)
===
NAME: Cushnie Winter Sports, The
DESCRIPTION: [After Jean Adam was hurt] Dauvid Ferries was "doctor till the doctor cam'." Effie Milne "swore she wad the laddie kill." If we affront Effie, "Willie Forbes'll gie's a dunt." Rachie would go no more "for fear o' getting her ... laid bare"
AUTHOR: unknown
EARLIEST_DATE: 1917 (GreigDuncan3)
KEYWORDS: sports humorous nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 648, "The Cushnie Winter Sports" (1 fragment)
Roud #6071
NOTES: GreigDuncan3 quoting a 1906 letter to Duncan: "During the course of a very hard and long winter, men and women met near Mains of Cushnie to enjoy an hour's fun -- tobogganing -- more than a hundred years ago. A song was composed about it. I give fragments." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Cushnie (648) is at coordinate (h1,v5) on that map [near Alford, roughly 28 miles W of Aberdeen]. - BS
File: GrD3648
===
NAME: Custard Pie Blues
DESCRIPTION: "I'm going to tell you something baby, Ain't gonna tell you no lies, I want some of that custard pie. You got to give me some of it (x3) Before you give it all away." The singer informs the woman that she has the best pie in the world, and requests part
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: sex nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 129-130, "(Custard Pie Blues)" (1 text)
File: CNFM129
===
NAME: Custer's Last Charge (I)
DESCRIPTION: Custer leads his men into battle against the Sioux; a fierce scene is described, with bullets flying and dead falling on both sides. Three hundred US soldiers are killed and scalped by the Indians, who leave Custer with his dead
AUTHOR: unknown
EARLIEST_DATE: 1930
KEYWORDS: army battle fight violence war death corpse soldier Indians(Am.)
HISTORICAL_REFERENCES: June 25, 1876 - Battle of the Little Bighorn. Lt. Colonel George A. Custer (who had been a Major General during the Civil War) is killed, along with the entire force of cavalry (five companies with somewhat over 250 men) with him.
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Warde Ford, "Custer's Last Charge" (AFS 4199 B1, 1938; tr.; on LC30, in AMMEM/Cowell)
CROSS_REFERENCES:
cf. "The Last Fierce Charge" [Laws A17] (subject)
NOTES: This is a separate song from "The Last Fierce Charge," although [some versions of] both describe the battle of the Little Bighorn. Confusingly, some versions of "The Last Fierce Charge" share this song's title. (And Roud lumps them, perhaps for that reason.) They can be distinguished by the description of two men and a letter, which is present in "The Last Fierce Charge" but not in "Custer's Last Charge."
Warde Ford states that the words to this song were copied from the Custer Monument by his friends Robert & Charles Walker, and that the tune is generic; I do not have information to confirm this. - PJS
File: RcCLC
===
NAME: Custer's Last Charge (II): see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Cuttie's Wedding
DESCRIPTION: Big Cuttie will get "a little wifie." He goes to the town pasture [drunk?], "fell oer the midden" and lost his shoe. He says "Monie ane's be at our weddin'." "Busk and go to Cuttie's weddin' Wha wad be the lass or lad That wadna gang an they were bidden?"
AUTHOR: unknown
EARLIEST_DATE: 1828 (Peter Buchan, _Ancient Ballads and Songs of the North of Scotland_, according to Whitelaw)
KEYWORDS: wedding clothes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
GreigDuncan3 608, "Cuttie's Weddin'" (1 fragment, 2 tunes)
ADDITIONAL: Alexander Whitelaw, A Book of Scottish Song (Glasgow, 1845), p. 311, "Busk and Go, Busk and Go"
Roud #3357
File: GrD3608
===
NAME: Cutting Down the Pines: see The Lumber Camp Song (File: Doe210)
===
NAME: Cutty Wren, The
DESCRIPTION: Milder asks Malder questions ("Oh where are you going? says Milder to Malder"). Festle replies to Fose with a refusal to answer. John the Red Nose answers the questions. Most of the answers are extravagant ways of hunting the wren
AUTHOR: unknown
EARLIEST_DATE: 1908 (Mason's "Nursery Rhymes and Country Songs")
KEYWORDS: wren hunting questions talltale
FOUND_IN: Wales Britain(England)
REFERENCES: (5 citations)
Kennedy (78), "Helg yn Dreean/Hunt the Wren" (1 text, located in the notes)
Greenway-AFP, pp. 110-111, "The Cutty Wren" (1 text)
Darling-NAS, pp. 91-92, "The Cutty Wren" (1 text)
Silber-FSWB, p. 347, "The Cutty Wren" (1 text)
DT, CUTYWREN*
Roud #236
CROSS_REFERENCES:
cf. "The Wren (The King)" (subject)
cf. "Billy Barlow" (form)
cf. "Cricketty Wee" (form)
cf. "Hunt the Wren" (form, subject)
cf. "The Green Bushes" [Laws P2] (tune)
NOTES: Although widely popular in revival circles, "The Cutty Wren" has not been all that popular in tradition, being confined to places such as Wales, the Isle of Man, and northern England. The style (of distinct speakers carrying a conversation in order) is more common; see the cross-references.
Many have identified "Billy Barlow," "Cricketty Wee," or (especially) "Hunt the Wren" with "The Cutty Wren," but while the form is similar, and in the latter case even the subject is the same, the plot is distinct enough that the Index splits them.
For a little information, and a lot of speculation, on the history of wrenning, see the notes to "The Wren (The King)." - RBW
Opie-Oxford2 447, "We will go to the wood, says Robin to Bobbin" [also] gives background references about hunting the wren. - BS
File: DTcutywr
===
NAME: Cyclone Blues: see Kansas Cyclone (File: RcKansCy)
===
NAME: Cyclone of Rye Cove, The
DESCRIPTION: A tornado strikes the town of Rye Cove, and the schoolhouse is destroyed. Parents search the rubble, finding the bodies of their children.
AUTHOR: A. P. Carter (?)
EARLIEST_DATE: 1929 (recording, Carter Family)
KEYWORDS: grief death disaster storm
HISTORICAL_REFERENCES: 1928 - the Rye Cove storm in Scott County, Virginia
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
DT, RYECOVE
Roud #7116
RECORDINGS:
Carter Family, "The Cyclone of Ryecove" (Victor V-40207, 1930; Montgomery Ward M-7023, 1936; Zonophone [Australia] 4322, n.d.; rec. 1929)
DeBusk-Weaver Family, "Cyclone of Rycove" (on DeBusk-Weaver1)
Asa Martin, "Ryecove Cyclone" (Oriole 8163/Conqueror 8068 [as Martin & Roberts], 1932)
New Lost City Ramblers, "The Cyclone of Rye Cove" (on NLCR13)
File: DTryecov
===
NAME: D & H Canal, The
DESCRIPTION: (After an unrelated opening stanza), the song describes a flood which hit the canal in 1878. "The embankment broke" and "the damage was terrific"; the rest of the song details some of the damage done
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: canal flood
HISTORICAL_REFERENCES: 1828 - Opening of the Delaware & Hudson Canal
1898 - The D & H Canal closes
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 172, "The D & H Canal" (1 text, 1 tune)
ST FSC172 (Partial)
CROSS_REFERENCES:
cf. "Pop Goes the Weasel" (tune) and references there
cf. "Sarah Jane" (tune, floating lyrics)
File: FSC172
===
NAME: D-2 Horse Wrangler: see The Horse Wrangler (The Tenderfoot) [Laws B27] (File: LB27)
===
NAME: D-Day Dodgers, The
DESCRIPTION: "We're the D-Day Dodgers, out in Italy, Always on the vino, Always on the spree." The soldiers describe their allegedly safe and luxurious life: "Salerno, a holiday with pay," etc. They point out the nonsense of Lady Astor's remarks
AUTHOR: Hamish Henderson?
EARLIEST_DATE: 
KEYWORDS: war battle death
HISTORICAL_REFERENCES: July 10, 1943 - British and American troops attack Sicily (Messina falls on August 17, but the Germans have evacuated)
Sept 9, 1943 - Allies invade the Italian mainland
June 4, 1944 - Allies enter Rome
June 6, 1944 - D-Day. Invasion of Normandy begins
FOUND_IN: 
REFERENCES: (3 citations)
Scott-BoA, pp. 358-359, "D-Day Dodgers" (1 text, 1 tune)
Silber-FSWB, p. 282, "The D-Day Dodgers" (1 text)
DT, DDAY*
Roud #10499
RECORDINGS:
Pete Seeger, "The D-Day Dodgers" (on PeteSeeger39)
CROSS_REFERENCES:
cf. "Lili Marlene" (tune)
NOTES: Lady Astor, an American-born member of the British parliament, was reported to have criticised the Allied armies in Italy as "D-Day Dodgers." In fact they were some of the hardest-suffering troops of the war; they fought well-entrenched Germans and never received enough equipment or reinforcements. The troops in Normandy were, comparatively, lucky; casualties were lighter and conditions were better.
This song is how the troops answered Lady Astor.
The Folksinger's Wordbook credits this to Hamish Henderson, which is possible, as he wrote other "anonymous" songs of World War II. But I know of no actual proof, and many authors treat the song as anonymous. - RBW
File: SBoA358
===
NAME: D'ou Viens-Tu, Bergere?
DESCRIPTION: French: "'Where did you come from, shepherd girl?' 'I came from the stable... I saw a little child... Fairer than the moon... There his mother Mary did her babe enfold... Ox and ass before him... Then came three bright angels.'"
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: Christmas Jesus religious foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 126-127, "D'ou Viens-Tu, Bergere" (1 text, 1 tune)
Fowke/MacMillan 42, "D'ou Viens-Tu, Bergere?" (1 English and 1 French text, 1 tune)
NOTES: This is one of those Christmas songs built mostly around legends. There was no evidence that Bethlehem was cold at the time Jesus was born (for that matter, there is no evidence that it was in December), nor even that there were animals in his immediate vicinity. - RBW
File: FJ126
===
NAME: D'ye Ken John Peel?
DESCRIPTION: "Do ye ken John Peel with his coat so gray? Do ye ken John Peel at the break of day?" The singer talks of Peel's frequent hunting expeditions, detailing even his hounds. The singer will "follow John Peel through fair and through foul"
AUTHOR: Words: John Woodcock Graves / Music: Traditional
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: hunting dog
FOUND_IN: 
REFERENCES: (4 citations)
Stokoe/Reay, pp.  108-109, "D'ye Ken John Peel?" (1 text, 1 tune)
Silber-FSWB, p. 208, "John Peel" (1 text)
DT, JOHNPEEL*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #143, "John Peel" (1 text)
Roud #1239
CROSS_REFERENCES:
cf. "The Horn of the Hunter" (subject)
NOTES: Written by Graves to celebrate his friend John Peel. The tune is said to be "Bonnie Annie."
John Peel is not to be confused with the prime minister Sir Robert Peel (who created the "Peelers"). Born in 1776, John Peel lived until 1854, and "for over 40 years ran the famous pack of hounds that bore his name."
According to Stokoe, Graves (1795-1886) wrote the song while in the company of Peel. This would date the song before 1833, in which year Graves emigrated to Tasmania. - RBW
File: FSWB208
===
NAME: Da's All Right, Baby
DESCRIPTION: Patting chant. "Da's all righ', honey (x2), Way up yonder, darlin', 'Bove the sun, sugar, Girls all call me honey." Odds and ends about courting. The singer warns that yonder girl will "git you too."  He is going away someday
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love courting nonballad betrayal
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 239-240, "Da's All Right, Baby" (1 text, 1 tune)
Roud #15037
File: LxA239
===
NAME: Dabbling in the Dew: see Rolling in the Dew (The Milkmaid) (File: R079)
===
NAME: Daddy Wouldn't Buy Me a Bow-Wow
DESCRIPTION: The child regularly brings her cat to school because, she explains, "Daddy wouldn't buy me a bow-wow." She intends to do as she "'likes'" when she gets old, and have a parrot and children.
AUTHOR: Joseph Tabrar
EARLIEST_DATE: 1927
KEYWORDS: animal dog children
FOUND_IN: 
REFERENCES: (1 citation)
Spaeth-WeepMore, pp. 258-259, "Daddy Wouldn't Buy Me a Bow-Wow" (1 text, 1 tune)
Roud #13973
NOTES: It's songs like this that make me wish we had a keyword "stupid." But the piece proved much more popular than it deserved, so here it is. - RBW
File: SWM258
===
NAME: Daemon Lover, The (The House Carpenter) [Child 243]
DESCRIPTION: A girl who once loved a sailor is greeted by her lost lover (, now rich and powerful). He bids her come with him; she points out that she is married and has a child. He convinces her to come with him. Their ship sinks not far from land
AUTHOR: unknown
EARLIEST_DATE: 1737
KEYWORDS: courting infidelity abandonment Devil death
FOUND_IN: Britain(Scotland(Aber),England(South)) US(Ap,MA,MW,NE,NW,SE,So,SW) Canada(Mar,Newf)
REFERENCES: (50 citations)
Child 243, "James Harris (The Daemon Lover)" (8 texts)
Bronson 243, "James Harris (The Daemon Lover)" (146 versions+1 in addenda)
GreigDuncan2 332, "James Harris" (1 text, 1 tune) {Bronson's #134}
BarryEckstormSmyth pp. 310-313, "The House Carpenter" (1 text plus a fragment and a broadside version, 1 tune) {Bronson's #53}
Belden, pp. 79-87, "James Harris (The Daemon Lover)" (4 texts plus mention of 5 others, 2 tunes) {Bronson's #106, #124}
Randolph 30, "The House Carpenter" (4 texts plus 7 excerpts and 5 fragments, 8 tunes) {A=Bronson's #117, B=#114, E=#99, I=#122, J=#90, M=#5, N=#101, P=#97}
Randolph/Cohen, pp. 54-56, "The House Carpenter" (1 text, 1 tune -- Randolph's 30J) {Bronson's #90}
Eddy 23, "James Harris (The Daemon Lover)" (4 texts plus an excerpt, 4 tunes) {Bronson #121,#125,#55,#95}
Gardner/Chickering 10, "The House Carpenter" (2 texts plus an excerpt, 3 tunes) {Bronson's #131, #66, #128}
Dean, pp. 55-56, "The Faithless Wife" (1 text)
Flanders/Olney, pp. 243-244, "The Young Turtle Dove" (1 text, with an introductory "Turtle Dove" verse)
Flanders-Ancient3, pp. 287-321, "James Harris, or the Daemon Lover" (13 texts plus 3 fragments, some mixed with other songs (e.g. "G" has the "Turtle Dove" verse; "N" is very confused, with references to the Banks of Claudy), 11 tunes) {A=Bronson's #93, N=#141}
Davis-Ballads 40, "James Harris (The Daemon Lover)" (27 texts plus two versions in the appendix which are "Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove)" with added "House Carpenter" verses; 7 tunes all entitled "The House Carpenter"; 23 more versions mentioned in Appendix A) {Bronson's #139,#42,#86,#62,#137,#52,#89}
Davis-More 36, pp. 270-289, "James Harris (The Daemon Lover)" (9 texts plus an excerpt, 10 tunes)
BrownII 40, "James Harris (The Daemon Lover)" (5 text plus 7 excerpts and mention of 2 more)
Chappell-FSRA 18, "The Demon Lover" (1 text, 1 tune) {Bronson's #94}
Hudson 21, pp. 119-122, "James Harris (The Daemon Lover)" (2 texts)
MHenry-Appalachians, pp. 59-61, "The House Carpenter" (1 text)
Shellans, pp. 30-31, "The House Carpenter" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 150-159, "James Harris (The Daemon Lover)" (6 texts, all of which are entitled "The House Carpenter"; 3 tunes on pp. 400-401) {Bronson's #64, #58, #25}
Brewster 21, "James Harris" (9 texts, 2 tunes) {Bronson's #93, #127}
Peacock, pp. 740-741, "The Young Ship's Carpenter" (1 text, 1 tune)
Creighton-SNewBrunswick 5, "The House Carpenter" (1 text, 1 tune)
Leach, pp. 598-606, "James Harris (The Daemon Lover)" (4 texts)
McNeil-SFB2, pp. 122-131, "The House Carpenter's Wife"; "The House Carpenter"; "J'ai Marie un Ouvrier" (4 texts (1 Cajun French), 4 tunes)
OBB 28, "The Daemon Lover" (1 text)
Friedman, p. 13, "James Harris (The Demon Lover; The House Carpenter)" (2 texts, 1 tune)
Wyman-Brockway II, p. 54, "The Daemon Lover" (1 text, 1 tune) {Bronson's #91}
Ritchie-Southern, pp. 84-85, "The Little Carpenter" (1 text, 1 tune) {compare Bronson's #44, from a recording, showing a slightly different tune but almost the same text except that it is a "House Carpenter" rather than a "Little Carpenter"}
FSCatskills 74, "The Ship's Carpenter" (1 text, 1 tune)
Warner 45, "The Ship Carpenter" (1 text, 1 tune)
PBB 65, "James Harris (The Demon Lover)" (1 text)
Niles 55, "James Harris (The Daemon Lover" (1 text, 1 tune)
SharpAp 35, "The Daemon Lover" (10 texts plus 12 fragments, 22 tunes){Bronson's #2, #10, #54, #77, #113, #135, #23, #7, #29, #14, #109a, #50, #9, #65, #6, #36, #21, #48, #80, #74, #81, #136}
Sharp/Karpeles-80E 25, "The House Carpenter (The Daemon Lover)" (1 text, 1 tune) {Bronson's #9}
Sandburg, pp. 66-67, "The House Carpenter" (1 text, 1 tune) {Bronson's #118}
Lomax-FSNA 88, "The House Carpenter" (1 text, 1 tune)
Hodgart, p. 75, "James Harris (The Demon Lover)" (1 text)
JHCox 25, "James Harris (The Daemon Lover)" (5 texts plus mention of 16 others, 1 tune) {Bronson's #120}
JHCoxIIA, #12A-D, pp. 48-56, "The House Carpenter," "The House Carpenter's Wife" (4 texts, 3 tunes) {Bronson's #32, #83, #130}
Fowke/MacMillan 81, "The House Carpenter" (1 text, 1 tune)
TBB 34, "The Daemon Lover" (1 text)
Gilbert, pp. 35-36, "The House Carpenter and the Ship Carpenter" (1 text)
Abrahams/Foss, pp. 25-27, "The House Carpenter" (1 text, 1 tune)
LPound-ABS, 17, pp. 43-45, "The House Carpenter" (1 text)
Darling-NAS, pp. 34-36, "The House Carpenter" (1 text)
Silber-FSWB, p. 218, "The House Carpenter's Wife" (1 text)
BBI, ZN2466, "There dwelt a fair Maid in the West"
DT 243, HOUSCARP* HOUSCRP2* HOUSCRP3*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 208, "The House Carpenter" (1 text)
Roud #14
RECORDINGS:
Clarence Ashley, "The House Carpenter" (Columbia 15654-D, 1931; rec. 1930; on AAFM1, BefBlues3) {Bronson's #70}
Clarence Ashley & Tex Isley, "The House Carpenter" (on Ashley01)
Pearl Jacobs Borusky, "Well Met, My Old True Love" (AFS, 1940; on LC58) {Bronson's #103}
Sheila Clark, "House Carpenter" (on LegendTomDula)
Carolina Tar Heels, "Can't You Remember When Your Heart Was Mine?" (Victor V-40219, 1930)
Dillard Chandler, "Little Farmer Boy" (on Chandler01)
Rebecca King Jones, "The House Carpenter" [excerpt] (on USWarnerColl01)
Bradley Kincaid, "The House Carpenter" (Bluebird 5255/Sunrise 3338, 1933)
A. L. Lloyd, "The Demon Lover" (on Lloyd3, ESFB1, ESFB2)
Almeda Riddle, "The House Carpenter" (on LomaxCD1706) {Bronson's #71}
Jean Ritchie, "The House Carpenter" (on JRitchie01)
Jean Ritchie & Doc Watson, "The House Carpenter" (on RitchieWatson1, RitchiteWatsonCD1)
Hobart Smith & Texas Gladden, "The House Carpenter" (Disc 6079, 1940s) {Bronson's #47}
Lillie Steele, "The House Carpenter" (on PSteele01) {Bronson's #24}
Doug Wallin, "The House Carpenter" (on Wallins1)
Clay Walters, "The Ship Carpenter" (AFS, 1937; on LC58) {Bronson's #13 or #78}
Annie Watson & Gaither Carlton, "The House Carpenter" (on Watson01)
BROADSIDES:
Bodleian, Harding B 18(255), "House Carpenter," J.H. Johnson (Philadelphia), n.d.
LOCSinging, sb40538b, "The House Carpenter," H. De Marsan (New York), 1864-1878; also as105530, "The House Carpenter" 
NOTES: Although Child calls this "The Daemon Lover," a survey of the 163 versions printed or cited in Bronson shows that 99 are named "The House Carpenter" or minor variants, and several others were probably retitled by the editors. This probably ought to be the family name -- but I adopted the one I did as a partial link to Child. - RBW
Broadside LOCSinging sb40538b: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: C243
===
NAME: Daily Growing: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Dainty Doonby, The
DESCRIPTION: "A lassie was milkin' her faither's kye When a gentleman on horseback he cam' riding by... He was the laird o' the Dainty Doonby." The laird seduces then abandons the girl. Months later, he comes to ask of her health. She is pregnant; he marries her
AUTHOR: unknown
EARLIEST_DATE: 1776 (Herd)
KEYWORDS: courting seduction sex pregnancy nobility abandonment reunion marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Kennedy 179, "The Lady o' the Dainty Doon-by" (1 text, 1 tune)
MacSeegTrav 21, "The Laird of the Denty Doon Bye" (1 text, 1 tune)
DT, DDOONBY*
Roud #864
RECORDINGS:
Lizzie Higgins, "The Laird O' the Dainty Doonby" (on Voice06)
CROSS_REFERENCES:
cf. "The Broom of Cowdenknows" [Child 217] (plot)
cf. "The Wylie Wife of the Hie Toun Hie" [Child 290] (plot)
cf. "The Sleepy Merchant" (plot)
cf. "The Bonnie Parks o' Kilty" (plot)
NOTES: Abby Sale suggests that this is a version of "The Broom of Cowdenknows" [Child 217]. The plots are the much the same (except for the role of the parents, who in "Cowdenknows" are hostile if they show up at all, but here are sympathetic), but the overall form suggests the songs are separate. - RBW
File: K179
===
NAME: Dairy Farmer, The: see Watercresses (File: Peac320)
===
NAME: Daisy Deane
DESCRIPTION: The singer recalls meeting Daisy Deane in a flowery meadow where the birds sang. He recalls that she outshone the flowers. But now both are faded; Daisy is dead
AUTHOR: Lt. T. F. Winthrop & James R. Murray
EARLIEST_DATE: 1863 (sheet music)
KEYWORDS: death courting flowers
FOUND_IN: US(SE)
REFERENCES: (1 citation)
McNeil-SFB2, pp. 162-165, "Daisy Deane" (2 texts, one the original print version and the other a field collection; 2 tunes)
ST MN2162 (Partial)
Roud #4269
RECORDINGS:
Grandpa Jones, "Daisy Dean" (King 834, 1949)
NOTES: There is a "Daisy Deane Songster" dated 1869, presumably named after the heroine of his song. This would seem to imply a high degree of popularity for the song, at least for a time. - RBW
File: MN2162
===
NAME: Dakota Land
DESCRIPTION: "We've reached the land of desert sweet Where nothing grows for man to eat." "O Dakota land, sweet Dakota land, As on thy fiery soil I stand, I look across the plains And wonder why it never rains." Settlers stay only because "we are too poor to get away"
AUTHOR: unknown
EARLIEST_DATE: 1914
KEYWORDS: pioneer hardtimes parody
FOUND_IN: US(Ro)
REFERENCES: (7 citations)
Sandburg, pp. 280-281, "Dakota Land" (1 text, 1 tune)
Fife-Cowboy/West 23, "Dakota Land" (3 texts, 1 tune)
Ohrlin-HBT 9, "Dakota Land" (1 text, 1 tune)
LPound-ABS, 86, p. 185, "Dakota Land" (1 text)
Pankake-PHCFSB, p. 155, "Dakotaland" (1 text, tune referenced); pp. 248-249, "Sweet Dakotaland" (1 text, 1 tune, perhaps a parody of this parody!)
Silber-FSWB, p. 119, "Dakota Land" (1 text)
DT, DAKOTLND* SWTDAKOT
Roud #4899
CROSS_REFERENCES:
cf. "Beulah Land" (tune)
cf. "Saskatchewan" (tune, theme)
NOTES: Although the "Dakota Land" form seems to be the most common in tradition, local versions have sprouted for much of the West. Thus the Fifes lists texts for "Dakota Land," "Nebraska Land," and "Missouri Land." "Saskatchewan" also follows this form, but it has been adapted enough that I think it qualifies as a separate song. - RBW
The Pankakes report this to the tune of "O Tannenbaum." I don't recall any other version to that tune. - RBW
File: San280
===
NAME: Dallas County Jail, The: see Logan County Jail (Dallas County Jail)  [Laws E17] (File: LE17)
===
NAME: Dally Roper's Song, The: see The Chisholm Trail (I) (File: R179)
===
NAME: Dalmuir Ploughing Match
DESCRIPTION: Will Aikenhead competes in a ploughing match "in the West Barns of Clyde" and is declared winner after a dispute about timing. The dispute continues after the decision. The old and young class winners are named.
AUTHOR: unknown
EARLIEST_DATE: 1858 (_Dalmuir Ploughing Match_ broadside from Poet's Box, Glasgow, according to GreigDuncan3)
KEYWORDS: contest farming
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #65, p. 1, "The Dalmuir Ploughing Match" (1 text)
GreigDuncan3 427, "Dalmuir Ploughing Match" (1 text)
Roud #5944
CROSS_REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah)" [Laws M31A/B]" (tune, per broadside cited by GreigDuncan3)
File: GrD3427
===
NAME: Dam on Baldwin Creek, The [Laws C21]
DESCRIPTION: Sawmill boss Bill Reed has set up a cofferdam which fails; the sawmill is saved by sandbags placed by Old George Shane. Reed tries to restart the mill too soon; his errors cause him to be replaced by Old George
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: logger flood boss lumbering
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Laws C21, "The Dam on Baldwin Creek"
Beck 30, "The Dam on Baldwin Creek" (1 text)
DT 838, BALDCRK
Roud #1927
NOTES: Beck notes that some versions of this song include a few obscenities. Not [his text], though. - PJS
One can only wish one knew the sources of Beck's information, as his is the only version known to Laws. - RBW
File: LC21
===
NAME: Dame Durden
DESCRIPTION: "Dame Durden kept five servant maids To carry the milking pail, She also kept five lab'ring men To use the spade and flail." The sundry workers are listed, as well as their (amorous) adventures on Valentine's Day
AUTHOR: unknown
EARLIEST_DATE: 1923 (tune and song name in use in America by 1834)
KEYWORDS: courting love work servant
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 293, "Dame Durden" (1 text, 1 tune)
DT, DAMEDURD
Roud #1209
RECORDINGS:
Bob & Ron Copper, "Dame Durden" (on FSB1)
CROSS_REFERENCES:
cf. "Under the Greenwood Tree" (form) and references there
SAME_TUNE:
King Andrew (sheet music in Lawrence, p. 248)
File: K293
===
NAME: Dame, Get Up and Bake Your Pies (Christmas Day in the Morning)
DESCRIPTION: "Dame, get up and bake your pies, Bake your pies, bake your pies, Dame, get up... On Christmas day in the morning." "Dame, what makes your maidens lie?" "Dame, what makes your ducks to die?" "Their wings are cut, they cannot fly."
AUTHOR: unknown
EARLIEST_DATE: 1778 (according to Opie-Oxford2)
KEYWORDS: cook food Christmas bird
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Baring-Gould-MotherGoose #420, pp. 195-196, "(Dame, get up and bake your pies)"
Opie-Oxford2 126, "Dame, get up and bake your pies" (1 text)
Roud #497
File: BGMG420
===
NAME: Damn the Filipinos
DESCRIPTION: "In that land of dopey dreams, happy peaceful Philippines," the singer complains of the hardships suffered by American soldiers and of the lack of social grace of the natives. He calls for "civiliz[ing] them with a Krag" and curses them repeatedly
AUTHOR: unknown
EARLIEST_DATE: 1910 (Harper's Weekly)
KEYWORDS: war rebellion army curse
HISTORICAL_REFERENCES: 1898 - Spanish-American War results in American occupation of the Philippines.
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-ABFS, pp. 547-548, "Damn the Filipinos" (1 text, 1 tune)
DT, DAMFILIP*
Roud #15578
NOTES: During the Spanish-American War, almost the entire population of the Philippines welcomed the Americans as liberators. The Americans didn't live up to their part of the bargain, though; independence was not granted for half a century.
As a result, a strong resistance movement arose under Emilio Aguinaldo (1870-1964). Aguinaldo originally fought against the Spanish (from 1896), then turned against the Americans. He was captured in 1901, but the resistance movement lasted much longer. - RBW
File: LxA547
===
NAME: Damn, Damn, Damn the Filipinos: see Damn the Filipinos (File: LxA547)
===
NAME: Damsel Possessed of Great Beauty, A: see Gallant Hussar, The (A Damsel Possessed of Great Beauty) (File: E147)
===
NAME: Damsel's Tragedy, The
DESCRIPTION: When her son falls in love with a girl she finds unsuitable, his mother first blusters, then murders the girl. The girl's ghost walks to tell her lover. The son accuses his mother, then kills himself. The mother completes the circle by committing suicide
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: love courting murder betrayal suicide ghost mother children
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 97-98, "The Damsel's Tragedy" (1 text)
ST FlBr097 (Partial)
Roud #4663
CROSS_REFERENCES:
cf. "Beautiful Susan" [Laws M29] (theme)
NOTES: Although most of the themes in this song are commonplace, this strikes me as just a little too Antigone-ish to be real. Certainly it didn't become widespread. - RBW
File: FlBr097
===
NAME: Dan Curley
DESCRIPTION: May 18, singer hears Dan Curley's wife crying. Curley is being executed for the Phoenix Park murders on the word of the informer, James Carey. She wishes Carey be evicted, his wife be a widow, and his children wander homeless. She will join Curley soon.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: betrayal murder curse revenge nonballad wife death
HISTORICAL_REFERENCES: Chronology of the Phoenix Park murders (source: primarily Zimmermann, pp. 62, 63, 281-286.)
May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the "Melrose Castle" sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 19, "Dan Curley" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
File: McB1019
===
NAME: Dan Curry
DESCRIPTION: The singer meets a woman "dressed in deep mournin' With a babe on her bosom" on the banks of the Effie. She says "Felix Parks murdered my husband, Dan Curry.... May his short life be wrecked and his wife die a widow" She hopes to meet Curry in heaven.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Manny/Wilson)
KEYWORDS: mourning murder wife husband curse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 64, "Dan Curry" (1 text, 1 tune)
ST MaWi064 (Partial)
Roud #9210
NOTES: Although the names in this song sound English, and the only known versions seem to be Canadian, it sounds very Irish to me. I checked both current and somewhat older atlases, and found no river Effie. An error for "Liffey," perhaps? - RBW
File: MaWi064
===
NAME: Dan Dan
DESCRIPTION: Shanty. "Oh my name is Dan Dan! Ho! Somebody drink me rum. Ho! Somebody wears me clothes, Ho!" Little more than a chant used for hauling, the pull coming on 'Ho!"
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 440, "Dan Dan" (1 short text, 1 tune) [AbEd, p. 331]
File: Hugi440
===
NAME: Dan Murphy's Convoy
DESCRIPTION: The singer recalls what happened at the convoy. He lists the people who showed up. They start a dance, then interrupt it. There is a fine dinner, and much drink. Fights break out; there is much commotion; a fine time is had by all
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: party dancing drink humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H663, p. 72, "Dan Murphy's Convoy" (1 text, 1 tune)
Roud #9050
File: HHH663
===
NAME: Dan-Doo: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Danae, The: see Isabeau S'y Promene (Isabel) (File: SBoA297)
===
NAME: Dance Song: see Jingle at the Window (Tideo) (File: R525)
===
NAME: Dance the Boatman: see De Boatman Dance (File: BMRF566)
===
NAME: Dance Ti' Thy Daddy: see Dance To Your Daddy (File: FSWB409)
===
NAME: Dance to Your Daddy
DESCRIPTION: "Dance to your daddy, my little laddie, Dance to your daddy, my little man. You shall have a fish and you shall have a fin, You shall have a coddlin' when the boat comes in." The child is told that he will grow up, marry, and love the girl his whole life
AUTHOR: unknown
EARLIEST_DATE: 1842 (Fordyce's Newcastle Song Book, according to Opie-Oxford2)
KEYWORDS: dancing family father nonballad
FOUND_IN: Britain(England(North)), Ireland US(Ap)
REFERENCES: (7 citations)
Stokoe/Reay, pp.  76-77, "Dance Ti' Thy Daddy" (1 text, 1 tune)
Opie-Oxford2 123, "Dance to your daddy" (3 texts)
Baring-Gould-MotherGoose #563, p. 229, "(Dance to your daddy)"
Montgomerie-ScottishNR 104, "(Dance to your daddy)" (1 text)
Ritchie-Southern, p. 83, "Dance to Your Daddy" (1 short  text partly rewritten by Jean Ritchie, 1 tune)
Silber-FSWB, p. 409, "Dance To Your Daddy" (1 text)
DT, DANCEDAD* DANCDAD2*
Roud #2439
RECORDINGS:
Elizabeth Cronin, "Dance to Your Daddy" (on Lomax42, LomaxCD1742)
Ritchie Family, "Dance To Your Daddy" (on Ritchie03)
ALTERNATE_TITLES:
The Little Fishy
NOTES: This appears, from the dialect and the unusually full form found in Stokoe, to have originated in Northumbria in England. But there are a lot of filed-down versions; I'm not entirely sure whether these are traditional or pop-folksingers' attempts to make the song more accessible to urban audiences - RBW
Jean Ritchie notes that she sings this song to her son; she doesn't say it's one she learned from her family, but she hints that she did, so I include, "FOUND IN US(Ap)". However, at this point in her life she'd done folklore research in Britain and may have picked it up there. - PJS
See Tim Coughlan, _Now Shoon the Romano Gillie_, (Cardiff,2001), #160, p. 413, "Grib to your Naiskel" [Scotto-Romani/Tinklers' Cant fragment from MacColl and Seeger, _Till Doomsday in the Afternoon_ (1986)]. - BS
File: FSWB409
===
NAME: Dance, Thumbkin, Dance
DESCRIPTION: A childrens's game for the fingers: "Dance, Thumbkin, dance, Dance, ye merry men, every one: But Thumbkin, he can dance alone, Thumbkin, he can dance alone." Similarly for the other four digits, Foreman, Longman, Ringman, Littleman
AUTHOR: unknown
EARLIEST_DATE: 1831 (Mrs Child's Girls Own Book, according to Opie-Oxford2)
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 500, "Dance, Thumbkin, dance" (1 text)
Baring-Gould-MotherGoose #576, p. 233, "(Dance Thumbkin, Dance)"
Roud #12837
File: BGMG576
===
NAME: Dancing in Glenroan (Rinnceoiri Ghleann Ruain)
DESCRIPTION: The singer, "growing old and weary," recalls the dancing of his youth in Glenroan; "my heart is filled with wonder Why we ever leave such pleasure for a world so cold and lone" He is comforted by the thought that youngsters are still dancing there.
AUTHOR: Felix Kearney (source: Tunney-SongsThunder)
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: age dancing music lyric nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 71-72, "Dancing in Glenroan" (1 text)
CROSS_REFERENCES:
cf. "Kerry Dance" (theme)
NOTES: Tunney-SongsThunder: Translated into Gaelic as "Rinnceoiri Ghleann Ruain" by Arthur Kearney.
Glenroan is in County Tyrone. - BS
File: TST071
===
NAME: Dandoo: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Dandy Apprentice Boy, The: see The Bonny Sailor Boy [Laws M22] (File: LM22)
===
NAME: Dandy Chignon, The: see Oyster Shell Bonnets and Chignons (The Dandy Chignon) (File: HHH227)
===
NAME: Daniel Cooper
DESCRIPTION: The drinking and sexual adventures of Daniel Cooper and others. When the Piper's wife lifts her smock he "claw'd her." He lies with a milk-maid who leaves happy but pregnant. Lady Cardle says he's a bonny loon. A widow dances naked for highland boys.
AUTHOR: 1683 (broadside, Douce Ballads 1(51a))
EARLIEST_DATE: 
KEYWORDS: sex adultery pregnancy drink bawdy humorous nonballad rake
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Douce Ballads 1(51a), "Daniel Cooper" or "The High-land Laddy," P. Brooksby (London)), 1683
NOTES: One text of Opie-Oxford2 523, "We're all dry with drinking on't" quotes the first verse of "Daniel Cooper"
Broadside Bodleian Douce Ballads 1(51a) includes the tune which, the broadside says, is "a Scotch tune, called Wally on't, Or, We'l welcome you to Yarrow. Up go we, Or, Jenny Gin.." - BS
File: BdBDaCoo
===
NAME: Daniel in the Den of Lions: see Who Did Swallow Jonah? (File: FSWB386B)
===
NAME: Daniel in the Lion's Den
DESCRIPTION: "Among the Jewish captives one Daniel there was found." Daniel's piety is renowned. His enemies cause the King to demand that all people worship only the King for 30 days. Daniel does not, is thrown to the lions -- and survives
AUTHOR: unknown
EARLIEST_DATE: 1916 (Brown); there are several older references to songs of this title, but they may not be the same
KEYWORDS: religious animal royalty Bible Jew
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 524, "Daniel in the Lion's Den" (1 text)
SharpAp 194, "Daniel in the Lion's Den" (1 text, 1 tune)
Roud #3614
RECORDINGS:
Sister Rosetta Tharpe, "Daniel in the Lion's Den" (Decca 48116, c. 1948)
NOTES: This is too accurate to be folk song. (Too bad there was no king called Darius the Mede, so the whole section in Daniel is demonstrably historically inaccurate.) This is a dull but correct retelling of the events in Daniel 6. - RBW
File: Br3524
===
NAME: Daniel Monroe: see Donald Munroe [Laws J12] (File: LJ12)
===
NAME: Daniel O'Connell (I)
DESCRIPTION: Singer overhears an old woman and a tinker; he says Daniel O'Connell is now making children in Dublin by steam; those made the old way are too few. She berates O'Connell for removing the people's best diversion; he salutes her
AUTHOR: unknown
EARLIEST_DATE: 1957 (recording, O. J. Abbott)
LONG_DESCRIPTION: Singer overhears an old woman and a tinker talking; he says Daniel O'Connell is now making children in Dublin by steam, because those made the old way are too small and too few. She berates O'Connell for removing the people's best diversion; he salutes her, saying that if all women in Ireland were as plucky as she, the nation would have babies aplenty (for the Queen's army)
KEYWORDS: age disability sex army pregnancy Ireland political baby children tinker
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
ADDITIONAL: _Sing Out_ magazine, Volume 22, #1 (1973), p, 18, "Daniel O'Connell" (1 text, 1 tune, apparently the Abbott version)
Roud #2313
RECORDINGS:
O. J. Abbott, "Daniel O'Connell" (on Abbott1)
CROSS_REFERENCES:
cf. "Fergus O'Connor and Independence" (subject: Daniel O'Connell and the Tithe War)
cf. "Daniel O'Connell (II)" (subject: Daniel O'Connell)
cf. "Erin's Green Shore [Laws Q27]" (subject: Daniel O'Connell)
cf. "By Memory Inspired" (subject: Daniel O'Connell)
cf. "Charlie Jack's Dream" (subject: Daniel O'Connell)
cf. "Annie Moore" (subject: Daniel O'Connell)
cf. "An Irish Girl's Opinion" (subject: Daniel O'Connell)
cf. "Old Ireland I Adore" (subject: Daniel O'Connell)
cf. "Granuaile" (subject: Daniel O'Connell)
cf. "Gra-mo-chroi. I'd Like to See Old Ireland Free Once More" (subject: Daniel O'Connell)
cf. "Come to the Bower" (subject: Daniel O'Connell)
cf. "The Shan Van Voght (1828)," (subject: Daniel O'Connell)
cf. "Glorious Repeal Meeting Held at Tara Hill" (subject: Daniel O'Connell)
cf. "The Meeting of Tara" (subject: Daniel O'Connell)
cf. "Erin's King (Daniel Is No More)" (subject: Daniel O'Connell)
cf. "Kerry Eagle" (subject: Daniel O'Connell)
cf. "Grand Conversation on O'Connell Arose" (subject: Daniel O'Connell)
cf. "Not a Word of 'No Surrender'" (subject; Protestant opposition to Daniel O'Connell)
NOTES: Daniel O'Connell (1775-1847) [was] leader of Catholic Association whose pressure led to the Catholic Emancipation Act, 1829.
"Tinker," in this context, means one of the travelling people, rather than a worker in tin. Fowke notes drily that this aspect of O'Connell's long career "seems to have been overlooked by his biographers." - PJS
I wonder if this might not be confused with the life of another Irish hero, Charles Stewart Parnell (1846-1891), whose career was blighted by sex scandals. Given that the only surviving version of this song seems to be O. J. Abbott's, such a thing is possible.
There is severe irony in O'Connell urging that Ireland breed up more people; his last major speech, in 1847, was on the disaster of the potato famine -- which of course was so deadly only because Ireland had more people than it could reasonably support.
There is another Canadian Daniel O'Connell song, a fragment collected by Creighton. It perhaps reveals how many Irish left Ireland after the famines that both songs are found only outside Ireland. - RBW
File: RcDanOco
===
NAME: Daniel O'Connell (II)
DESCRIPTION: "In the year of our Lord eighteen hundred and four There was great rejoicing round Erin's green shore, When Daniel O'Connell he made this appeal: 'All I want is fair justice to gain my repeal.'"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS:  Ireland political
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 95, "Daniel O'Connell" (1 fragment, 1 tune)
Roud #2771
CROSS_REFERENCES:
cf. "The Battle of Carrickshock" (subject: The Tithe War) and references there
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
See also Bodleian, 2806 c.15(195), "Erin's Green Linnet ("On a fair summer's morning as day was just dawning"); Harding B 19(39), "The Green Linnet"
Daniel O'Connell (1775-1847) tried to convince the British to reform administration of Ireland and was the leading figure on behalf of Catholic Emancipation. (For his history, see also "Erin's Green Shore" [Laws Q27]).
Creighton-SNewBrunswick: "Our solitary stanza may refer to the Tithe War." That may be but does not tie in with 1804. O'Connell's Catholic Association was formed in 1823 to resist the requirement that Irish Catholics pay tithes to the Anglican Church of Ireland. The "war" was passive for most of the period 1823-1836, though there were violent incidents in 1831 (source: _The Irish Tithe War 1831_ at the OnWar.com site) - BS
I am more inclined to accept the date than Creighton's explanation. O'Connell first came to prominence at the time of the 1800 Union of Ireland and England: He opposed it. (Quite reasonably, since Ireland had had a real parliament and significant self-rule under the old constitution which Union replaced.)
The name of the anti-Union movement? "Repeal."
The notion of Repeal became more of a platform in 1832, when O'Connell formed a party in parliament for the purpose. But he had been talking about the notion for decades. The date 1804 makes some sense, because it was the last year in which his primary issue was avoiding Union; starting in 1805 and for many years after, his chief demand was Catholic "emancipation" (read, essentially, enfranchisement, though it's a lot more complicated than that).
Healy-OISBv2 includes a very large section of O'Connell pieces (roughly p. 85-101, plus a few others). Few of these show any hints of being traditional. - RBW
File: CrSNB095
===
NAME: Daniel Prayed
DESCRIPTION: Daniel prays to God three times a day. Cast in the lions' den, the lions' jaws are locked. Listeners should follow his example. Chorus: "Old Daniel served the living God/While here upon this earth he trod...Daniel prayed every morning, noon and night"
AUTHOR: G. T. Speer
EARLIEST_DATE: 1936 (composed)
KEYWORDS: captivity Bible religious animal gods
FOUND_IN: US(SE)
REFERENCES: ()

Roud #7692
RECORDINGS:
Fred Price, Clint Howard & Doc Watson, "Daniel Prayed" (on Ashley03, WatsonAshley01)
Stanley Brothers "Daniel Prayed" (on StanBros01)
NOTES: Ralph Rinzler notes that Price, Howard & Watson refreshed their memory of this song from the shape-note hymnal "The Best of All," from whence comes the attribution to G. T. Speer and the date. - PJS
In Daniel 6, the (non-existent) king Darius the Mede ordered that no one pray to anyone but him for thirty days (an inconceivable order from the historical Darius I of Persia, who was a Zoroastrian monotheist, and hardly more likely from Cyrus the Great of Persia, who conquered Babylon, since he was religiously tolerant). In 6:13, we read that Daniel nonetheless prayed three times a day. The rest of chapter 6 explains the result. - RBW
File: RcDanlPr
===
NAME: Daniel Sullivan [Laws E22]
DESCRIPTION: Daniel Sullivan offers himself as a warning against passion. As an infant, his mother dreamed of him hanging. Having gone abroad, he murders a man. Lonely and penitent, he is scheduled to die. He bids farewell to family and meets his fate
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: dream murder execution warning
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Laws E22, "Daniel Sullivan"
DT 833, DANSULL*
Roud #4728
File: LE22
===
NAME: Danny Boy (The Londonderry Air)
DESCRIPTION: The singer laments that her Danny Boy is called away. She promises to be waiting when he returns to her. Even if she dies, she will await him
AUTHOR: Words: Fred(eric) E. Weatherly?
EARLIEST_DATE: 1855 (Petrie Collection); words written 1913
KEYWORDS: love separation
FOUND_IN: Ireland
REFERENCES: (4 citations)
Silber-FSWB, p. 323, "Danny Boy" (1 text)
Fuld-WFM, p. 337, "Londonderry Air"
SHenry H3, p. 286, "The Londonderry Air" (1 tune, plus a text known not to have been traditional)
DT, DANNYBOY*
SAME_TUNE:
O, Jeanie Dear (File: HHH545)
NOTES: Fuld reports that the name "Londonderry Air" came about because the tune "was collected by Miss J. Ross of the county of Londonderry." Little else seems to be known of its ancestry, though it has been used for many texts, few of them popular. Anne G. Gilchrist published an article, "A New Light upon the Londonderry Air" in JFSS (December 1934).
Fuld attributes the words to Fred Weatherly (1848-1929) without supporting documentation, and many people seem unaware of it. Weatherly has six poems attributed to him in _Granger's Index to Poetry._ "Danny Boy" is not one of then. Three of the pieces ("The Holy City," "The Angels to the Shepherds Sang," and "When the Christ Child Came") are religious; the others appear to be for children. None proved very popular.
Turning to _Bartlett's Familiar Quotations_ (13th edition), we find three Weatherly pieces, none of them the same as the ones quoted in _Granger's_ -- though one of them, "Nancy Lee," has had some slight traditional popularity. But none have themes similar to this. If Fuld's attribution is correct, this seems to have been a unique item for Weatherly in style as in popularity.
Robert Gogan,  _130 Great Irish Ballads_ (third edition, Music Ireland, 2004), p. 129, offers some additional details. Weatherly, an English lawyer (!), wrote the lyrics for this song in 1910, and also wrote a tune. It went nowhere. When his sister-in-law sent him the tune for the "Londonderry Air," he decided to use that tune instead, and a hit was born.
Gogan adds a warning to barroom singers out there: "[This is] one of the most consistently murderered ballads I know, because amateur balladeers usually start singing it in too high a pitch for their voice[,] realizing (when it is too late) that they can't reach the high E note in the chorus. Keep that in mind; don't get caught out."
Given that the range of the song is an octave and a sixth (e.g. from the G below middle C to the E nine steps above that), little wonder that singers have trouble. I know of no traditional song requiring a wider range. - RBW
File: FSWB323
===
NAME: Danny Sim's Sow
DESCRIPTION: "There was a drunken collier, they ca'd him Danny Sim." Danny, sent to buy feed for the sow, instead spends it drinking. His wife complains. He grabs a pick (pike?) and beats her. He offers a sow to the butcher, and sells his bruised wife
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: drink animal abuse injury commerce
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 401-403, "Danny Sim's Sow" (1 text)
Roud #5616
NOTES: Although clearly meant to be funny, this strikes me as being about as humorous as mud. - RBW
File: Ord401
===
NAME: Danny Winters
DESCRIPTION: "Danny Winters went a-courtin', hi, hey an' ho, Choosed a sweetheart with a red head, bow, bow low, Wed a redhead, wished himself dead, Dan Danny-O. "Danny Winters lay a-moanin... Redhead was too wild a partner... Wife a flyin', Dan a-dyin'...."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: courting marriage playparty
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 548, "Danny Winters" (1 short text, 1 tune)
Randolph/Cohen, pp. 404-405, "Danny Winters" (1 text, 1 tune -- Randolph's 548)
Roud #7648
File: R548
===
NAME: Dans Les Chantiers (The Winter Camp)
DESCRIPTION: French: A complaint about life in a lumber camp -- Hard work in cold snowy weather, a bed on the icy ground, coupled with slow and insufficient pay. Finally the logger goes home to a happy reunion. He vows never to return to the lumber camp
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: logger work separation reunion foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 70-71, "Dans Les Chantiers (The Winter Camp)" (1 text, 1 tune)
Fowke/MacMillan 23, "Dans Les Chantiers" (1 English and 1 French text,, 1 tune)
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme) and references there
File: FJ070
===
NAME: Dans les prisons de Nantes (Within the Prisons of Nantes)
DESCRIPTION: French. A man is prisoner in Nantes. The jailer's daughter cries because he is to die next day. She unties him so he escapes. She is pregnant. On another shore he drinks and boasts of his escape.
AUTHOR: unknown
EARLIEST_DATE: 1954 (Creighton-Maritime)
KEYWORDS: foreignlanguage seduction warning escape rake prisoner
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (2 citations)
Peacock, pp. 183-184, "Dans les Prisons de Nantes" (1 text, 1 tune)
Creighton-Maritime, pp. 170, "Dans La Prison de Nantes" (1 text, 1 tune)
ALTERNATE_TITLES:
Dans la Prison de Londres
NOTES: In Peacock's version the prisoner is on London Bridge; the escaped prisoner promises that, if he ever is in France he will have a dress made for her with gold buttons and they will embrace. In another version, all the girls of Nantes are taken prisoner.
The CD _After the Tempest_ by Figgy Duff includes a different London version than Peacock's called, more reasonably, Dans la Prison de Londres: "Dans la prison de Londres Un prisonnier il y a" - BS
File: Pea183
===
NAME: Dans Tous Les Cantons (Through All the Country 'Round)
DESCRIPTION: French: The song notes how boys and girls are often talking of marriage... then highlights all the troubles they will face. The woman must scrub, cook, sew, and obey her husband; the man will find that his wife nags and spends his money
AUTHOR: unknown
EARLIEST_DATE: 1865
KEYWORDS: marriage humorous husband wife foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 113-115, "Dans Tous Les Cantons (Through All the Country 'Round)" (1 text, 1 tune)
File: FJ113
===
NAME: Danville Girl, The: see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Dar Gingo Tre Flickor
DESCRIPTION: Swedish shanty. Three girls discuss love; three sailors overhear and decide to pay a visit. The girls bar the door but the wind blows it open. They make a bed for the sailors who leave in the morning saying maidens will never regain their beauty.
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sternvall, _Sang under Segel_)
LONG_DESCRIPTION: Swedish shanty. Three girls are talking about love, three sailors overhear and decide to pay a visit. The girls bar the door but the wind blows it open. They make a bed for the sailors who leave in the morning saying maidens will never regain their beauty. There is a short chorus following each line of the verses "Fantali for Julia, fantali for Julia." and a longer chorus which translates, roughly, "For a little goblin was with them, It was so lion-like, They walked holding candles, and then took a pinch of snuff. Oh tjohalia, seamen are so amusing.
KEYWORDS: foreignlanguage shanty sailor seduction
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 393-395, "Dar Gingo Tre Flickor" (2 texts-English & Swedish, 1 tune)
CROSS_REFERENCES:
cf. "Ane Madam" (lyrics)
ALTERNATE_TITLES:
Fantali for Julia
NOTES: There is a German version given in Baltzer's _Knurrhahn_, "Es Gingen Drei Madchen." - SL
File: Hug393
===
NAME: Dar'll Be No Distinction Dar: see There'll Be No Distinction There (File: CSW232)
===
NAME: Darahill
DESCRIPTION: "When I engaged to Darrahill, 'Twas low down in Buchan fair." The singer describes going to work for (Dara/Darra), whose horses are very poor and ill-fed. The workers aren't much better off. The singer looks forward to working for someone else
AUTHOR: unknown
EARLIEST_DATE: 1890 (GreigDuncan3)
KEYWORDS: farming horse hardtimes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #133, pp. 1-2, "Darrahill"; Greig #135, p. 3, "Darrahill"; Greig #143, p. 2, "Darrahill" (3 texts)
GreigDuncan3 351, "Darrahill" (6 texts, 1 tune)
Ord, pp. 276-277, "Darrahill" (1 text)
Roud #3941
CROSS_REFERENCES:
cf. "The Barnyards o Delgaty" (tune) and references there
NOTES: GreigDuncan3, re version D: "Got from James Mackenzie of Ellon in Johannesburg in 1890." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Darahill (351) is at coordinate (h2,v9-0) on that map [roughly 11 miles N of Aberdeen]. - BS
File: Ord276
===
NAME: Darby and Joan: see Father Grumble [Laws Q1] (File: LQ01)
===
NAME: Darby Kelly
DESCRIPTION: Grandfather Darby Kelly "beat a drum so neat" for Marlboro at Blenheim and Ramilie. His father drummed "when great Wolf died." The singer was with Wellington in Portugal and when "He made Nap prance right out of France"
AUTHOR: unknown
EARLIEST_DATE: before 1820 (broadside, Bodleian Harding B 12(19))
KEYWORDS: army war nonballad patriotic Napoleon soldier
HISTORICAL_REFERENCES: 1701-1714 - War of the Spanish Succession, in which Marlborough was the chief English general for most of the war, commanding at the battles of:
Aug 13, 1704 - Battle of Blenheim. British/Imperial victory which saves Vienna.
May 23, 1706 - Battle of Ramillies. British and Imperials foil a French campaign to reinforce the Spanish Netherlands
1756-1763 - Seven Years War, in which the British captured Canada from the French, largely as a result of:
Sep 13, 1759 - Battle of the Plains of Abraham. James Wolfe attacks Quebec City; he is mortally wounded, but Canada is taken
1803-1815 - Napoleonic Wars. Many British officers commanded on land; the last and greatest was Wellington, who directed:
1808-1814 - the Peninsular War, which began as a campaign to defend Portugal and eventually became a war to liberate Spain
June 18, 1815 - Battle of Waterloo. Final defeat of Napoleon
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 155, "Darby Kelly" (1 text)
BROADSIDES:
Bodleian, Harding B 12(19), "Darby Kelly", J. Pitts (London), 1802-1819; also Johnson Ballads fol. 109, Harding B 16(67a), Johnson Ballads 1557, 2806 c.18(80), Harding B 11(793), Harding B 11(794), "Darby Kelly"; Harding B 28(63), "Darby Kelly, O"; Harding B 25(469), Harding B 11(696), "Darby Kelly, O!"
NOTES: Broadside Bodleian Harding B 11(696) notes provide the following military references for the grandfather, father, and singer, respectively: "Marlborough, John Churchill, Duke of, 1650-1722; Wolfe, James, 1727-1759; Wellington, Arthur Wellesley, Duke of, 1769-1852" - BS
Given that the earliest possible date for this song is 1814 (when Napoleon abdicated for the first time), and a date after Waterloo (1815) is more likely, it seems clear that the broadsides cited are the original publication of the song in this form. Obviously, from the dates, Darby Kelly was a drummer boy, not an actual soldier, in the War of the Spanish Succession. Nonetheless, the range of dates would better suit four or five generations than three; one wonders if there wasn't an intermediate version, in which perhaps the grandson fought in the American Revolutionary War rather than the Napoleonic Wars. - RBW
File: OCon155
===
NAME: Darby O'Leary
DESCRIPTION: The singer is hired by Darby O'Leary to work at his Galbally mountains farm. The supper is sour milk, the barn "covered with rats," terrible sleeping conditions: "such woeful starvation I never yet seen ... May he or his offspring never live long"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: farming work ordeal
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (2 citations)
Creighton-SNewBrunswick 110, "The Silly Old Miser" (1 fragment, 1 tune)
OLochlainn-More 57, "The Galbally Farmer" (1 text, 1 tune)
ST CrSNB110 (Partial)
Roud #6978
RECORDINGS:
Tom Lenihan, "The Cranbally Farmer" (on Voice05)
BROADSIDES:
Bodleian, Harding B 26(619), "The Spalpeen's Complaint of Darby O'Leary ("One evening of late as I happened to stray"), unknown, n.d.
NOTES: Creighton-SNewBrunswick is a fragment; broadside Bodleian Harding B 26(619) is the basis for the description. - BS
File: CrSNB110
===
NAME: Darby Ram, The: see The Derby Ram (File: R106)
===
NAME: Darius Cole and Mackinac, The
DESCRIPTION: "On the eighteenth of December, The weather it was far, The Darius Cole and Mackinac were crossing Lake St. Clair." The Darius Cole boats of being able to beat the Mackinac's time. They have a race
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected from J. Sylvester Ray by Walton)
KEYWORDS: ship racing
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 110-111, "The Darius Cole and Mackinac"(1 short text, composite but lacking any indication of which boat won the race)
File: WGM110
===
NAME: Dark and a Rovin' Eye, A: see The Fire Ship (File: EM068)
===
NAME: Dark and Dreary Weather
DESCRIPTION: "It's dark and dreary weather, Almost inclined to rain, My heart is almost broken, My lover has gone on the train!" The singer wonders why she loves him so much, and he loves her not at all. "Some say that love is a pleasure; What pleasure do I see?"
AUTHOR: unknown
EARLIEST_DATE: 1921
KEYWORDS: love courting separation train suicide
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 750, "Dark and Dreary Weather" (4 texts, 1 tune)
BrownII 168, "Dreary Weather" (1 text)
Roud #6527
RECORDINGS:
Carter Family, "Dark and Stormy Weather" (Bluebird B-8868, 1941)
New Lost City Ramblers, "Dark and Stormy Weather" (NLCR14)
CROSS_REFERENCES:
cf. "Farewell He" (stanza form, floating lyrics)
cf. "Goodnight Irene" (floating lyrics)
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "The Boys Won't Do to Trust" (floating lyrics)
ALTERNATE_TITLES:
Dark and Stormy Weather
NOTES: Many of Randolph's versions consist of more floating lyrics than anything else (including even the "jump into the river and drown" stanza best known from "Goodnight Irene"). The net result reminds me strongly of "Farewell He" -- but there seems to be no actual dependence, though the form of the verses is the same. Roud apparently agrees, since he splits the songs. - RBW
File: R750
===
NAME: Dark as a Dungeon
DESCRIPTION: "Come all you young fellows so young and so fine, And seek not your fortune in a dark dreary mine." The singer describes how a miner's life slowly kills a man, twisting his soul and turning his blood black. He hopes to turn to coal when he dies
AUTHOR: Merle Travis
EARLIEST_DATE: 1946 (recorded by author)
KEYWORDS: work hardtimes poverty mining death warning
FOUND_IN: US
REFERENCES: (5 citations)
Lomax-FSNA 155, "Dark as a Dungeon" (1 text, 1 tune)
Botkin-SoFolklr, p. 729, "Dark as a Dungeon" (1 text, 1 tune)
Greenway-AFP, p. 172, "Dark as a Dungeon" (1 text, 1 tune)
Green-Miner, pp. 279-281, "Two by Travis": p. 284, "Dark as a Dungeon" (1 text, 1 tune); additional verse on p. 290
DT, DARKDUNG
Roud #6392
RECORDINGS:
Charlie Gore, "Dark as a Dungeon" (King 4879, c. 1957)
Grandpa Jones, "Dark as a Dungeon" (King 896, 1950)
Maddox Bros. & Rose, "Dark as a Dungeon" (4-Star 1540, 1956)
Pete Seeger w. Robert DeCormier, "Dark as a Dungeon" (on HootenannyTonight)
Merle Travis, "Dark as a Dungeon" (Capitol 48001, 1947; on 78 album "Folk Songs of the Hills", Capitol AD 50; rec. 1946)
File: LoF155
===
NAME: Dark Girl Dressed in Blue, The
DESCRIPTION: The singer meets a "dark girl dressed in blue" on a stagecoach. She fools him into paying her fare. They go to a bar. She hands him a banknote to pay their bill. She leaves; he is arrested for passing a bad bill. He is freed but forced to pay the bill
AUTHOR: Harry Clifton?
EARLIEST_DATE: 1868 (sheet music)
KEYWORDS: money courting trick clothes
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 388, "The Dark Girl Dressed in Blue" (1 text plus a fragment)
Spaeth-ReadWeep, pp. 76-78, "The Dark Girl Dressed in Blue" (1 text, 1 tune)
JHJohnson, pp. 47-49, "The Dark Girl Dressed in Blue" (1 text)
ST R388 (Full)
Roud #7022
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(073), "The Dark Girl Dressed in Blue," unknown, c. 1860; also RB.m.168(133)
NOTES: The authorship here is an interesting question. It is not unlikely that the American versions derive from Harry Clifton, who was apparently the source of the 1868 sheet music.
But then there is the Scottish broadside, dated 1850-1870. It is undeniably the same song (same plot, same chorus, many of the same words). But it is set in Glasgow rather than New York, the vehicle is an omnibus rather than a stagecoach, etc. More significant, the woman is caught in the end, with a "reversible dress." Original or derivative? I could argue for either; each text has parts which appear to have been excised from the other. - RBW
File: R388
===
NAME: Dark Hollow (II), The: see Little Birdie (File: R676)
===
NAME: Dark Knight, The
DESCRIPTION: The knight courts "a lass all neat and fair" and takes her home, where she bears him six(?) sons and three daughters. He then kills the children. "She did not live another dawn," whereupon he seeks another bride
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: murder family madness children knight husband wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 59, "The Dark Knight" (1 text)
ST BrII059 (Full)
Roud #6526
CROSS_REFERENCES:
cf. "The Lawson Murder (Charlie Lawson)" [Laws F35] (plot)
NOTES: The notes in Brown show some signs of suspicion of this piece, found in the collection but with no indication of source; it also has some Scottish word forms they find unlikely. But it also shows clear signs of tradition.
There is also the question of source. The editors thought the story sounded familiar -- but couldn't locate it. I find the very lyrics familiar -- but I can't locate it either. - RBW
File: BrII059
===
NAME: Dark Was the Night, Cold Was the Ground
DESCRIPTION: "Dark was the night and cold was the ground On which the Lord was laid; The sweat like drops of blood run down; In agony he prayed." Jesus asks to be released from his burden, but submits to God's will; listeners are advised to learn from him
AUTHOR: unknown
EARLIEST_DATE: 1841 ("Primitive Hymns," publ. by Benjamin Lloyd)
KEYWORDS: religious Jesus Bible death ordeal request
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 526, "Dark Was the Night" (3 texts, though the "C" text, which is rather short, might be another song)
Roud #11819
RECORDINGS:
John & Lovie Griffins, "Dark Was the Night, and Cold the Ground" (on MuSouth07)
Lucy McKeever, "Dark Was the Night, Cold Was the Ground" (on AFS 921 B, 1937)
CROSS_REFERENCES:
cf. "Frankie and Albert" [Laws I3] (lyrics)
NOTES: The request that God remove the cup from Jesus is found in all four Gospels (Matt. 26:42, Mark 14:26, Luke 22:42, cf. John 12:27). The main source, however, is probably Luke, because only Luke includes the bloody sweat.
At least, the King James translation does.
The reference is to Luke 22:43-44 -- verses which, however, are likely not part of Luke's original Greek; of the earliest seven Greek witnesses, six -- those known as P75 Aleph(1) A B T W -- omit, as do some later witnesses of great weight.Also, Jesus's prayer before his arrest is said to have taken place in a garden in John 18:1, but Gethsemane is not called a garden in the other three gospels -- and in John, Jesus had prayed for release from his fate rather earlier.
Incidentally, although Jesus was arrested at night, there is no reason to think the night was unusually dark (it was Passover time, after all, and Passover is a full moon festival); we have reports of darkness as Jesus died, but not at the time of his arrest, and there are no reports of bad weather at the time (not that that inherently means anything, of course). It reportedly was chilly, though, since Peter would warm his hands during the night (Mark 14:67, John 18:18). - RBW
The song appears in the Baptist Standard Hymnal (but not the New National Baptist Hymnal) as "Dark Was the Night" with arrangers' names listed, but no author. The song passed into folk tradition, and the title seems to have caught the imagination as well; the phrase appears in Mississippi John Hurt's recording of "Frankie and Albert" (!) and it's also used as the title of an extraordinary recording of slide guitar and wordless moaning by Blind Willie Johnson. - PJS
File: Br3526
===
NAME: Dark-Clothed Gypsy, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Dark-Eyed Molly: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Dark-Eyed Sailor, The (Fair Phoebe and her Dark-Eyed Sailor) [Laws N35]
DESCRIPTION: The singer courts a girl, but she remains true to William, her sailor, gone these seven years. William at last identifies himself and produces his half of their broken ring. The two are married and settle down
AUTHOR: unknown
EARLIEST_DATE: before 1809 (broadside, Bodleian Johnson Ballads 2483)
KEYWORDS: love courting brokentoken marriage
FOUND_IN: US(Ap,MA,MW,NE,SE) Canada(Mar,Newf) Britain(Scotland,England(Lond,West)) Ireland
REFERENCES: (23 citations)
Laws N35, "The Dark-Eyed Sailor (Fair Phoebe and her Dark-Eyed Sailor)"
Gardner/Chickering 57, "The Dark-Eyed Sailor" (1 text plus 1 excerpt and mention of 2 more, 1 tune)
Doerflinger pp. 300-301, "The Dark-Eyed Sailor" (1 text, 1 tune)
SHenry H232, p. 318, "The Dark-Eyed Sailor" (1 text, 1 tune)
JHCox 93, "The Broken Ring" (1 text)
Huntington-Whalemen, pp. 120-122, "The Dark-Eyed Sailor" (1 text, 1 tune)
Ord, pp. 323-324, "The Dark-Eyed Sailor" (1 text, 1 tune)
BrownII 95, "The Dark-Eyed Sailor" (1 text (with mention of a variant collection) plus 1 excerpt)
Scarborough-SongCatcher, pp. 267-270, "Fair Phoebe and her Dark-Eyed Sailor" (3 texts; the first, "Young Willie's Return, or The Token," with tune on pp. 426-427, is this song; the second, "The Sailor," with tune on p. 427, is "John (George) Riley (II)" Laws N37; the third, "Billy Ma Hone," with tune on p. 427, seems to be its own song)
MacSeegTrav 26, "The Dark-Eyed Sailor" (1 text, 1 tune)
Creighton/Senior, pp. 144-146, "The Dark-Eyed Sailor" ( 2 texts, 1 tune)
Creighton-NovaScotia 29, "The Dark-Eyed Sailor" (1 text, 1 tune)
Greenleaf/Mansfield 36, "The Dark-Eyed Sailor" (1 text)
Peacock, pp. 513-514, "The Dark-Eyed Sailor" (1 text, 1 tune)
Karpeles-Newfoundland 55, "The Dark-Eyed Sailor" (1 text, 1 tune)
Lehr/Best 27, "The Dark-eyed Sailor" (1 text, 1 tune)
Mackenzie 64, "The Dark-Eyed Sailor" (1 text)
Ives-DullCare, pp. 93-94,244, "The Dark-Eyed Sailor" (1 text, 1 tune)
Manny/Wilson 65, "The Dark-Eyed Sailor" (1 text, 1 tune)
OLochlainn 5, "The Dark-Eyed Sailor" (1 text, 1 tune)
Darling-NAS, pp. 125-126, "The Dark Eyed Sailor" (1 text)
Silber-FSWB, p. 147, "The Dark-Eyed Sailor" (1 text)
DT 460, DARKEYED* DARKEYE2
Roud #265
RECORDINGS:
Warde Ford, "Nightingales of Spring" (AFS 4198 A1, 1938; in AMMEM/Cowell)
Fred Jordan, "The Dark-Eyed Sailor" (on Voice02)
BROADSIDES:
Bodleian, Johnson Ballads 2483, "Fair Phoebe and her Dark-ey'd Sailor," unknown [Printer's Series:(39)], 1767-1808; also Harding B 11(498), "Fair Phoebe and her Dark-Eyed Sailor," J. Catnach (London), 1813-1838; Harding B 11(499), Johnson Ballads 452, Firth c.18(141), Harding B 15(99a), Harding B 11(1120), Firth c.12(261), Harding B 11(1119), Harding B 11(3030), Harding B 16(84b), "Fair Phoebe and her Dark-Eyed Sailor"; Firth c.17(53), Harding B 11(2824), Firth b.27(475), "Fair Phoebe and her Dark-ey'd Sailor"; Harding B 16(326b), "Fair Phoebe and her Dark Eyed Sailor"; Firth b.25(142), Harding B 15(98b), "Fair Phoebe and her Dark Ey'd Sailor"; Harding B 11(3493), Johnson Ballads 1837, "Fair Phoebe, and the Dark-Eye'd Sailor"; Firth b.25(193), "Fair Phoebe and the Dark-Eyed sailor"; Harding B 15(99b), "Fair Phoeby and Her Dark Eyed Sailor"; Harding B 18(114), "Dark Ey'd Sailor" ("'Tis of a comely young lady, fair")
LOCSinging, as102640, "Dark Ey'd Sailor," J. Andrews (New York), 1853-1859; also sb10077b, "Dark Ey'd Sailor"
Murray, Mu23-y1:016, "The Dark-Eyed Sailor," R. M'Intosh (Calton), 19C; also Mu23-y1:102, "Fair Phoebe And Her Dark-Eyed Sailor," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "John (George) Riley (I)" [Laws N36] and references there
cf. "Brave Wolfe" [Laws A1] and references there (tune)
cf. "The Female Smuggler" (tune, per broadsides Bodleian Johnson Ballads 2483, Bodleian Harding B 11(498), Bodleian Harding B 11(499))
NOTES: Ford sings this to the tune usually associated with "The Blacksmith," which -- so far as I know -- hasn't been otherwise collected outside Britain except as "Brave Wolfe." - PJS
Lines shared with The Banks of Sweet Primroses: Young girl's be true while your love's at sea, For a dark cloudy morning Brings forth a pleasant day."
Broadside LOCSinging as102640: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: LN35
===
NAME: Dark-Haired Girl, The
DESCRIPTION: The singer and a comrade go rambling on July 20, (18)39. They see a girl, whose beauty he praises extravagantly. He promises to be true to her. Though she is a servant and he is rich, "a pretty curl Will be all I want as dower from my dark-haired girl."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: love courting rambling beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H559, p. 237, "The Dark-Haired Girl" (1 text, 1 tune)
Roud #9471
File: HHH559
===
NAME: Dark-Haired Jimmy Owen: see Seimidh Eoghainin Duibh (Dark-Haired Jimmy Owen) (File: K046)
===
NAME: Darky School Song: see Walkin' in the Parlor (File: Wa177)
===
NAME: Darky Sunday School, The: see Walkin' in the Parlor (File: Wa177)
===
NAME: Darlin' (I)
DESCRIPTION: "If I'd a-known my captain was blind, darlin', darlin'... Wouldna gone to work till half past nine." The captain and the worker quarrel; the captain won't tell the time, and will throw him in jail if he argues. The singer wishes he had listened to mother
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: prison work hardtimes chaingang floatingverses
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 68, "Darlin'" (1 text)
DT, DARLNCAP
CROSS_REFERENCES:
cf. "Pay Me My Money Down" (floating lyrics)
NOTES: Every word of this song floats -- so much so that I was tempted to list it as a variant of some other song. But the form is unique. It is probably someone's rework, but it's hard to tell what the "original" was. - RBW
File: FSWB068
===
NAME: Darlin' (II): see New River Train (File: AF073)
===
NAME: Darlin' You Can't Have One: see New River Train (File: AF073)
===
NAME: Darling Cora: see Darling Corey (File: LxU087)
===
NAME: Darling Corey
DESCRIPTION: "Wake up, wake up, darling Corey, what makes you sleep so sound? The revenue officers are coming, Gonna tear your still-house down." The singer describes Corey's wild career as a moonshiner, and (dreams of) her death and burial
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: drink police death burial dream
FOUND_IN: US(Ap)
REFERENCES: (10 citations)
Fuson, pp. 134-135, "Little Cora" (1 text, an unusually full version though with several floating verses)
SharpAp 152, "The Gambling Man" (2 texts, 2 tunes, but only the "B" text is this song; the "A" text is "I Wonder Where's the Gambler")
Ritchie-Southern, p. 39, "Little Cory" (1 text, 1 tune)
Lomax-FSUSA 87, "Darlin' Corey" (1 text, 1 tune)
Lomax-FSNA 135, "Dig a Hole in the Meadow" (1 text, 1 tune)
Arnett, p. 173, "Darlin' Corrie" (1 text, 1 tune)
Botkin-SoFolklr, p. 734, "Darling Cory" (1 text, 1 tune)
PSeeger-AFB, p. 73, "Darlin' Corey" (1 text, 1 tune)
Silber-FSWB, p. 193, "Darlin' Corey" (1 text)
DT, DARLCORY
Roud #5723
RECORDINGS:
Logan English, "Little Cory" (on LEnglish01)
Roscoe Holcomb, "Darlin Corey" (on Holcomb2, HolcombCD1)
Buell Kazee, "Darling Cora" (Brunswick 154, 1927); "Darling Corey" [fragment] (on Kazee01)
Pleaz Mobley, "Darling Cory" (AFS; on AAFS 69, LC14)
Monroe Brothers, "Darling Corey" (Bluebird B-6512, 1936; Victor 27493, 1941)
Pete Seeger, "Darling Corey" (on PeteSeeger02, PeteSeegerCD01)
B. F. Shelton, "Darling Cora" (Victor 35838, 1927; on ConstSor1)
Jack Wallin, "Darling Cora" (on Wallins1)
Doc Watson, Gaither Carlton & Arnold Watson, "Darling Corey" (on Watsons01)
CROSS_REFERENCES:
cf. "Little Maggie" (words)
cf. "Country Blues" (words)
cf. "Don't Get Trouble in Your Mind" (floating phrase)
File: LxU087
===
NAME: Darling Cory: see Darling Corey (File: LxU087)
===
NAME: Darling Little Joe
DESCRIPTION: The dying boy asks how life will be when he is dead, e.g. "Oh what will the birds do, mother, in the spring... Will they harp at the door... Asking why Joe wanders out no more?" The boy asks mother to care for his pets, and tells her he will be in heaven
AUTHOR: unknown
EARLIEST_DATE: 1866 (sheet music, "The Death of Little Joe")
KEYWORDS: death children animal farewell
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 712, "Darling Little Joe" (3 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 460-461, "Darling Little Joe" (1 text, 1 tune -- Randolph's 712A)
Roud #3545
RECORDINGS:
Carter Family, "Darling Little Joe" (Victor [Canada] CNV-102, n.d.); "Little Joe" (Decca 5632, 1939)
Bradley Kincaid, "Little Joe" (Montgomery Ward M-4457, 1934)
Monroe Brothers, "Little Joe" (Bluebird B-7598, 1938)
Charles Nabell, "Little Joe" (OKeh 40418, 1925)
BROADSIDES:
Levy 105.044, "The Death of Little Joe," G. Andre & Co., Philadelphia, 1866
LOCSheet, sm1876 10660, "Little Joe," Blackmar & Finney (New Orleans), 1876 (tune)
NOTES: Cohen notes two sheet music printings, one (dated 1876) crediting it to Charles E. Addison, the other (1866) by V. E. Marsten. Draw your own conclusions. - RBW
The 1866 sheet music lists V. M. Marston as the composer, with no information as to the lyricist. It includes a chorus ("Little Joe will soon, will soon be sleeping, sleeping calmly...") which does not seem to have entered oral tradition. - PJS
Broadside LOCSheet sm1876 10660: "Composed and sung by Maj. Chas. E. Addison the noted Confederate Spy and Scout of Gen. John H. Morgan's Command." Attributed to the same author, and published the same year by the same publisher is
LOCSheet, sm1876 10661, "The Dying Message" ("Raise the window, Mother darling, Let the soft breeze fan me now," Blackmar & Finney (New Orleans), 1876 (tune) - BS
File: R712
===
NAME: Darling Little Pink: see Little Pink (File: San166)
===
NAME: Darling Neddeen
DESCRIPTION: O'Shaughnessy's song in praise of Neddeen: whales flap their tail to raise a breeze for birds; girls' eyes are so bright no gas lamps are needed in cabins; geese run around ready roasted; cows give whisky; ganders give milk; girls never grow old.
AUTHOR: unknown
EARLIEST_DATE: 1823 (_The Freeholder_, according to Croker-PopularSongs)
KEYWORDS: nonballad talltale animal bird whale
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 250-254, "Darling Neddeen" (1 text)
CROSS_REFERENCES:
cf. "The Sprig of Shillelah" (tune, according to Croker-PopularSongs)
cf. "Oleanna" (absurdist sorts of claims for the town)
NOTES: Croker-PopularSongs: "'Neddeen,' says Mr Weld,'is the principal place of trade on the Kenmare river ...' now generally known as Kenmare."
Croker-PopularSongs: "The Editor has no doubt that the authorship may be correctly assigned to the writer of 'O! Blarney Castle, my Darling', and the subsequent song entitled 'Darling Neddeen.'" But, at "O! Blarney Castle, my Darling" he "has no doubt" that its author also wrote "aint Patrick's Arrival." See that song if you are interested in Croker's speculations there." - BS
File: CrPS250
===
NAME: Darling Nelly Gray
DESCRIPTION: The singer recalls the time he spent with Nelly. But now "the white man has bound her with his chain;" he laments "Oh my darling Nelly Gray, they have taken you away And I'll never see my darling any more." He hopes they will be reunited after death
AUTHOR: B. R. Hanby
EARLIEST_DATE: 1856 (broadside, LOCSheet sm1856 600230)
KEYWORDS: love separation slave
FOUND_IN: US(MW)
REFERENCES: (4 citations)
Dean, p. 73, "Darling Nelly Gray" (1 text)
RJackson-19CPop, pp. 53-56, "Darling Nelly Gray" (1 text, 1 tune)
Silber-FSWB, p. 251, "Darling Nelly Gray" (1 text)
DT, NELLGRAY*
ST RJ19053 (Full)
Roud #4883
RECORDINGS:
Louis Armstrong & the Mills Brothers, "Darling Nellie Gray" (Decca 1245, 1937)
The Carver Boys, "Darling Nellie Gray" (Paramount 3198, 1930)
Carroll Clark, "Darling Nellie Gray" (Columbia A-770, 1909)
Al Hopkins & his Buckle Busters, "Darling Nellie Gray" (Brunswick 185/Vocalion 5186 [as the Hill Billies], 1927)
 W. W. MacBeth, "Darling Nellie Gray" (Brunswick 571, 1931; rec. 1929)
[Asa] Martin & [James] Roberts, "Darling Nellie Gray" (Perfect 12762/Banner 32306 [as by Asa Martin], 1931; Conqueror 7935, 1932)
McMichen's Melody Men, "Darling Nellie Gray" (Banner 32306, 1931; Conqueror 7965, 1932)
Metropolitan Quartet, "Darling Nellie Gray" (CYL: Edison [BA] 1860, n.d.)
Chubby Parker, "Darling Nellie Gray" (Supertone 9187, 1928)
Peerless Quartet, "Darling Nellie Gray" (Gennett 4532, 1919)
Roba Stanley [or Stanley Trio], "Nellie Gray" (OKeh 40271, 1925)
Henry Whitter's Virginia Breakdowners, "Nellie Gray" (OKeh 40211, 1924)
BROADSIDES:
LOCSheet, sm1856 600230, "Darling Nelly Gray," Oliver Ditson (Boston), 1856 (tune) [attributed to B. R. Hanby]
LOCSinging, as102660, "Darling Nelly Gray," Charles H. Anderson (Washington), 19C; also cw103950, "Nelly Gray"
CROSS_REFERENCES:
cf. "The Eumerella Shore" (tune)
cf. "Memphis Flu" (tune)
NOTES: This was the first popular success of Benjamin Russell Hanby (1833-1867), who eventually wrote some eighty songs. It is reported to be based on an actual event; a runaway slave named Joseph Shelby died at the Ohio home of Hanby's father. Shelby was hoping to raise money to win the freedom of another slave named Nelly Gray.
In one of the odd turns of history, Wharton's _War Songs and Poems of the Southern Confederacy_ , following one Mrs. A. T. Smythe, suggests Stephen Foster as the author; even if the sheet music did not disprove this, the anti-Slavery sentiment would surely do so. - RBW
File: RJ19053
===
NAME: Darling Old Stick
DESCRIPTION: Bull Morgan McCarthy inherits his brother's shillelah and fights with those he'd heard of as "informer" and "canary." Partly as result, partly as cause, he meets Kate. "I bought this gold ring, sir, And Kate to the priest I shall bring, sir"
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Harding B 11(798))
KEYWORDS: marriage fight trial humorous
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Mackenzie 137, "Bull Morgan McCarthy" (1 text)
O'Conor, p. 51, "Darling Old Stick" (1 text)
Roud #3276
BROADSIDES:
Bodleian, Harding B 11(798), "The Darlin' Old Stick," John Ross (Newcastle), 1847-1852; also 2806 c.15(258), 2806 b.11(11), "The Darlin' Old Stick"; Harding B 20(34), Harding B 11(799), Harding B 11(797), "The Darlin' Ould Stick"; Harding B 11(1370), "Darling Old Stick"; Firth b.25(73), "The Darling Ould Stick" 
NLScotland, L.C.178.A.2(300), "The Darlin' Old Stick," unknown, c.1870
SAME_TUNE:
Teddy O'Toole (per broadside Bodleian Harding B 20(34))
File: Mack137
===
NAME: Darling Song: see My Mother's Last Goodbye (File: RcMMoLaG)
===
NAME: Darling You Can't Love but One: see New River Train (File: AF073)
===
NAME: Darra
DESCRIPTION: "First when I engaged, it was to [corn-dealer] Darrahill, It was to be his foreman, and feed the thrashing mill." Instead, he is put in a bothy with grueling work. He will go back to see Darrahill's "servant girlie that I am often wi'," but not Darrahill
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: courting lie work hardtimes farming worker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 352, "Darra" (1 text, 1 tune)
Roud #5901
ALTERNATE_TITLES:
Darrahill
File: GrD3351
===
NAME: Darrahil: see Darahill (File: Ord276)
===
NAME: Dat's All Right
DESCRIPTION: Floating-verse with chorus "Dat's all right (x2), Dat's all right, babe, dat's all right. I'll be with you right or wrong; When you see a good thing, shove it right along...." Verses about visiting honey and seeing her dead or working for the rich folks
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: love death separation money floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 234-235, "Dat's All Right" (1 text)
File: ScNF234B
===
NAME: Daughter of Peggy-O, The
DESCRIPTION: Husband marries a wife who won't work; he beats her and threatens to yoke her to the plow. She submits.
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: marriage abuse work humorous wife
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, p. 29, "The Daughter of Peggy-O" (1 text, 1 tune)
Roud #117
CROSS_REFERENCES:
cf. "The Wife Wrapt in Wether's Skin" [Child 277] (plot)
NOTES: Although there are strong similarities to "Wife Wrapt in Wether's Skin", the class distinction does not appear, and neither does the sheepskin. I call it a different song. -PJS
In the absence of intermediate versions, I tend to agree. Although both songs have nonsense refrains, they are not the SAME nonsense refrains, and the stanza forms and lyrics are distinct. Though Roud, of course, lumps them. - RBW
File: VWL029
===
NAME: Daughters, Will You Marry: see Soldier Boy for Me (A Railroader for Me) (File: R493)
===
NAME: David Dodd
DESCRIPTION: "Drums were beating, troops were marching." "Captured by the Federal minions, As a hated Rebel spy," Dodd is asked to name his informant. The boy answers that he is prepared to die. "In the grave in old Mount Holly Lie the bones of David Dodd."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Allsopp)
KEYWORDS: Civilwar execution burial
FOUND_IN: US(So)
REFERENCES: (1 citation)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 231-232, (no title) (1 text)
ST FORA231 (Partial)
NOTES: Allsopp lists this under the heading "The Nathan Hale of Arkansas," and says that a school was dedicated in 1927 to the memory of David Dodd.
The story Allsopp tells is a little confused. His age is given as 17 when he was executed in 1864 -- yet he is called "too young to enlist." This is simply false -- by the end of the war, the Confederates were taking 15-year-olds. Either his age is wrong or he had avoided military service.
If Allsopp's account is true, he not only was serving as a courier but was spying on Union positions. It also sounds as if he could have told everything he knew without it doing the Confederates any harm; the Union army command was just too slow to react. But the kid seems to have been a romantic.
Allsopp's account gives few substantial details except that Dodd was executed in Little Rock.
Allsopp's account is in error in at least one particular: The Federal general in charge of the Department of Arkansas in 1864 was not General "Steel" but Major General Frederick Steele, 1819-1868. The fact that Steele was opposed by General Fagan seems to date the the incident to the Arkansas campaign of 1864; the general involved is James Fleming Fagan (1828-1893), a cavalry division commander. Dodd must therefore have been active some time between March 23 (when Steele set out) and April 30 (when Steele was forced to retreat largely as a result of Fagan's actions); the likeliest date would appear to be around April 20-25; it was on the latter date that Fagan hit Steele's supply line.
Steele's campaign is of course mentioned in most major Civil War histories (though usually only in connection with the Red River expedition of Banks, which it was supposed to support). I haven't found any mentions of Dodd, though.
I don't know whether this poem is a traditional song or not. But Allsopp lists no author, and the tale is very folkloric, so I have very hesitantly indexed the piece. - RBW
File: FORA231
===
NAME: David Ward: see Old David Ward (File: Be014)
===
NAME: David, David, Yes, Yes: see O David (File: LoF250)
===
NAME: David's Flowery Vale
DESCRIPTION: The singer sees the Armagh coach arrive; one of the passengers is a beautiful girl. He steps up to her, point out his family's wealth, and asks if she will come away with him. She says that she is not wealthy and is pledged to another
AUTHOR: unknown
EARLIEST_DATE: 1845 (by John Hume, according to Leyden)
KEYWORDS: courting rejection beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H212, p. 370, "Drummond's Land" (1 text, 1 tune)
Leyden 12, "Young McCance" (1 text, 1 tune)
Roud #2943
RECORDINGS:
Eddie Butcher, "David's Flowery Vale" (on Voice01, IREButcher01)
Robert Cinnamond, "Young McCance" (on IRRCinnamond01)
ALTERNATE_TITLES:
Young McCance
NOTES: I have found no references to "David's Fountain" or "David's Flowery Vale" in maps of Ireland. There are, however, some clues. The lad and lass look at ships sailing to Chester (in western Britain). She comes from Hamiltonsbawn, and is riding the Armagh coach.
Hamiltonsbawn is almost due east of Armagh, half a dozen or so miles from the city center. It is not on any body of water. Armagh isn't on anything navigable, either. But the road from Armagh to Hamiltonsbawn heads on in the general direction of Belfast. Thus it seems likely that David's Flowery Vale is somewhere on the shores of the Belfast Lough. - RBW
Leyden: "John McCance, the owner of this splendid mansion [near Belfast], was born in 1772 and lived until 1835.... The song is correct in mentioning McCance's dwelling at the foot of Divis Mountain: he lived at Roselands on the Upper Falls before moving to Suffolk House in 1811." - BS
File: HHH212
===
NAME: David's Lamentation
DESCRIPTION: "David the king was grieved and moved, He went to his chamber, his chamber and wept. And as he went, he wept and said, 'Oh my son! Oh my son, would to God I had died, would to God I had died for thee, Oh Absalom, my son, my son."
AUTHOR: William Billings
EARLIEST_DATE: 1840 (Missouri Harmony)
KEYWORDS: royalty death family Bible religious
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 412, "Oh, Absalom, My Son" (1 text)
DT, DAVLAMNT ABSALON*
Roud #15055
NOTES: The original William Billing song (of slightly uncertain date, though obviously in existence by the early nineteenth century) is taken almost verbatim from 2 Samuel 18:33. A second verse, rarely sung and not found in the Sacred Harp or the Missouri Harmony, is almost as  close to 2 Samuel 19:2:
Vict'ry that day was turned into mourning
When the people did see how the King grieved for his son.
He covered his face and in a loud voice cried,
"Oh my son...."
I cannot absolutely prove that the round "Absalom My Son" is descended from the Billings piece; the words are straight from the Bible, after all. There is, however, melodic similarity (though not identity), and the Billings tune was designed as a fugue, which would encourage its conversion to a round. - RBW
File: FSWB412B
===
NAME: Davie and His Kye Thegither
DESCRIPTION: Davie comes to his mother, "some good news to lat her ken." She warns against hasty marriage, but the wedding goes ahead. He and his wife fight; she breaks a pot over his head. The parson arrives, the wife hits him too, and he concedes Davie's misfortune
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting marriage clergy humorous injury
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 120-121, "Davie and His Kye Thegither" (1 text)
Roud #5545
File: Ord120
===
NAME: Davy
DESCRIPTION: Dance tune; "Davy, Davy, where is Davy/Down in the henhouse eating up the gravy/Davy, Davy, where is Davy/Down in the chickenyard, sick on the gravy." (There may also be a "why can't a white man dance like a nigger" verse). 
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Weems String Band)
KEYWORDS: dancing nonballad food discrimination
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 68, "Davy" (1 text, 1 tune)
ST CSW068 (Full)
RECORDINGS:
New Lost City Ramblers, "Davy, Davy" (on NLCR01)
Weems String Band, "Davy" (Columbia 15300-D, 1928)
NOTES: This piece instantly makes me think of some of the versions of "Black-Eyed Susie (Green Corn)." I can't prove any connection, though. It also bears some slight similarities to "Davy Crockett" -- but, again, nothing concrete, just isolated words. - RBW
Only, I think, the name. - PJS
George Lineberry, the husband of the grand-niece of "Uncle Dick" Weems and "Uncle Frank" Weems, explains how the song actually came about:
"The Weems String Band (Perry County, TN) traveled to Memphis, TN in 1928 where Columbia was recording groups for the potential '1928 version American Idol.' (NOT).
"[Their] musical numbers were instrumental -- not vocal arrangements. However, Columbia wanted lyrics, i.e. no lyrics -- no record.  So the Weems String Band went back to the hotel, created some lyrics (kind of) for their two songs: 'Greenback Dollar' and 'Davy' (sometimes referred to as 'Davy, Davy'). The lyrics met the minimum requirement, but both songs remained basically instrumentals.
"The next day they returned to Columbia's 'studio' and recorded both songs, resulting in their only record."
The New Lost City Ramblers proceeded to bowdlerize the song to within an inch of its life (Lineberry's transcription is in the Supplemental Tradition, and it will demonstrate why they did so). Had the Ramblers known its story, they probably would have just played it as an instrumental. Though the instrumental style also apparently puzzled them, based on the notes in Cohen/Seeger/Wood. Lineberry's comments may explain that, too: A third Weems, Jess, played bowed 'cello. - RBW
File: CSW068
===
NAME: Davy Crockett
DESCRIPTION: Davy and/or the singer engage in various improbable activities such as hunting coons without a gun. The singer and Davy have a fight and agree to a draw: "I was hard enough for him, and so was he for me."
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden); "Pompey Smash" appeared 1847 in Lloyd's Ethiopian Song Book
KEYWORDS: nonsense humorous hunting fight
FOUND_IN: US(Ap,So)
REFERENCES: (7 citations)
Belden, p. 339, "Davy Crockett" (1 stanza)
Randolph 423, "Davy Crockett" (2 texts, 1 tune)
Randolph/Cohen, pp. 338-340, "Davy Crockett" (1 text, 1 tune -- Randolph's 423A)
Combs/Wilgus 168, pp. 182-183, "Davy Crockett" (1 text)
JHCox 177, "Davy Crockett" (1 text)
Lomax-ABFS, pp. 251-253, "The Ballad of Davy Crockett" (1 text, 1 tune)
DT, DAVCROCK
Roud #3589
RECORDINGS:
Chubby Parker, "Dav[e]y Crockett" (Conqueror 7895, 1931; on StuffDreams1)
CROSS_REFERENCES:
cf. "Settin' on a Rail" (lyrics)
NOTES: Obviously not to be confused with the pop song "The Ballad of Davy Crockett."
Randolph says that this piece is derived from the minstrel piece "Pompey Squash," (called "Pompey Smash" by Cox). This is clearly true of Randolph's "B" text and less obviously so in the case of the Lomax text; I am not certain in the case of the other versions. I might theorize that Randolph's text is a hybrid. - RBW
File: R423
===
NAME: Davy Faa (II): see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Davy Faa (Remember the Barley Straw)
DESCRIPTION: (A man courts a neighbour's daughter by disguising himself as) a tinker. The tinker follows the girl into bed and sleeps with her. (He departs, leaving her with a rich fee, giving his name as Davy Faa/Shaw. Her father seeks a husband for her)
AUTHOR: unknown
EARLIEST_DATE: 1895 (Baring-Gould)
KEYWORDS: disguise seduction sex trick abandonment money father rape tinker bastard
FOUND_IN: Britain(England(South,Lond),Scotland(Aber))
REFERENCES: (3 citations)
Bronson 279, "The Jolly Beggar" (37 versions, but #28 is "Davy Faa (Remember the Barley Straw)")
Kennedy 188, "Remember the Barley Straw" (1 text, 1 tune)
DT, DAVYFAA* BARLSTRW
Roud #118
CROSS_REFERENCES:
cf. "Tramps and Hawkers" (tune)
cf. "Paddy West" (tune)
ALTERNATE_TITLES:
The Barley Straw
NOTES: I've never really been sure whether this song involves rape or not. It's clear that the girl gets the worst of it, though.
It will be observed that the only parts of this song that are constant are the tinker and the seduction. No doubt various attempts at bowdlerization account for some of this, but there does seem to be some mixture involved as well. - RBW
I suggest renaming this main entry; as far as I know, only in one version of the song (Jeannie Robertson's) is the man  (or the song) named Davy Faa, while "The Barley Straw" or variants thereon seem relatively common. More important, I'd  rather avoid confusion with the more common "Davy Faa", aka "The Gypsy Laddie." Also, the tune given in Kennedy isn't that of "Tramps and Hawkers/Paddy West", and I'm not sure it's been collected from tradition with that tune (Jean Redpath doesn't count.) - PJS
All true, except that the Robertson/Redpath versions seems to be the ones everyone knows. Which is why I used the title I did. And while Robertson's tune is not "Tramps and Hawkers," it has similarities.
Roud lumps this with Child #279, "The Jolly Beggar." The similarity in plot is obvious. So is the dissimilarity in form. - RBW
File: K188
===
NAME: Davy Lowston
DESCRIPTION: "My name is Davy Lowston, I did seal, I did seal." Lowston and crew are left to hunt seal;  the which is to retrieve them is wrecked. After much privation, the survivors are rescued by the Governor Bligh. Lowston advises against sealing
AUTHOR: unknown
EARLIEST_DATE: 1967 (Bailey & Roth, Shanties by the Way)
KEYWORDS: hunting wreck disaster hardtimes rescue New Zealand ordeal
FOUND_IN: New Zealand
REFERENCES: (1 citation)
DT, DAVYLOWS
CROSS_REFERENCES:
cf. "We Will Not Go to White Bay with Casey Any More" (plot)
NOTES: This song is a mostly-true story, though there has been a lot of confusion along the way. The best summary seems to be from "The Story of David Lowston, a pre-colonial NZ song," an article by Frank Fyfe published in the Journal of New England Folklore in 1970 and now available online at the New Zealand folklore web site.
All dates in what follows are somewhat uncertain. I'm going to leave out all the "probablies" and just summarize.
It was in 1809 that the brig _Active_, Captain John Bader (corrupted to Bedar in the song, probably for metrical reasons) advertised for hands. The _Active_ sailed from Sydney on December 11, 1809; on February 16, 1810, a party of ten sealers under David Lowrieston was left on an island off New Zealand. They had relatively few supplies; Bader promised to return soon with more, but the _Active_ was never seen again.
The sealing crew had to survive by hunting seals and digging up roots; they seem to have been amazingly inept, watching two boats destroyed, but despite their privations (and the implication of the song), none of them actually died. They were rescued by the _Governor Bligh_, and arrived in Sydney on December 15, 1813.
The rest of Fyfe's speculation must be taken with a grain of salt. He believes the song to be based on "Captain Kidd," and there are obvious resemblances of form. However, "Davy Lowston" as it was collected (from an American, of all things) is not sung to "Captain Kidd," and while several of the musical phrases are similar, others are strikingly different.
Indeed, "Davy Lowston" cannot be sung to the usual "Captain Kidd"/"Wondrous Love" by any amount of squeezing, as the following analysis will show; I print the common text of "Davy Lowston," and note the differing number of syllables in "Captain Kidd."
My name is Davy Lowston   (1 extra syllable in DL; could perhaps be adapted -- though Fyfe argues that the original was "My name is David Lawrieston," which would never fit no matter what squeezing applied)
I did seal, I did seal (compatible)
My name is Davy Lowston, I did seal. (compatible)
Though my men and I were lost (1 extra syllable in DL; could be adapted)
Though our very lives it cost (1 fewer syllable in DL, hard to adapt)
We did seal (2 fewer syllable in DL, no adaption possible)
We did seal, we did seal. (compatible with some versions of Captain Kidd).
I allow the possibility that "Davy Lowston" is derived from Captain Kidd, or one of its folk relatives, but it's far from certain. - RBW
File: DTdavylo
===
NAME: Davy, Davy: see Davy (File: CSW068)
===
NAME: Dawning of the Day (I), The [Laws P16]
DESCRIPTION: The singer meets a milk-maid at the dawn of day, seduces her despite her reluctance, and leaves her. Months later they meet again; she asks him to marry her, but he answers that he has married a rich girl. She warns against such rovers
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian 2806 b.11(56))
KEYWORDS: seduction warning poverty betrayal
FOUND_IN: US(MA) Canada(Mar) Britain(Scotland(Aber))
REFERENCES: (4 citations)
Laws P16, "The Dawning of the Day"
Ord, p. 163, "The Dawning of the Day" (1 text)
Mackenzie 56, "The Dawning of the Day" (1 text, 1 tune)
DT 498, DAWNDAY
Roud #370
RECORDINGS:
Cathie Stewart, "The Dawning of the Day" (on SCStewartsBlair01) (a fragmentary version, ending with the girl's reluctance)
BROADSIDES:
Bodleian, 2806 b.11(56), "Dawning of the Day," J. Pitts (London), 1819-1844; also Harding B 11(2026), Harding B 6(4), Harding B 25(480), Johnson Ballads fol. 412 View 1 of 2, Harding B 11(806), 2806 c.8(283), 2806 c.16(25), 2806 b.11(197), Harding B 26(119) [badly faded], Harding B 11(804), Harding B 11(803), Harding B 16(69a), Harding B 17(73a), Firth c.13(301), Harding B 11(805), Harding B 20(23), Harding B 17(72b), Harding B 16(69b), "[The] Dawning of the Day"
LOCSinging, as102690, "Dawning of the Day," L. Deming (Boston), 19C 
NLScotland, L.C.Fol.70(148), "The Dawning of the Day," James Lindsay (Glasgow), c.1853 
File: LP16
===
NAME: Dawsonville Jail
DESCRIPTION: Singer is told by Sheriff Glen Wallace that he's "a little too full." He is taken to jail. His friend Shorty objects but is arrested too; they work on the sheriff's chicken farm, and the food is bad. They swear they'll drink no more.
AUTHOR: Words: L. D. Snipes & Shorty Lunsford; tune: traditional
EARLIEST_DATE: 1982 (recording, Ray Knight)
LONG_DESCRIPTION: Singer gets up, but is told by Sheriff Glen Wallace that he's "a little too full." He heads for town; Wallace & his deputy, Toy, come to arrest him and take him to jail. His friend Shorty objects but is arrested too; they work on the sheriff's chicken farm, and the food is bad -- "the peas was green and the meat was fat." They fall on their knees and swear they'll drink no more. Released, they advise that "before we take a drink we'd better look twice." Refrain: "Comin' for to carry me home"
KEYWORDS: warning farming crime prison punishment drink friend police prisoner
FOUND_IN: US(SE)
REFERENCES: ()

Roud #4960
RECORDINGS:
Ray Knight w. Ed Teague & Art Rosenbaum, "Dawsonville Jail" (on FolkVisions2)
CROSS_REFERENCES:
cf. "Swing Low, Sweet Chariot" (tune, refrain)
cf. "Hand Me Down My Walkin' Cane" (lyrics)
cf. "Cryderville Jail" (subject)
NOTES: Clearly not a traditional song, but I include it because (a) the form, structure and style are traditional, and (b) it uses tune, structure and refrain from a traditional song, and borrows a floating verse from another. It's *not* "Cryderville Jail"; in fact, according to the liner notes, the writers, who knew that song, deliberately chose a different structure. - PJS
File: RcDawsJa
===
NAME: Day Columbus Landed Here, The
DESCRIPTION: "I never shall forget the day Columbus landed here. Myself and forty Indians were standing on the pier.... 'Twas I who built the Rockies up and placed them where they are; Sold whiskey to the Indians behind my little bar"
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: humorous talltale bragging
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/Johnston, pp. 178-179, "The Day Columbus Landed Here" (1 text, 1 tune)
ST FJ178 (Partial)
Roud #4546
CROSS_REFERENCES:
cf. "I Was Born About Ten Thousand Years Ago (Bragging Song)"
ALTERNATE_TITLES:
I Never Shall Forget
The Old Timer's Song
File: FJ178
===
NAME: Day I Went to Rothesay O, The
DESCRIPTION: The singer and Maggie go to Rothesay and dance to a fiddle on the shore. Maggie changes into a blue gown to swim. She rides a donkey and breaks her dress hoops. That made her sad until "a kiss and a cuddle" made her feel better on their way home. 
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan2)
KEYWORDS: love travel clothes shore dancing
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 289, "The Day I Went to Rothesay O" (1 text)
Roud #2142
CROSS_REFERENCES:
cf. "Rothesay-O" (lyrics)
NOTES: I have split this from "Rothesay-O" because the story is entirely different though the chorus is the same. One obviously provided the pattern for the other.
Rothesay is on the Island of Bute, west of Glasgow. - BS
File: GrD2289
===
NAME: Day is Past and Gone, The
DESCRIPTION: "The day is past and gone, The evening shades appear, Oh, may we all remember well The hour of death is near." The singer, preparing to sleep, things ahead to the sleep of death and asks to be taken to God when the time comes
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ritchie)
KEYWORDS: death religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-Southern, p. 46, "The Day is Past and Gone" (1 text, 1 tune)
Roud #5718
File: RitS046
===
NAME: Day of Judgment, The
DESCRIPTION: "And the moon will turn to blood (x3), In that day. Oh you, my soul, And the moon will turn to blood in that day." "And you'll see the stars a-falling." "And you'll hear the saints a-singing." "And the Lord will say to the sheep ... go to him right hand."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 53, "The Day of Judgment" (1 text, 1 tune)
Roud #12013
NOTES: The verses of this song all come pretty directly from the various Biblical apocalypses:
The moon turning to blood is from Rev. 6:12; Acts 2:20 also says the moon will turn to blood, citing Joel 2:31. In addition, Mark13:24=Matt. 24:29 tells of the moon not giving light.
The very next sentence in Matthew and Mark (Matt. 24:29, Mark 13:25) tells of the stars falling, as does Rev. 6:13. In addition, Rev. 8:10-11 tells of the great star Wormwood falling from the sky to the earth bringing destruction, and another evil star falls in 9:1, and in 12:4 the dragon is sweeping stars from the sky.
We find saints singing around the throne of God in 15:3, where "those who had conquered the Beast" gather;  in addition, the elders sing around the throne in Rev. 5:9, 11:17, and someone (it's not entirely clear who) is singing in Rev. 14:3. The creatures before the throne sing in Rev. 4:8. (As you can probably tell, there is a lot of singing in the Revelation to John.)
The last three verses, about the Lord talking to the sheep and the goats, refers specifically to the parable of the sheep and the goats in Matthew 25:32-45 (at the end of Matthew's apocalypse), which I've seen described as one of the most frightening parables in the New Testament. - RBW
File: AWG053
===
NAME: Day of Waterloo, The
DESCRIPTION: "Revolving time has brought the day That beams with glory's brightest ray In history's page or pet's lay -- The day of Waterloo." The singer urges the British to rejoice in the humbling of France, and praises Wellington and his soldiers
AUTHOR: "Lieutenant Skinner" ?
EARLIEST_DATE: 1930 (Ord), from a notebook dated 1817
KEYWORDS: soldier battle nonballad
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 303, "The Day of Waterloo" (1 text)
Roud #2184
CROSS_REFERENCES:
cf. "Scots Wha Hae (Bruce Before Bannockburn)" (tune)
File: Ord303
===
NAME: Day That I Played Baseball, The
DESCRIPTION: "Oh, my name it is OÕHoulihan, IÕm a man that's influential." He normally lives a quiet life, but one day is convinced to play baseball. He strikes out, he hits fouls but runs the bases anyway; he ends up drunk and on a cattle train
AUTHOR: Pat Rooney
EARLIEST_DATE: 1878 (sheet music, titles "The Day That I Played Base Ball")
KEYWORDS: humorous sports
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 58-59, "The Day That I Played Baseball" (1 text)
Roud #4961
File: Dean057
===
NAME: Day We Packed the Hamper for the Coast, The
DESCRIPTION: About the great difficulties a couple has "the day we packed the hamper for the coast." First the food is loaded in extravagant quantities. Then the wife tries to add cooking utensils; the husband proposes adding the cat. And so forth.
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: travel husband wife humorous food fight
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H488, pp. 501-502, "The Day We Packed the Hamper for the Coast" (1 text, 1 tune)
Roud #9466
NOTES: The Sam Henry text (the only one known; I suspect Henry's informant was close to the author) seems to end in mid-song, with the hamper full but nothing much happening. I suspect an explosion -- either of the hamper or of the quarreling couple -- followed. - RBW
File: HHH488
===
NAME: Day We Went to Rothesay-O, The: see Rothesay-O (File: K282)
===
NAME: Days Are Awa That I Hae Seen, The
DESCRIPTION: In words familiar from many songs, the girl says that she has been jilted through no real fault of her own. Her lover had bid her farewell. She will dress well and show no sorrow, and vows she will love him no more.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting farewell abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 179, "The Days Are Awa That I Hae Seen" (1 text)
Roud #5530
CROSS_REFERENCES:
cf. "Farewell He" (subject) and references there
cf. "A-Growing (He's Young But He's Daily A-Growing)" [Laws O35] (lyrics)
NOTES: This is one of those songs that seems to be assembled entirely out of floating materials. The first stanza in Ord's version, "The flowers are bonnie and the trees are green, But the days are away that I hae seen," is of course reminiscent of "A-Growing." Both the first and second stanzas have parts reminiscent of "I'll Be All Smiles Tonight." The overall effect is more like "Farewell He." And a couple of lines remind me of "No, Never, No."
The combined effect seems to be unique, though. - RBW
File: Ord179
===
NAME: Days of '49, The: see The Days of Forty-Nine (File: R198)
===
NAME: Days of Forty-Nine, The
DESCRIPTION: The singer, "Old Tom Moore from the Bummer's Shore," a relic of the California gold rush of 1849, recalls the various characters that he encountered "in the days of old when we dug up the gold"
AUTHOR: Charles Bensell ("Charley Rhoades") ?
EARLIEST_DATE: 1874 (The Great Emerson's New Popular Songster)
KEYWORDS: gold mining drink death moniker
HISTORICAL_REFERENCES: 1849 - Beginning of the California gold rush
FOUND_IN: US(MA,So,SW)
REFERENCES: (7 citations)
Randolph 198, "The Days of Forty-Nine" (1 text, 1 tune)
Warner 12, "The Days of Forty-Nine" (1 text, 1 tune)
FSCatskills 91, "The Days of 'Forty-Nine" (1 text, 1 tune)
Lomax-FSUSA 54, "The Days of '49" (1 text, 1 tune)
Silber-FSWB, p. 285, "The Days of Forty-Nine" (1 text)
Darling-NAS, pp. 172-174, "The Days of '49" (1 text)
DT, DAYSOF49*
Roud #2803
RECORDINGS:
Jules Allen, "The Days of Forty-Nine" (Victor 21627, 1928; Montgomery Ward M-4463, 1933)
Logan English, "The Days of '49" (on LEnglish02)
"Yankee" John Galusha, "Days of '49" (on USWarnerColl01)
File: R198
===
NAME: Days of Seventy-Six, The
DESCRIPTION: "The days of '76, boys, We ever must revere, Our fathers took their muskets then To fight for freedom dear.... Oh 'tis a great delight to march and fight As a Yankee volunteer." Battles of the Revolutionary War are recalled, and potential enemies warned
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: war freedom nonballad America rebellion
HISTORICAL_REFERENCES: Apr 18, 1775 - Battle of Lexington. A British force routs the American Minutemen. The colonials gain some revenge as the Redcoats advance on Concord
Dec 25, 1776 - Washington leads his troops across the Delaware to rout the British at Trenton
Oct 17, 1777 - Saratoga. British General John Burgoyne, advancing from Canada into New York, is forced to surrender when the British forces in the mid-Atlantic region do not undertake their planned advance
Oct 19, 1781 - Surrender of Cornwallis at Yorktown causes the British to give up hope of reconquering America
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 19, "In the Days of '76" (1 text, 1 tune)
Roud #6666
File: LoF019
===
NAME: Days of the Past Are Gone, The
DESCRIPTION: "The harness hangs in the old log barn, The wagon rots in the shed...." "For we've caught up with the Joneses now, with a fine new car and a truck...." "Them were the days when We were young and able. We rode good broncs, and we had fast dogs...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: age cowboy recitation
FOUND_IN: Canada
REFERENCES: (1 citation)
Ohrlin-HBT 91, "The Days of the Past Are Gone" (1 text)
File: Ohr091
===
NAME: Days of the Week: see A Week's Matrimony (A Week's Work) (File: Pea322)
===
NAME: Daysman, The
DESCRIPTION: The singer quits as day labourer for bad wages, takes his only fiver and goes to a hiring fair, but receives no bid. He spends the five on a maid pretending to hire him. Now he's back at the same wages as before, but without his fiver.
AUTHOR: unknown
EARLIEST_DATE: 1961 (IREButcher01)
KEYWORDS: sex lie money work drink
FOUND_IN: Ireland
REFERENCES: ()

Roud #2942
RECORDINGS:
Eddie Butcher, "The Daysman" (on IREButcher01)
File: RcDaysm
===