NAME: Fishy Crab, The: see The Sea Crab (File: EM001)
===
NAME: Fishy, Fishy in the Brook
DESCRIPTION: "Fishy, fishy in the brook, Daddy catch him on a hook, Mommy fry him in a pan, Johnny eat him like a man."
AUTHOR: unknown
EARLIEST_DATE: 1962 (Baring-Gould-MotherGoose)
KEYWORDS: fishing food
FOUND_IN: 
REFERENCES: (1 citation)
Baring-Gould-MotherGoose #876, p. 326, "(Fishy, fishy in the brook)"
Roud #16338
File: MGMG876
===
NAME: Fit Comes On Me Now, The: see I Must And Will Get Married (The Fit) (File: SKE53)
===
NAME: Fit, The: see I Must And Will Get Married (The Fit) (File: SKE53)
===
NAME: Fitch-Austin Feud, The
DESCRIPTION: "Oh, come and listen to my story Concerning that fierce, bloody fight Between the Fitch and Austin families." The Austins set out, armed, to repair a telephone pole; the Fitches, unarmed, resist. Several are killed. The singer warns against feuding.
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: feud death technology
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 23-24, (no title) (1 text)
NOTES: It seems most unlikely that this piece had any circulation in tradition; it's not good poetry, and quite confusing (at least if you don't know the participants). But with no source indicated, here it files. - RBW
File: ThBa023
===
NAME: Five and a Zack
DESCRIPTION: "I've been a few miles, I've crossed a few stiles, I've been round the world, there and back." He recalls is the place where the sanctimonious timekeeper "stung me for five and a zack." He expects to go to hell, with his complaint written on his tombstone
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: money boss death Hell burial
FOUND_IN: Australia
REFERENCES: (1 citation)
Manifold-PASB, p. 96, "Five and a Zack" (1 text, 1 tune)
NOTES: A "zack" is a sixpence. - RBW
File: PASB096
===
NAME: Five Bob to Four
DESCRIPTION: The singer complains of MacRose, "a little podgy," who lowered the daily rate for threshers from five bob to four. The singer curses him: "I hope his cows the measles take, his hens refuse to lay...."
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: money work curse
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 59-60, "Five Bob to Four" (1 text, 1 tune)
File: MA059
===
NAME: Five in the Bed
DESCRIPTION: "Two at the foot, Two at the head, And one in the middle Makes five in the bed."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 158, "Five in the Bed" (sixth of 12 single-stanza jigs) (1 text, probably just a floating verse)
Roud #16413
File: Fus158B
===
NAME: Five O'Clock is Striking: see My Boyfriend Gave Me An Apple (File: Hamm011)
===
NAME: Five-Gallon Jar, The: see The Big Five-Gallon Jar (File: Doe111)
===
NAME: Flag of the Free
DESCRIPTION: "Could we desert you now, Flag of the free, When we a solemn vow, Flag of the free, You from all harm to save, Made when we crossed the wave, And you a welcome gave...." The Irish immigrants promise to support the American flag against tyrants
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Civilwar freedom patriotic nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 224-225, "Flag of the Free" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Eileen Aroon" (tune)
cf. "Robin Adair" (tune)
File: SBoA224
===
NAME: Flag with the Thirty-Four Stars, The: see The Northern Bonnie Blue Flag (File: SBoA218)
===
NAME: Flambeau d'Amour (Torch of Love)
DESCRIPTION: French. A father puts his daughter in a tower to keep her from her lover.  She lights a torch to signal him to come to her. He tries but drowns in a storm. She finds his body. She cuts her vein to mix their blood and bring him back to life. She dies.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: foreignlanguage courting drowning suicide sea storm father lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 671-672, "Flambeau d'Amour" (1 text, 1 tune)
NOTES: The belief that blood not only sustains but *is* life is ancient; the Bible, e.g., says so in Leviticus 17:11, 14. And, of course, in Christian belief, the shedding of Jesus's blood brought life to those otherwise doomed.
There is also the interesting point that to mingle blood is often to make a covenant -- the girl's sacrifice might also be a pledge of fidelity.
Other folk beliefs might also be involved, e.g. the belief that the blood of virgins could cure various diseases, such as leprosy. - RBW
File: Pea671
===
NAME: Flash Frigate, The (La Pique)
DESCRIPTION: "I sing of a frigate, (a frigate of fame/La Pique was her name/do not mention her name), And in the West Indies she bore a great name," but she is a horrible place to serve; the crew is worked hard and punished severely. Listeners are urged to avoid her
AUTHOR: unknown
EARLIEST_DATE: 1907 (Firth)
KEYWORDS: sailor hardtimes ship punishment
FOUND_IN: 
REFERENCES: (2 citations)
Shay-SeaSongs, pp. 178-180, "The Flash Frigate" (1 text, 1 tune, which nowhere mentions the ship's name)
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 316,"The Fancy Frigate)
ST ShaSS178 (Partial)
Roud #2563
CROSS_REFERENCES:
cf. "The Dreadnought" [Laws D13] (tune)
NOTES: Many versions of this song, including Shay's, do not give the ship's name -- some, indeed, explicitly say the name is secret. But Shay says, without hesitation, that the song describes H. M. S. _La Pique_, described as a "blood ship" for its hard discipline.
The ship had a long career in the West Indies. According to Terrence Grocott's _Shipwrecks of the Revolutionary & Napoleonic Wars_, in 1798 she was captained by David Milne and helped capture _La Seine_ but ran aground in the process. Milne would later undergo a court-martial for losing _La Seine_ (which ship he had been given after the loss of his own), but was acquitted.
Milne's discipline may nonetheless have had some effect; he was in the vicinity of Portsmouth at the time of the Spithead mutiny, and in fact became a hostage of the delegates, but _La Pique_ is not listed as one of the mutinous ships in Appendix III of James Dugan's _The Great Mutiny_ (G. P. Putnam's Sons, 1965), though on p. 190 Dugan quotes a letter saying there was a mutiny aboard.
For a seemingly fictional account of another "blood ship," plus information about the horrid case of the _Hermione_, see the notes to "Captain James (The Captain's Apprentice)."
A new British _Pique_, a 40-gun frigate captured by Charles Ross, was in service by 1805.
The final complaint, that working the ship leaves sailors invalids, is quite true; sailors' work was hard at the best of times, and often left men crippled; on a ship which ignored the human needs of the men, such injuries were naturally more common. - RBW
File: ShaSS178
===
NAME: Flash Jack from Gundagai
DESCRIPTION: The singer describes all the places he has sheared -- and some of the problems he's faced. He declares, "They know me round the country as Flash Jack from Gundagai." When possible, he prefers "Shearing for old Tom Patterson on the One Tree Plain."
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: sheep work rambling Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Fahey-Eureka, pp. 146, "Flash Jack from Gundagai" (1 text, 1 tune)
Manifold-PASB, pp. 134-135, "Flash Jack from Gundagai" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 243-245, "Flash Jack from Gundagai" (1 text)
RECORDINGS:
A. L. Lloyd, "Flash Jack from Gundagai" (on Lloyd3, Lloyd10) (Lloyd4, Lloyd8)
File: FaE146
===
NAME: Flash Packet Worts, The
DESCRIPTION: Apparently derived from "The Dreadnought," and describing a Great Lakes ship. "We're in a flask packet, a packet of fame, She hails from Oswego, and the Worts is her name." Apparently the voyage is up-Lakes, since they pass through the Welland Canal
AUTHOR: unknown
EARLIEST_DATE: 2002 (Walton/Grimm/Murdock)
KEYWORDS: sailor ship
FOUND_IN: US
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 100-101, "The Flash Packet Worts" (1 fragment)
File: WGM100
===
NAME: Flash Stockman, The
DESCRIPTION: "I'm a stockman by me trade, And me name is Ugly Dave, I'm old and grey and I've only got one eye...." The stockman boasts of his amazing skill at his trade -- so great that "You can cut me fair in two, For I'm much too bloody good to be in one."
AUTHOR: unknown
EARLIEST_DATE: 1933
KEYWORDS: bragging horse work Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 166-167, "The Flash Stockman" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 224-225, "The Flash Stockman" (1 text)
File: FaE166
===
NAME: Flash Sydney Shearers, The
DESCRIPTION: "You've heard of the flash Sydney shearers, They're the flashest of men out of town." The singer tells of how they boast and fail to perfom: "He'll whip anything in creation, And ends up whipping the cat." Returning to town, they go on the dole
AUTHOR: unknown
EARLIEST_DATE: 1996 (Patterson/Fahey/Seal)
KEYWORDS: work hardtimes sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Paterson/Fahey/Seal, pp. 183-185, "The Flash Sydney Shearers" (1 text)
CROSS_REFERENCES:
cf. "Springtime It Brings on the Shearing, The (On the Wallaby Track)" (form)
File: PFS183
===
NAME: Flat Bill Beaver Cap: see The Beaver Cap (File: R355)
===
NAME: Flat River Girl, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Flat River Raftsman, The: see Jack Haggerty (The Flat River Girl) [Laws C25] (File: LC25)
===
NAME: Fleeing Servant, The: see The Miller's Daughter (The Fleeing Servant) (File: KinBB06)
===
NAME: Fleischmann's Yeast: see Uncle Joe and Aunty Mabel (File: EM374)
===
NAME: Flemings of Torbay, The [Laws D23]
DESCRIPTION: Two "fine young men" of Torbay are cast adrift for six days. They are unconscious by the time they are rescued by the coal ship "Jessie Maurice." Cared for by the captain, they are taken to Quebec 
AUTHOR: Johnny Burke
EARLIEST_DATE: 1920 (Greenleaf/Mansfield)
KEYWORDS: sea rescue fishing
HISTORICAL_REFERENCES: May, 1888 - Rescue of the two Torbay sailors
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (8 citations)
Laws D23, "The Flemings of Torbay"
Greenleaf/Mansfield 141, "The Fishermen of Newfoundland" (1 text, 1 tune)
Peacock, pp. 912-915, "The Flemings of Torbay" (2 texts, 2 tunes)
Leach-Labrador 76, "Flemings of Torbay" (1 text, 1 tune)
Creighton-NovaScotia 115, "The Flemmings of Torbay" (1 text, 1 tune)
Creighton-Maritime, pp. 202-203, "The Flemings of Torbay" (1 text, 1 tune)
Doyle2, pp. 50-51, "The Fishermen of Newfoundland; or, the Good Ship Jubilee" (1 text, 1 tune)
DT 322, FLMTORBY
Roud #1821
NOTES: Schooners left manned dories in different strategic places to fish. Getting lost from the schooner was almost a constant hazard. - SH
According to the notes in Creighton-Nova Scotia, the end of this story was not quite as happy as the song might imply; the two brothers both had their legs amputated. Creighton's informant said that Queen Victoria herself paid for artificial legs, but Creighton could not verify this; the Flemming brothers were dead and Johnny Burke no longer remembered the details. - RBW
File: LD23
===
NAME: Flemmings of Torbay, The: see The Flemings of Torbay [Laws D23] (File: LD23)
===
NAME: Flies Are On the Tummits, The
DESCRIPTION: Singer has been farming all his life but "the only thing that flourishes is the damnation weeds." Flies are on his turnips... his live stock "eat me up and never turn out right." "No matters what I sell is cheap, but what I buy is dear"
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Ted Laurence)
KEYWORDS: farming hardtimes nonballad animal bug chickens horse sheep
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1376
RECORDINGS:
Ted Laurence, "The Flies Are On the Tummits" (on Voice20)
CROSS_REFERENCES:
cf. "Seven Cent Cotton and Forty Cent Meat" (theme of poor living for farmers)
cf. "The Turnip-Hoer" (them of a turnip farmer's life)
NOTES: Roud lumps this with "The Turnip-Hoer," with which it shares some lyrics, but Ben Schwartz and I both consider the general plots distinict enough to split them. "The Turnip-Hoer" is about the singer's employment history; "The Flies Are On the Tummits" about the hard life of a farmer.
Widespread growing of turnips, incidentally, was a relatively recent practice (turnips, after all, are bitter and rather unpleasant to eat); they are grown because they replenish the soil, and can be farmed on a field that would otherwise have to lie fallow (see Derek Beales, _From Catlereight to Gladstone: 1815-1885_, p. 36). - RBW
File: RcFAOtT
===
NAME: Flim-A-Lim-A-Lee: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Flodden Field [Child 168]
DESCRIPTION: King James vows to fight his way to London. Queen Margaret tries to prevent him, and Lord Thomas Howard supports her. James vows to punish them when he returns -- but he never returns; the English slay him and twelve thousand men at Flodden
AUTHOR: unknown
EARLIEST_DATE: 1633
KEYWORDS: war royalty family promise death
HISTORICAL_REFERENCES: Sep 9, 1513 - Battle of Flodden. James IV and the pride of Scotland's chivalry die in battle with the Earl of Surrey's English army
FOUND_IN: Britain
REFERENCES: (1 citation)
Child 168, "Flodden Field" (1 text plus long appendix)
Roud #2862
CROSS_REFERENCES:
cf. "The Flowers o' the Forest" (subject)
NOTES: King James IV was unusually long-lived for a Stewart king; he lived all the way to forty (1473-1513). But it wasn't for lack of trying; he twice went to war with England. The first attempt, in support of Perkin Warbeck, was in 1502, and accomplished nothing.
To cement the post-1502 peace, James IV married Margaret Tudor, the elder daughter of England's King Henry VII. (This was the marriage that eventually brought the Stewarts to the throne of England.) But that didn't prevent his warmongering. In 1513, the new English king Henry VIII was away in a sort of a mock campaign against France. James decided to go to war.
Unfortunately for James, the defense of the border was in the hands of Thomas Howard, then Earl of Surrey (1443-1524). Surrey was the son of John Howard, Richard III's Duke of Norfolk, and had fought for Richard III at Bosworth. But with Richard dead, Howard was given a partial pardon (being given the Surrey earldom though not the Norfolk dukedom). This may have been because, with Richard and the elder Howard dead, Surrey was the best soldier in England.
Surrey wanted to go to France with Henry (according to Garrett Mattingly, _Catherine of Aragon_, 1941 (I use the 1990 Book-of-the-Month club edition), p. 155, he was "choking with rage and grief" at not being allowed to join the invasion). But he ended up getting his chance to fight.... It was Surrey who led the army which intercepted the invading Scots.
The English and Scottish forces are believed to have been about equal in size, but Surrey outmaneuvered the Scots and inflicted a crushing defeat, killing James, the cream of his army, and about a third of his troops -- a defeat which came to be commemorated in the popular lament "The Flowers o' the forest.". Surrey lost perhaps 5%-10% of his own men.
Scotland -- as always when a new monarch came to the throne -- was plunged into chaos. The border was safe for many years. Surrey received the Norfolk dukedon, which has remained in the Howard family ever since. - RBW
File: C168
===
NAME: Flora: see The Lonesome (Stormy) Scenes of Winter [Laws H12] (File: LH12)
===
NAME: Flora MacDonald's Lament
DESCRIPTION: "Over hill and lofty mountains Where the valleys were covered with snow... There poor Flora sat lamenting... Crying, 'Charlie, constant Charlie, My kind, constant Charlie, dear.'" She hopes to meet him again, and repeats her refrain
AUTHOR: unknown
EARLIEST_DATE: 1779 (_The True Loyalist; or, Chevalier's Favourite_, according to GreigDuncan1)
KEYWORDS: Jacobites love separation beauty royalty
HISTORICAL_REFERENCES: 1720-1788 - Life of Charles Edward Stuart, "Bonnie Prince Charlie"
1722-1790 - Life of Flora MacDonald
1745-1746 - '45 Jacobite rebellion led by Bonnie Prince Charlie
Apr 16, 1746 - Battle of Culloden. The Jacobite rebellion is crushed, most of the Highlanders slain, and Charlie forced to flee for his life.
Jun 28-29, 1746 - Aided by Flora MacDonald, and dressed as her maidservant, Charles flees from North Uist to Skye in the Hebrides.
1774-1779 - period of Flora MacDonald's residence in North America
FOUND_IN: US(SE) Britain(Scotland(Aber))
REFERENCES: (2 citations)
GreigDuncan1 132, "Flora MacDonald" (1 text, 1 tune)
BrownIII 368, "Flora MacDonald's Lament" (1 text)
Roud #5776
CROSS_REFERENCES:
cf. "Twa Bonnie Maidens" (subject)
cf. "Skye Boat Song (Over the Sea to Skye)" (subject)
cf. "Flora's Lament for her Charlie" (theme)
cf. "So Dear Is My Charlie to Me (Prince Charlie)" (theme)
NOTES: This is one of those ironic little songs because it's so false-to-life. It is apparently not the same as James Hogg's poem of the same title, and the editors of Brown apparently think it was inspired by Flora MacDonald's brief and unhappy visit to what was in the process of becoming the United States.
The problems with this song include the fact that Bonnie Prince Charlie never showed any actual evidence of involvement with Flora MacDonald. The love of his life, if he had one, was Clementina Walkinshaw, who bore him his only child, Charlotte the shadow Duchess of Albany. Charles and Clementina had met in early 1746, before Charles met Flora (see Clennell Wilkinson's _Bonnie Prince Charlie_ n.d. but after 1932, p. 157) His later marriage (in 1772) was a political match, and produced no children -- indeed, Charles apparently beat his wife as much as he slept with her. Charles also ended up having a brutal quarrel with Clementina, so Flora was probably lucky that there was no relationship.
By the time Charles and Flora met, the Battle of Culloden had been lost and the Forty-Five was over. (For background on the whole Forty-Five, see the notes to  "Culloden Moor.") Culloden had taken place on April 16. It was on June 21, while on the island of South Uist, that Charles and a handful of companions arrived at the home of 24-year-old Flora MacDonald.
According to Susan Kybett Maclean, _Bonnie Prince Charlie: A Biography of Charles Edward Stuart_, Dodd Mead & Company, 1988, p. 227, she was unusually accomplished for a herdsgirl, having studied Latin and French as well as Gaelic and English. Her residence in South Uist was temporary, and she wished to return to Skye.
Frank McLynn, _Bonnie Prince Charlie: Charles Edward Stuart_ (Oxford, 1991), p. 280, reports that "Miss MacDonald was at first taken aback by the audacity of the scheme and declined to be involved. The prince won her around. Though the best efforts of romantic novelists have not been able to work up anything remotely sexual between Charles and Flora, it is clear that the famous magnetism once again did its work.... Flora already had a passport to go to Skye and she was known to be returning within days. The authorities would certainly become suspicious if she asked for a passport for a manservant to accompany her, but would not jib at a female attendant."
Charles would, for a brief time would become "Betty Burke," and with the help of Flora -- and a lot of luck, for the first patrol to stop them was headed by Flora's stepfather (McLynn, p. 280) -- he managed to stay out of British hands. Charles and Flora were together for ten days "although she had barely spent that many hours in his company" (Kybett, p. 236).
"Flora MacDonald was arrested ten days later.... Flora was transported by ship to London and imprisoned.... As it happened, her fortitude and calm demeanor under questioning in London won her much respect and admiration, so that by the time she was released under the general amnesty a year later, Flora MacDonald had become a heroine" (Kybett, p. 237). Nonetheless she had spent six months in custody (see Magnus Magnusson,  _Scotland: The Story of a Nation_, Atlantic Monthly Press, 2000, p. 626)
When they parted, "[Charles] bade a courtly farewell to his savior Flora, 'For all that has happened, I hope, Madam, we shall meet in St James's yet.' But they were not destined to meet again, in London or any other place" (McLynn, p. 287).
Flora certainly did not spend her whole life mourning; in 1750 married another MacDonald (the son of MacDonald of Kingsburgh; see Magnusson, p. 626); they went to America in 1774. During the Revolutionary War, her husband was (ahem) a British loyalist, and was commissioned a brigadier. He was captured by the rebels in 1776. Flora, reduced to poverty and reportedly with two of her children dead, sold most of her valuables and returned to England in 1779, where she died in 1790; her husband was released and followed in 1781. Her son Hugh died in North Carolina in 1780 (Kybett, p. 137).
The song also reports that "Flora's beauty is surprising, like bright Venus in the morning"; this too seems to be a bit of romanticism. There is a portrait by Allan Ramsay (now in the Bodleian Library, and reproduced, e.g., facing page 216 of Wilkinson and on p. 180 of Fitzroy Maclean's _An Illustrated History of Scotland_ -- though that copy is too small and dark to be useful), and while she was not ugly, I doubt she would win a beauty contest.
Nonetheless Flora's memory came to be venerates. Magnusson, p. 626, reports that every bit of her burial stone in Skye was taken off by pilgrims; a new stone had to be put up in 1955.  - RBW
File: Br3368
===
NAME: Flora, the Lily of the West: see The Lily of the West [Laws P29] (File: LP29)
===
NAME: Flora's Lament for her Charlie
DESCRIPTION: Flora and Charlie go "out for to gaze, On the bonny, bonny banks of Benlomond." Both are leaving and they will never meet again. She describes him. "My true love was taken by the arrows of death, And now Flora does lament for her Charlie"
AUTHOR: unknown
EARLIEST_DATE: c.1849 (broadside, NLScotland RB.m.168(178))
KEYWORDS: love separation Scotland nonballad Jacobites
FOUND_IN: Ireland
REFERENCES: ()

BROADSIDES:
Murray, Mu23-y3:013, "Flora's Lament For Her Charlie," R. McIntosh (Glasgow), 19C.
NLScotland, RB.m.168(178), "Flora's Lament for her Charlie," R. McIntosh (Glasgow), c.1849
CROSS_REFERENCES:
cf. "So Dear Is My Charlie to Me (Prince Charlie)" (subject)
cf. "Loch Lomond" (verses) and references there
cf. "Flora MacDonald's Lament" (theme)
NOTES: Broadside NLScotland RB.m.168(178) is the basis for the description.
The first two verses are very close to "Loch Lomond," as described in the notes to that song.
The commentary to broadside NLScotland, RB.m.168(178) notes that, after her involvement in Charles's escape, Flora "was tracked and was imprisoned by the Hanoverians and she spent a year in the tower of London. She was eventually released in 1747 and died in 1790." Charlie is Charles Edward (1720-1788), grandson of James II. - BS
There are several of these "Flora's Lament" type songs, some of which may in fact be the same. (This looks rather like "Flora MacDonald's Lament with a "Loch Lomond" preface tacked on.) This one gets one thing mostly right: Charles Stuart and Flora MacDonald never did meet again. But it was hardly along-sundered love; Flora married as early as 1750. For details, see "Flora MacDonald's Lament,"- RBW
File: BdFLfhC
===
NAME: Florence C. McGee, The
DESCRIPTION: The singer calls hearers to learn of the Florence C. McGee. The ship sets out from Tampa in 1894, heading up the Atlantic coast, when a storm strikes. She runs aground and is wrecked. The owners come to observe their loss
AUTHOR: Llewelyn Murphy?
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: ship storm wreck
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 286, "The Florence C. McGee" (1 text)
Roud #6639
File: BrII286
===
NAME: Florizel, The: see The Wreck of the Steamship Florizel (File: Doy31)
===
NAME: Floro: see Sheepcrook and Black Dog (File: HHH030a)
===
NAME: Flow Gently Sweet Afton
DESCRIPTION: "Flow gently, sweet Afton, among thy green braes, Flow gently, I'll sing thee a song in thy praise. My Mary's asleep by thy murmuring stream." The singer praises the river, and bids it not to disturb Mary's sleep
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1793 (The Scots Musical Museum)
KEYWORDS: river love
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 253, "Flow Gently Sweet Afton" (1 text)
Fuld-WFM, p. 228, "Flow Gently Sweet Afton"
DT, FLOWAFTN*
CROSS_REFERENCES:
cf. "Away in a Manger" (tune)
NOTES: Burns obviously had a tune for this, but the common melody was copyrighted in 1838 by Jonathan Edwards Spilman.
Available records do not seem to indicate whether Burns wrote this song before or after the death of his beloved Mary Campbell. - RBW
File: FSWB253A
===
NAME: Flower Carol, The (Spring Has Now Unwrapped the Flowers)
DESCRIPTION: "Spring has now unwrapped the flowers, Day is fast reviving, Light in all her growing powers Towards the light is striving." Hearers are urged to praise God, who brings flowers to life in the spring -- and also resurrects humanity
AUTHOR: (translation claimed by the authors of the Oxford Book of Carols)
EARLIEST_DATE: 1928 (OBC; tune from Piae Cantiones, 1582)
KEYWORDS: religious nonballad flowers
FOUND_IN: 
REFERENCES: (2 citations)
OBC 99, "Flower Carol" (1 text, 1 tune)
Ritchie-Southern, p. 59, "The Flower Carol" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Good King Wenceslas" (tune)
NOTES: Properly this does not belong in the Index at all, since it is not  folk song. Its inclusion is based on a curious mistake by Jean Ritchie. She and her family grew up singing "Good King Wenceslas," presumably for its tune. She wanted to include it in her songbook. But she had read the critique of J. M. Neale's "Wenceslas" text (see the notes to that song; I for one would consider them dead-on). So, instead of including "Wenceslas" in her book, which at least had the virtue of being traditional in her family, she included this text from the _Oxford Book_.
The irony is that the "Spring Has Now Unwrapped the Flowers" is no more original than "Good King Wenceslas" (since it's a translation), and it's also quite feeble -- and, apparently, it is even more recent than Wenceslas!
Just like "Good King Wenceslas," however, the tune (one of many great tunes from the Piae Cantiones) has carried "The Flower Carol" far: checking my small collection of pre-1960 hymnals, none contain it, but it seems to be, um, popping up in many newer hymnals. - RBW
File: RitS059
===
NAME: Flower o' Northumberland, The: see The Fair Flower of Northumberland [Child 9] (File: C009)
===
NAME: Flower of Benbrada, The
DESCRIPTION: "One evening fair, to take the air, By Curraghlane I chanced to stray." He sees a beautiful woman, comparing her to goddesses. "This lovely fair beyond compare, She now intends to go away." He will not tell her name, but hopes he has praised her truly
AUTHOR: Francey Heaney
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: beauty emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H537, p. 239-240, "The Flower of Benbrada" (1 text, 1 tune)
Roud #9476
NOTES: Although the author refuses to give the name of the emigrating beauty, Sam Henry says she was one Lizzie Donarghy, who went to America at an uncertain date.
The references to the classic goddesses in this song are unusual. The reference to Flora, who makes things blossom, is not rare, but I don't recall ever seeing a song referring to Hebe, the daughter of Zeus and Hera who symbolized youth and was a cup-bearer to the Olympians. I can't remember mention of Proserpine, either.
The mix of names is itself interesting -- Flora was a Roman goddess with no Greek counterpart; Hebe is a Greek name (Latin Juventas); Proserpina is the Latin name of Greek Persephone. - RBW
File: HHH537
===
NAME: Flower of Corby Mill, The
DESCRIPTION: The singer sets out to praise the Flower of Corby Mill. He describes meeting her on his was to Butler's Fair. At the fair, he and his friends drink deep and toast the girl. He refuses to name her lest her parents be angry, but she is a mill worker.
AUTHOR: William Brownlee (source: Tunney-SongsThunder)
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: beauty drink
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H612, pp. 242-243, "The Flower of Corby Mill" (1 text, 1 tune)
Tunney-SongsThunder, pp. 176-178, "The Flower of Corby Mill" (1 text)
McBride 30, "The Flower of Corby's Mill" (1 text, 1 tune)
Morton-Maguire 26, pp. 67-68,114,167, "The Maid of Colehill" (1 text, 1 tune)
Roud #2928
NOTES: Tunney-SongsThunder: "Corby Mill was almost certainly situated on the Clough River and was built in 1789 by Ben Shaw."
While the place names are changed Morton-Maguire notes "this song is obviously a close relation to that given the title of 'The Flower of Corby Mill." In the last verse of Morton-Maguire "she says herself she'll marry me."
Other hidden name songs include "The Flower of Benbrada," "The Lovely Banks of Mourne," "The Santa Fe Trail," "Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)," "The Pride of Kilkee" and "Drihaureen O Mo Chree (Little Brother of My Heart)" - BS
File: HHH612
===
NAME: Flower of Corby's Mill, The: see The Flower of Corby Mill (File: HHH612)
===
NAME: Flower of Craiganee, The: see Craiganee (File: HHH749)
===
NAME: Flower of Dunaff Hill, The: see The Flower of Sweet Dunmull (File: HHH001)
===
NAME: Flower of France and England, O, The
DESCRIPTION: "As I was on my rambled, I came from Dover to Carlisle..." The singer goes to "The Grapes" to lodge. One of the serving girls is very pretty -- "the flower of France and England,O"; they are much attracted to each other and before long are married
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: beauty courting marriage travel
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 188-190, "The Flower of France and England, O" (1 text)
Roud #5532
NOTES: Most scholars believe that the reference in the third line of the song to the town being "full of rebels" refers to the Jacobite Rising of 1745 (and Prince Charles's army did indeed spend time in Carlisle). But there is no other hint of this, and indeed, there were earlier conflicts (going back to the Wars of the Roses and even before) which might cause the singer to find "rebels" (i.e. people who disagreed with his politics) in Carlisle. - RBW
File: Ord188
===
NAME: Flower of Glenleary, The
DESCRIPTION: "Oh, Crossgar's sunny hills are bespangled with flowers," but the singer yearns for Mary, the flower of Glenleary. He describes her beauty, and asks, "Fair maid of my dreams, did we meet here to sever?" He prays that she will be his
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting rejection
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H22a, pp. 232-233, "The Flower of Glenleary" (1 text, 1 tune)
Roud #7986
CROSS_REFERENCES:
cf. "The Braes of Balquhidder" (tune)
File: HHH022a
===
NAME: Flower of Gortade, The
DESCRIPTION: The singer calls upon the muses to describe the Flower of Gortade. He compares her to many classical queens and beauties. The girl, Margaret O'Kane, must leave for America, and hopes Ireland will someday welcome her back
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: beauty emigration
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H178, pp. 233-234, "The Flower of Gortade" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 120-121, "The Flower of Gortade" (1 text, 1 tune)
Roud #2740
NOTES: This is a strange piece in many ways. Sam Henry credits it to "[the] local blind poet Kane, in honor of his sister," but his text seems composite: four eight-line stanzas of classical allusions in praise of the woman, and then two first-person stanzas in which she prepares to depart.
In addition, the classical allusions are rather a mess. Homer is called a great poet, but one who "sang of Athenians and Spartans so bold." Spartans are certainly mentioned in the Iliad -- Helen of Troy was properly Helen of Sparta, and Menelaus became King of Sparta as her husband. Mentions of the Athenians and Athens are few, however. Menestheus King of Athens brought fifty ships to Troy, but was so obscure a figure that the Greeks couldn't even agree if he died there.
In the next few lines, the poet commits the common abomination of referring to Greek goddesses by their Latin names.
Hector is described as having "consorts" (plural), but he had only one wife, Andromache.
The story then shifts to the story of Susanna, which is Biblical/Apocryhal (one of the Additions to Daniel). And so it goes. - RBW
File: HHH178
===
NAME: Flower of Magherally, The
DESCRIPTION: "'Twas on a summer's morning, The flowers were a-blooming-0, Nature all adoning... I met my love near Banbridge town, My charming blue-eyed Sally-o." The singer describes her beauty, wishes he could offer her wealth, and hopes to marry her even without it
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love courting beauty
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H220, pp. 243-244, "The Flower of Magherally, O!" (1 text, 1 tune)
OLochlainn 59, "The Flowers of Magherally" (1 text, 1 tune)
OBoyle 11, "The Flower of Magherally" (1 text, 1 tune)
Roud #3009
NOTES: This instantly made me think of "Sally in Our Alley." The metrical form is quite close, and there are a few similar phrases in the tune, but there really doesn't appear to be kinship. - RBW
File: HHH220
===
NAME: Flower of Sweet Dunmull, The
DESCRIPTION: The singer says he dwells in Ireland, and describes the beautiful scenes from the hill of Dunmull. From there he can see the ship to take him away. He could survive leaving it all, but how can he part from Nancy? He hopes someday to return
AUTHOR: unknown
EARLIEST_DATE: 1923 (Sam Henry collection)
KEYWORDS: emigration separation farewell home
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H1, p. 191, "The Flower of Sweet Dunmull" (1 text, 1 tune)
McBride 31, "The Flower of Dunaff Hill" (1 text, 1 tune)
Roud #2744
File: HHH001
===
NAME: Flower of Sweet Erin the Green, The
DESCRIPTION: Singer supposes her true love is "far from sweet Erin the green." He "vowed to be constant and true." She denied him and now blames herself for their separation. She warns maids "never your true love despise." She sees no peace but "yon dark silent grave"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: love sex separation Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (3 citations)
Tunney-SongsThunder, pp. 144-145, "The Flower of Sweet Erin the Green" (1 text)
Morton-Ulster 22, "Erin the Green" (1 text, 1 tune)
Morton-Maguire 42, pp. 131-132,172, "Erin the Green" (1 text, 1 tune)
Roud #2790
File: TST144
===
NAME: Flower of Sweet Strabane, The
DESCRIPTION: (The singer recalls meeting "Martha, the Flower of Sweet Strabane.") If he were King of Ireland, he would wish nothing better than her hand; she is the fairest girl he has seen. But she rejects him; he sails to America to start a new life
AUTHOR: unknown
EARLIEST_DATE: 1911 (Grieg); the notes in IRMBarry-Fairs says it was published in a Derry newspaper in 1909
KEYWORDS: love courting rejection emigration beauty
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H224a, pp. 390-391, "The Flower of Sweet Strabane" (1 text, 1 tune)
Tunney-SongsThunder, pp. 58-59, "Martha, the Flower of Sweet Strabane" (1 text)
DT, FLWRSTRB*
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 9, "The Flower of Sweet Strabane" (text, music and reference to Decca F-3374 recorded Dec 31, 1932)
Roud #2745
RECORDINGS:
Margaret Barry, "The Flower of Sweet Strabane" (on IRMBarry-Fairs)
McBride 32, "The Flower of Street Strabane" (1 text, 1 tune)
NOTES: According to Sam Henry, this was composed in the 1840s -- it could hardly be much earlier given its current contents. Henry was of the opinion that it fell into two families, the first including the introductory verse about meeting Martha, the second beginning with the stanza about being King of Ireland. - RBW
McBride: "[John] McGettigan would have been responsible for its popularity as he recorded it on a record and was therefore taken back from America by returned emigrants in the 1930's and 40's."
The date and master id (GB-5416-1/2) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: HHH224a
===
NAME: Flowers o' the Forest, The
DESCRIPTION: Based on a pipe tune lamenting the battle of Flodden: "I've heard them lilting, At the yowes milking, Lasses a-lilting... Noo they are moanin On ilka green loaning. The flowers o' the forest are a' wede away." The song grieves for the men lost
AUTHOR: Words: Jane [Jean] Elliot (1727-1805)/Music: Traditional
EARLIEST_DATE: 1803 (tune probably dates to the sixteenth century)
KEYWORDS: battle death mourning separation Scotland
HISTORICAL_REFERENCES: Sep 9, 1513 - Battle of Flodden. James IV and the pride of Scotland's chivalry die in battle with the Earl of Surrey's English army
FOUND_IN: 
REFERENCES: (3 citations)
DT, FLWRSFOR*
ADDITIONAL: _Sing Out_ magazine, Volume 22, #3 (1973), p, 1, "The Flowers of the Forest" (1 text, 1 tune, the Norman Kennedy version, supplied with extremely inaccurate notes)
Walter de la Mare, _Come Hither_, revised edition, 1928; #197, "The Flowers of the Forest" (1 text)
Roud #3812
RECORDINGS:
Helen Blain, "Flowers o' the Forest" (Pathe 20017, 1916)
CROSS_REFERENCES:
cf. "Flodden Field [Child 168]" (subject)
ALTERNATE_TITLES:
Lament for Flodden
File: BdFlOTF
===
NAME: Flowers of Fochabers, The
DESCRIPTION: "It was on the bonnie banks o' Spey To muse I sat me down." The singer sees a beautiful girl, the flower of Fochabers. He asks her to take pity on him. She turns him down. He declares that, when he dies, it will be for Petty Clapperton
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: beauty love rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 204, "The Flower of Fochabers" (1 text)
Roud #5538
File: Ord204A
===
NAME: Flowers of Magherally, The: see The Flower of Magherally (File: HHH220)
===
NAME: Flowery Garden: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Flowery Nolan
DESCRIPTION: At seventy one, Flowery Nolan, "a terror to all men," decides to marry. He marries the only acceptable candidate. When he tells his wife they would not sleep together -- "you are only but my serving maid" -- she goes home to her father's house.
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age marriage sex rejection husband wife
FOUND_IN: Ireland
REFERENCES: ()

Roud #16693
RECORDINGS:
Mikeen McCarthy, "Flowery Nolan" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "Arranged or 'made' marriages were very much an accepted part of rural life in Ireland up to comparatively recent times... Women from poor house-holds which were unable to support the whole family would readily marry older farmers looking for a housekeeper, or maybe widowers with young children to care for."
IRTravellers01: Mikeen McCarthy tells, on the record, that Flowery Nolan was an old bachelor who only talked about getting married until he was 71. Then he advertised for a wife and the song tells how it went. The moral: "Never marry an old man Till you're fed up of your life, Or then you'll be coming home again Like Flowery Nolan's wife." - BS
File: RcFlowNo
===
NAME: Floyd Collins [Laws G22]
DESCRIPTION: Floyd Collins is trapped in a cave from which a rescue party cannot free him. He tells his parents that he had dreamt this would happen. At last, still trapped, he dies
AUTHOR: Andrew Jenkins
EARLIEST_DATE: 1925 (copyright)
KEYWORDS: disaster dream death family
HISTORICAL_REFERENCES: Jan 30, 1925 - Floyd Collins is trapped in a "sandhole" cave near Mammoth Cave, Kentucky, where he is caught by a landslide. He was discovered by his brother the next day, but attempts to rescue him failed
Feb 16, 1925 - Collins is found to be dead
FOUND_IN: US(Ap,MW,Ro,SE)
REFERENCES: (7 citations)
Laws G22, "Floyd Collins"
BrownII 212, "Floyd Collins" (1 text plus 2 excerpts)
Gardner/Chickering 125, "Floyd Collins" (2 texts)
MHenry-Appalachians, pp. 82-83, "Floyd Collins" (1 text)
Thomas-Makin', pp. 110-111, "The Doom of Floyd Collins" (1 text)
Darling-NAS, pp. 223-224, "Floyd Collins" (1 text)
DT 769, FLOYDCOL
Roud #1940
RECORDINGS:
Fiddlin' John Carson, "The Death of Floyd Collins" (Okeh 40363, 1925)
Vernon Dalhart, "Death of Floyd Collins" (Victor 19821, 1925)(Columbia 15031-D [as Al Craver or Dalhart Texas Panhandlers], 1925) (Banner 1613, 1925; Conqueror 7068, 1928) (Edison 51609 [as Vernon Dalhart & Co.], 1925) (Gennett 3197Champion 15048, 1926; Challenge 160/Challenge 315, 1927; rec. 1925)  (Bell 364, 1925) (CYL: Edison [BA] 5049 [as Vernon Dalhart & Co.], prob. 1925) (Regal 9916, 1925)
Vernon Dalhart, "Floyd Collins Waltz" (Victor 19997, 1926) [a bizarre recasting of 'Death of Floyd Collins' in waltz time, with truncated verses]
Charlie Oaks, "The Death of Floyd Collins" (Vocalion 15099, 1925; Vocalion 5069, c. 1927)
Harry Smith, "The Death of Floyd Collins" (OKeh 45260, 1928)
NOTES: As the dates of the recordings show, this is really a popular song. But the number of versions collected show that it did become a folk song.
There are various claims about the authorship of this song. Brown quotes Thomas to the effect that it was written by one Adam Crisp. Laws, following Wilgus, accepts the attribution to Andrew Jenkins, who wrote other songs which became traditional. The attribution to Jenkins seems certain, however. Paul Stamler cites the statement of OKeh records A&R man Polk Brockman, who commissioned the song from Jenkins. - RBW
File: LG22
===
NAME: Floyd Frazier (Ellen Flannery) [Laws F19]
DESCRIPTION: Floyd Frazier kills Ellen Flannery and hides her body. A search is started after her orphaned children are found crying. Her body is discovered, and Floyd is arrested. He confesses to the crime; the singer hopes he will be hanged
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: murder children orphan
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Laws F19, "Floyd Frazier (Ellen Flannery)"
Combs/Wilgus 68, pp. 155-157, "Floyd Frazier" (1 text)
DT 735, FLOYFRAZ
Roud #695
File: LF19
===
NAME: Flunky Jim (Gopher Tails)
DESCRIPTION: Jim, the son and "flunky" of the farm, has shabby clothes, but intends to get a new ones with money from gopher tails. His father says his clothes are too small, but he has almost enough tails to buy new clothes, after which he will hand down his old ones
AUTHOR: Words: Dan Ferguson
EARLIEST_DATE: 1963 (recording, Mel Bowker)
KEYWORDS: poverty clothes farming hunting hardtimes family father animal
FOUND_IN: Canada
REFERENCES: ()

Roud #4555
RECORDINGS:
Mel Bowker, "Flunky Jim", also listed as "I Am the Flunky of the Yard (Gopher Tails)" (on Saskatch01)
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)" (tune) and references there
NOTES: During the Depression of the 1930s, the Canadian government offered a bounty on gopher tails to encourage trapping them. Mel Bowker, who recorded this song, was the grandson of Dan Ferguson. - PJS
File: RcFluJim
===
NAME: Fly and the Bumblebee, The (Fiddle-Dee-Dee)
DESCRIPTION: "Fiddle-dee-dee, fiddle-dee-dee, The fly has married the bumblebee, Says the fly, says he, 'Will you marry me, and live with me, sweet Bumblebee?'" The fly promises not to sting the larger insect. Parson Beetle marries the two. All ends happily
AUTHOR: unknown
EARLIEST_DATE: 1740 (Wiltshire MS, according to Opie-Oxford2)
KEYWORDS: bug marriage clergy courting
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Linscott, pp. 196-198, "Fiddle Dee Dee" (1 text, 1 tune)
Opie-Oxford2 88, "A cat came fiddling out of a barn" (2 texts); 168, "Fiddle-de-dee, fiddle-de-dee" (2 texts)
Baring-Gould-MotherGoose #179, pp. 128-129, "(A cat came fiddling out of a barn)"; #276, p. 164, "(Fiddle-dee-dee, fiddle-dee-dee)"
Roud #3731
CROSS_REFERENCES:
cf. "Frog Went A-Courting" (theme)
NOTES: In the Mother Goose "cat came fiddling" texts, it is not a fly but a mouse that marries the bumblebee. It's not clear which combination is more original -- the wedding of two insects is less utterly illogical, so it might be an improvement, but the mouse might also come in by way of confusion with "Frog Went A-Courting" or the like. - RBW
File: Lins196
===
NAME: Fly Around My Blue-Eyed Gal: see Fly Around, My Pretty Little Miss (File: CSW066)
===
NAME: Fly Around, My Pretty Little Miss
DESCRIPTION: Dance tune: "Fly around my pretty little miss/Fly around my daisy/Fly around my pretty little miss/You almost drive me crazy." Floating verses: "The higher up the cherry tree/The riper grow the cherries..." "Going to get some weevily wheat..."
AUTHOR: unknown
EARLIEST_DATE: 1917 (collected by Cecil Sharp, but some of the floating verses also show up in SharpAp 88, "Betty Anne," which he collected in 1916)
KEYWORDS: love dancing nonballad floatingverses dancetune
FOUND_IN: US(Ap,SE)
REFERENCES: (7 citations)
Cohen/Seeger/Wood, p. 66, "Fly Around, My Pretty Little Miss" (1 text, 1 tune)
BrownIII 286, "Fly Around, My Blue-Eyed Girl" (4 texts, but the "D" text is mostly "Shady Grove"); also 78, "Coffee Grows on White Oak Trees" (7 texts plus 1 excerpt and mention of 1 more, but almost all mixed --  all except "H" have the "Coffee grows" stanza, but "A" also has verses from "Fly Around, My Pretty Little Miss"; "and "C" through "H" are mostly "Little Pink"; "B" is mixed with "Raccoon" or some such)
Hudson 145, p. 293, [no title] (1 fragment, the single stanza "The higher up the cherry tree")
SharpAp 268, "The Higher Up the Cherry Tree" (1 text, 1 tune); also 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Darling-NAS, p. 254, "Fly Around My Pretty Little Miss" (1 text)
Silber-FSWB, p. 39, "Fly Around My Blue-Eyed Gal" (1 text)
DT, BLUEYEGL*
Roud #5720
RECORDINGS:
Frank Blevins & his Tar Heel Rattlers, "Fly Around My Pretty Little Miss" (Columbia 15210-D, 1927; on TimesAint01, LostProv1)
Frank Bode, "Susanna Gal" (on FBode1)
Samantha Bumgarner, "Fly Around My Pretty Little Miss" (Columbia 146-D, 1924)
The Hillbillies, "Blue Eyed Girl" (Vocalion 5017, c. 1926)
Clint Howard et al, "Pretty Little Pink" (on Ashley02, WatsonAshley01)
Buell Kazee, "Dance Around My Pretty Little Miss" [fragment] (on Kazee01)
Bradley Kincaid, "Pretty Little Pink" (Brunswick 464, 1930) (Supertone 9666, 1930) (one of these is on CrowTold01, but we don't know which)
New Lost City Ramblers, "Fly Around, My Pretty Little Miss" (on NLCR03, NLCR11, NLCRCD1)
Lee Sexton, "Fly Around, My Pretty Little Miss" (on MMOKCD)
Hobart Smith, "Fly Around, My Blue-Eyed Girl" (on LomaxCD1702)
Gid Tanner and His Skillet Lickers, "Fly Around My Pretty Little Miss" (Columbia 15709-D, c. 1931; rec. 1928)
CROSS_REFERENCES:
cf. "Weevily Wheat" (floating lyrics)
cf. "Coffee Grows (Four in the Middle)" (floating lyrics)
cf. "Up and Down the Railroad Track" (floating lyrics)
cf. "Missus in the Big House" (meter)
cf. "Seventeen Come Sunday" [Laws O17] (floating lyrics, some tunes)
ALTERNATE_TITLES:
Blue-Eyed Girl
NOTES: My guess is that this is a modified version of "Weevily Wheat." But Paul Stamler thinks it's separate, and certainly it's picked up a lot of floating material. So we classify the two separately.
This should not be confused with Laws P18, "Pretty Little Miss." - RBW
File: CSW066
===
NAME: Flyin' U Twister, The: see Bad Brahma Bull (The Bull Rider Song) (File: FCW68B)
===
NAME: Flying Cloud, The [Laws K28]
DESCRIPTION: Singer Edward (Hollohan) abandons the cooper's trade to be a sailor. At length he falls in with Captain Moore, a brutal slaver. Moore later turns pirate. When his ship is finally taken, the remaining sailors are sentenced to death
AUTHOR: unknown
EARLIEST_DATE: 1894 (Wehman)
KEYWORDS: sailor slavery pirate execution gallows-confession
FOUND_IN: US(MA,MW,NE,So) Canada(Mar,Newf,Ont) Britain(Scotland(Aber))
REFERENCES: (26 citations)
Laws K28, "The Flying Cloud"
Greig #118, p. 1, "William Hollander" (1 text) 
GreigDuncan1 44, "William Hollander" (2 texts, 1 tune)
Belden, pp. 128-131, "The Flying Cloud" (1 text, 1 tune)
Doerflinger, pp. 135-139, "The Flying Cloud" (2 texts, 2 tunes)
Greenleaf/Mansfield 173, "The Flying Cloud" (1 text, 1 tune)
Creighton/Senior, pp. 223-225, "The Flying Cloud" (1 text plus 1 fragment)
Creighton-NovaScotia 62, "Flying Cloud" (1 text, 1 tune)
Peacock, pp. 842-845, "The Flying Cloud" (1 text, 2 tunes)
Leach-Labrador 58, "The Flying Cloud" (1 text, 1 tune)
Mackenzie 111, "The Flying Cloud" (1 text)
Ives-DullCare, pp. 223-226,245, "The Flying Cloud" (1 text, 1 tune)
Colcord, pp. 145-147, "The Flying Cloud" (1 text, 1 tune)
Hugill, p. 586, "The Flying Cloud" (1 tune, included in Hugill's entry on "Dixie Brown"; he states that it has been used for several forebitters, "Arthur Hollander" [i.e. "The Flying Cloud"], "Girls of Cape Horn" ["Rounding the Horn"], "The Sailor's Way," and "Go To Sea Once More" ["Dixie Brown"])
Rickaby 41, "The Flying Cloud" (1 text, 1 tune)
Dean, pp. 1-2, "The Flying Cloud" (1 text)
Leach, pp. 778-781, "The Flying Cloud" (1 text)
Friedman, p. 411, "The Flying Cloud" (1 text, 1 tune)
Warner 2, "The Flying Cloud" (1 text, 1 tune)
FSCatskills 115, "The 'Flying Cloud'" (1 text, 1 tune)
Fowke/MacMillan 9, "The Flying Cloud" (1 text, 1 tune)
Shay-SeaSongs, pp. 183-186, "The Flying Cloud" (1 text, 1 tune)
Lomax-ABFS, pp. 504-507, "The Flying Cloud" (1 text, 1 tune)
Botkin-AmFolklr, pp. 845-847, "The Flying Cloud" (1 text, 1 tune)
Darling-NAS, pp. 98-100, "The Flying Cloud" (1 text)
DT 409, FLYCLOUD*
Roud #1802
RECORDINGS:
Warde Ford, "The Flying cloud" [fragment] (AFS 4202 B1, 1938; tr.; in AMMEM/Cowell)
Clifford Wedge, "The Flying Cloud" (on MREIves01)
NOTES: Doerflinger notes that there is no pirate ship known to have carried the name "The Flying Cloud." He suggests that the story is based on the book _The Dying Declaration of Nicholas Fernandez_, based loosely on the life of one of Benito de Soto's pirate crew (Fernandez was executed in 1829). Doerflinger shows the title page of the book on p. 336.
Laws and others, though, note that most of these elements are commonplace.
Belden lists various other ships called by the name, but they were all legitimate vessels, including the clipper mentioned below that set the record, anchor to anchor, sailing from New York to San Francisco.
I wonder if the pirate's name "Moore" might have been inspired by the Moors, since the Barbary pirates were sometimes called (not very correctly) Moors.
The song feels fairly old, but the impression may be false. Most of the earliest references seem to be from about 1890,  as if the song were composed in the 1880s or so.
Jonathan Lighter speculated, "My impression is that the song very possibly originated in the 1880s or a bit earlier, perhapsÊin a dime novel as no early broadside has ever been discovered. The evocative name 'Flying Cloud' may have been chosen because the fame of the real ship had long been forgotten by the general public."
If so, then the ship name was inspired by the clipper _Flying Cloud_, built 1851, which twice set records for the New York-to-San Francisco run in the 1850s. Though to call a slaver by that name hardly seems a fitting tribute.
(Horace Beck explains this by positing that the slaving verses are not integral to the piece; he speculates that the whole thing is a composite of two songs.)
There is another possibility, though. Howard I. Chapelle, _The History of American Sailing Ships_, Bonanza Books, 1935, devotes a long chapter to slavers and privateers (combining the two because they had similar characteristics). He notes on p. 130, "The great American deity, 'Speed,' had no more devout worshipers than the designers and builders of privateers and of the small slaving craft that followed them.... [T]he ability to sail fast was the prime requirement of both privateers and slavers." In this context, it's interesting to note that the ship of this song was both a slaver and a pirate -- and pirates, of course, were essentially privateers minus a letter of marque.
The reason slavers needed speed was that they were illegal in both the United States and Britain. Britain of course bad banned slavery by the early nineteenth century, and while the United States did not, it did ban importing slaves from Africa. On page 154, Chapelle explains, "In the development nof fast-sailing craft, the slave-trade did not have any effect until after the War of 1812... The period of the specially designed slaver can be placed as between 1820 and 1855." Again, on page 161, "The necessity of speed in a slaver was obvious, once the cruisers [appointed to stop the trade] became active. There was also the very high mortality among the slaves from over-crowding during a long voyage, and so speed and profits went hand in hand."
Thus, if the song does date from the post-Civil War period, a likely reason for using the name _Flying Cloud_ for the ship is that it would invoke the speed of the famous clipper.
If the song is slightly later still, and was first written only shortly before the Wehman broadside, I would note that a famous Great Lakes ship called the _Flying Cloud_ had been wrecked in 1890 (see Benjamin J. Shelak, _Shipwrecks of Lake Michigan_, Trails Books, 2003, p. 118). - RBW
File: LK28
===
NAME: Flying Colonel, The
DESCRIPTION: "With a shit-eating grin on his face," the terrified pilot of a stricken bomber brings his plane home while other crew members bail out.
AUTHOR: unknown
EARLIEST_DATE: Probably World War II vintage
KEYWORDS: bawdy war desertion technology flying
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 404-406, "The Flying Colonel" (1 text, 1 tune)
Roud #10401
CROSS_REFERENCES:
cf. "The Ship that Never Returned" [Laws D27] (tune & meter) and references there
cf. "The Wreck of Old 97" [Laws G2] (tune)
NOTES: Internal references would date this to the WW II saturation bombing campaign upon Germany. This seems to be one of the few air force songs to have achieved oral currency apart from mimeographed or Xeroxed songbooks. - EC
File: EM404
===
NAME: Flying Dutchman, The (Vanderdecken) [Laws K23]
DESCRIPTION: The crew has just escaped a harsh wind on a dark night when the Flying Dutchman appears. The fearful captain orders the crew to take in the sail. The Dutchman fails, as always, in its attempt to enter Table Bay. The sailors pity doomed Vanderdecken
AUTHOR: unknown
EARLIEST_DATE: 1881
KEYWORDS: storm ghost ship supernatural
FOUND_IN: US(MA) Ireland
REFERENCES: (4 citations)
Laws K23, "The Flying Dutchman (Vanderdecken)"
Doerflinger, pp. 148-149, "The Flying Dutchman" (1 text, 1 tune)
Ranson, p. 45, "The Flying Dutchman" (1 text)
DT 406, FLYDUTCH*
Roud #1897
BROADSIDES:
Bodleian, Firth c.13(92), "The Flying Dutchman", H. Such (London), 1863-1885; Harding B 11(963) [last verse illegible], "The Flying Dutchman"; Firth c.26(130), "The Flying Dutchman!"
File: LK23
===
NAME: Flying Trapeze, The
DESCRIPTION: "Once I was happy, but now I'm forlorn, Like an old coat that is tatter'd and torn." The singer's young girlfriend has left him for a trapeze artist. This man, who "flies through the air with the greatest of ease," induced her to run away and join his act
AUTHOR: George Leybourne and/or Alfred Lee
EARLIEST_DATE: 1868
KEYWORDS: love abandonment sports betrayal
FOUND_IN: US(MA,So)
REFERENCES: (7 citations)
RJackson-19CPop, pp. 69-72, "The Flying Trapeze" (1 text, 1 tune)
Randolph 748, "Once I Was Happy" (1 text plus a fragment, 1 tune)
Spaeth-ReadWeep, pp.  63-65, "The Man on the Flying Trapeze" (1 text, 1 tune)
Lomax-ABFS, pp. 338-340, "The Man on the Flying Trapeze" (1 text, 1 tune)
Silber-FSWB, p. 270, "The Man On The Flying Trapeze" (1 text)
Fuld-WFM, p. 230, "The Flying Trapeze"
DT, FLYTRAP2* (FLYTRAPZ*)
Roud #5286
RECORDINGS:
Aaron Campbell's Mountaineers, "Man on the Flying Trapeze" (Chamption 45038, 91935)
Harry "Mac" McClintock, "The Man on the Flying Trapeze" (Victor 21567, 1928)
Walter O'Keefe, "The Man on the Flying Trapeze" (Victor 24172, 1932)
BROADSIDES:
NLScotland, L.C.Fol.70(124a), "Flying Trapeze," Poet's Box (Glasgow), 1874
NOTES: Credited to George Leybourne (for whom see the notes on "Champagne Charlie"), but this song, like that one, may be mostly the work of the "arranger," Alfred Lee. Or the tune may be borrowed; at least, Johann Strauss used it as an "English Folk Melody" in 1869. - RBW
File: RJ19069
===
NAME: Fod
DESCRIPTION: "As I went down to the mowin' field Hu-ri tu-ri fod-a-link-a-di-do, As I went down... Fod! As I went down... A big black snake got me by the heel." The injured singer sits down and watches a woodchuck fight a skunk (and complains about the smell)
AUTHOR: unknown
EARLIEST_DATE: 1941 (recording, Henry King & family)
KEYWORDS: animal nonsense humorous injury dancing fight
FOUND_IN: US(SW,So)
REFERENCES: (3 citations)
Lomax-FSNA 213, "Fod" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 222, "Fod" (1 text, 1 tune)
Fuson, p. 159, "A Mighty Maulin'" (twelfth of 12 single-stanza jigs) (1 text, perhaps from this though it's just a loose verse)
ST LoF213 (Full)
Roud #431
RECORDINGS:
Henry King, "Fod!" (AAFS 8)
Henry King & family, "Fod" (AFS 5141 B2, 1941; on LC02)
CROSS_REFERENCES:
cf. "(I Can't Be) Satisfied" (words)
cf. "Springfield Mountain" (words)
NOTES: Roud catalogs this as a version of Springfield Mountain. Oy.
I stuck Fuson's single stanza  ("As I went down to my old field, I heard a mighty maulin'; The seed-ticks was a-splittin' rails, The chiggers was a-haulin'") here because it sounds like it might be a loose verse of something similar, and because there is nothing else much like it. Round gives it its own number, 16395, but it's probably a floating verse from something. - RBW
File: LoF213
===
NAME: Fog-bound Vessel, The
DESCRIPTION: On payday Molly meets her boyfriend Villiam. He leads her away, kills her, and sails away. Her ghost wakes him and brings a fog that stopps his ship. The captain thinks Vill is the cause. Avenged, Molly disappears. Moral: girls, leave your money home
AUTHOR: W.H.C. West (source: GreigDuncan2 citing Fowler)
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(2474))
KEYWORDS: courting murder money burial sea ship humorous ghost sailor derivative
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 202, "Vill, the Ship's Carpenter" (1 text, 1 tune)
Roud #15.3
BROADSIDES:
Bodleian, Harding B 11(2474), "Molly the Betray'd" or "The Fog-bound Vessel" ("In a kitchen in Portsmouth, a fair maid did dwell," W.S. Fortey (London), 1858-1885; also Firth b.27(226), "Molly the Betrayed" or "The Fog Bound Vessel"; Firth c.13(207), "Molly the Betrayed"
CROSS_REFERENCES:
cf. "The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly)" [Laws P36A/B] (subject of parody) and references there
NOTES: Broadside Bodleian Harding B 11(2474) is the basis for the description.
GreigDuncan2: "This is a parody of [The Gosport Tragedy] which appeared on broadsides."
As expected in a parody this ballad almost shares some lines with the original. For example, "...he led her o'er hills and down walleys so deep, At length this fair damsel began for to veep" and "...ve've no time to stand, And he took a sharp knife into his right hand; He pierced her best gown, till the blood it did flow, And into the grave her fair body did throw." 
The "Young Villiam valked vith her" "dialect" is found in other "comical" parodies. See, for example, "All Around My Hat" - which refers to a pre-1834 broadside with the line "All around my hat, I vears a green villow" (the singer, selling vegetables from his cart, tells how his "hangel" was sent over for seven years for thievery) - and "Vilikens and his Dinah (William and Dinah) [Laws M31A/B]" (Dinah's suicide follows a threat by her father to marry or lose her inheritance). What dialect is this taken to be? In some cases, at least, it is Jewish: see, for example, broadside Bodleian Firth b.28(10a/b) View 5 of 8, "The Vindow Man" ("You'll guess my line of pizness by the things upon my back"), R. March and Co. (London), 1877-1884, which includes the line "I couldn't speak a plessed vord of anything but Yiddish." [Note that Yiddish, being a German dialect, shares the German trait of pronouncing "w" as "v" - RBW] Maybe the dialect should generally be taken to indicate any Germanic-speaker, but money plays a central part in each of these songs. - BS
File: FrD2202
===
NAME: Fogan MacAleer
DESCRIPTION: "There lived in bonny Scotland a man named MacAleer ... he had the queerest notions ... don't you know what I mean?" He asks the blacksmith's help to buy Lauchlan Ban's mare. The blacksmith tricks MacAleer so that he marries Ban's daughter Mary instead.
AUTHOR: Lawrence Doyle
EARLIEST_DATE: 1965 (Ives-DullCare)
KEYWORDS: marriage bargaining trick humorous horse father derivative
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 156-159, 245, "Fogan MacAleer" (1 text, 1 tune)
Roud #13989
RECORDINGS:
Joseph Walsh, "Fogan MacAleer" (on MREIves01)
CROSS_REFERENCES:
cf. "The Jolly Barber Lad" (see Notes)
NOTES: Ives-DullCare refers to "the Scottish custom of having a go-between approach the prospective bride's father to arrange for a marriage." Ives finds a manuscript of "a song called 'The Jolly Barber' which was clearly Doyle's model for this song." The key fragment here is "don't you know what I mean?"; the song is apparently indexed here as "The Jolly Barber Lad."- BS
File: IvDC156
===
NAME: Foggy Dew (II), The
DESCRIPTION: The singer goes out one morning and spies a beautiful girl. He asks her to marry. At first she hints of another lover, but when he approaches her again, she agrees to marry "if I know that you'll be true."
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: love courting
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (3 citations)
FSCatskills 76, "The Foggy Dew" (1 text, 1 tune)
Peacock, pp. 520-521, "Foggy Dew" (1 text, 1 tune)
Silber-FSWB, p. 147, "The Foggy Dew" (1 text)
ST FSC76 (Partial)
Roud #973
CROSS_REFERENCES:
cf."The Foggy Dew (III)" (tune)
NOTES: Although there are occasional similarities of both text and tune, this piece is not to be confused with Laws O3, "The Foggy Dew (The Bugaboo)." - RBW
File: FSC76
===
NAME: Foggy Dew (III), The
DESCRIPTION: "As down the glen one Easter morn" the singer is passed by a silent army who raise the green flag over Dublin. The Irishmen who died fighting for others had better died fighting for Ireland. "But the bravest fell ... who died at Eastertide"
AUTHOR: Canon Charles O'Neill (1919) (source: "The Foggy Dew" in _Wars & Conflict 1916 Easter Rising Rebel Songs_ by Franke Harte on the BBC site)
EARLIEST_DATE: 1959 (IRClancyMakem03)
KEYWORDS: battle rebellion Easter Ireland patriotic derivative
HISTORICAL_REFERENCES: Apr 24, 1916 (Easter Monday) - beginning of the Easter Rebellion
FOUND_IN: Ireland
REFERENCES: (2 citations)
DT, FOGGDEW4*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 70-71, "The Foggy Dew" (1 text, 1 tune)
Roud #973
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Foggy Dew" (on IRClancyMakem03)
Liam Clancy, "The Foggy Dew" (on IRLClancy01)
CROSS_REFERENCES:
cf. "The Foggy Dew" (II) (tune)
cf. "The Boys from County Cork" (subject)
NOTES: By the time of World War I, most of the people of Ireland were basically loyal to the British crown; they wanted Home Rule, but as part of the British Empire (see, e.g., "Home Rule for Ireland"). Very many of them volunteered for the British army, and very many of them died in the trenches of Flanders.
A relative handful of the Irish wanted complete independence; naturally none of them volunteered. A handful of that handful, led by Padraig Pearse, planned rebellion (see the notes, e.g., to "The Boys from County Cork").
On Easter Monday, April 24, 1916, a small force (probably between a thousand and 1500 men) attacked Dublin. The center of the rebellion was the General Post Office, where Pearse read the proclamation of independence (which, since he read it in Irish, was mostly ignored by the Anglophone population). Over the building rose two flags: One, the harp on a green background, the traditional Irish flag; the other was the new tricolor whose orange and green bands stood ironically for a united Ireland.
The whole thing was a fiasco. The rebels surrendered April 29. At first, the people cursed and spat at them -- after all, they had ruined Dublin and killed about 250 civilians. Had the British left bad enough alone, imprisoning the rebels but no more, all might have been well. But they started court-martialling the commanders on the spot; three leaders including Pearce were executed May 3, and twelve more in the next nine days. Gradually public opinion began to change: the fool rebels became martyrs for Ireland, and when the next rising came, after the war, Britain could not brush it aside.
It says something about Irish politics that this song is allowed to be a slur on the memory of the Irishmen who fought for Britain in World War I. Unlike the Dublin rebels, the loyal Irish killed no civilians. Their casualty rates were higher (the Easter Rebellion saw 64 killed and 12 executed, meaning the casualties were somewhere between 4% and 8%; roughly 11% of the soldiers in the British Army died during World Was I), and the wounds more frightful. And they spent years in trenches and mud, and died of gas and shrapnel and hanging on barbed wire rather than clean deaths by bullet. The British loyalists did not intrigue with the authoritarian regime of Wilhelm II. This is clearly the song of a man who had not been a soldier and had never been to Flanders.
Which just shows how hard it is to be objective. As an American, I can't see that it would have mattered whether Ireland was independent or the Irish still part of Great Britain, as long as they enjoyed the same rights as British citizens. (Which, admittedly, they never had.) But the Irish *do* see a difference. But Harte writes, "At this present time one hears the revisionists of Irish history express doubts as to whether the Easter Rising was really necessary or whether the men who fought and died might not have done so for the highest motives[;] this song tolerates no ambivalence but gives the full praise due to those men who gave their lives for our freedom." This of course does not change the fact that the song is unfair -- but it shows how important these events are to Ireland.
(To give Harte his due, in the notes to the next song, the un-traditional "When Margaret Was Eleven," he says, "There was a certain sadness about the soldiers of the 1914-1918 war[;] they never quite got the glory they felt they deserved for their exploits on behalf of the crown. Their glory was overshadowed by the action of the men who stayed at home and fought for the freedom of their own country.")
The two men mentioned in the song are, of course, Padraig Pearse, the organizer of the rebellion, and Eamon de Valera, a lesser leader who survived because he was an American citizen; he would eventually become the primary leader of the hard-line anti-English faction, helping lead Ireland to its Civil War but also guiding its destiny for many decades thereafter. For the stories of both men, see again the notes to "The Boys from County Cork."
Some versions also mention Cathal Brugha, who was one of the most extreme nationalists. Since the song was written in 1919, Canon O'Neill could hardly know that Brugha would eventually die in rebellion against Ireland's freely elected government -- but he did; see the notes to "The Death of Brugh."
According to Robert Gogan,  _130 Great Irish Ballads_ (third edition, Music Ireland, 2004), p. 46, Canon O'Neill wrote this after attending the meeting of the first Irish Dail (parliament) and noting how many members were in British custody. Though it should be noted that this was a Sinn Fein assembly, with Unionist MPs instead going to London. It was a difficult time. - RBW
File: RcTFDIII
===
NAME: Foggy Dew, The (The Bugaboo) [Laws O3]
DESCRIPTION: The singer courts the girl and takes her to bed "to keep her from the foggy dew." In the morning they go their separate ways. In due time the girl bears a son. The further course of the song varies; in some texts he marries her, in some she dies
AUTHOR: unknown
EARLIEST_DATE: 1815
KEYWORDS: courting seduction weaving pregnancy bastard
FOUND_IN: US(Ap,MA,MW,Ro,SE,So,SW) Britain(England) Canada(Newf,Ont) Australia
REFERENCES: (20 citations)
Laws O3, "The Foggy Dew (The Bugaboo)"
Randolph 105, "The Foggy Dew" (4 texts plus a fragment, 2 tunes)
Randolph/Cohen, pp. 99-101, "The Foggy Dew" (1 text, 1 tune -- Randolph's 105A)
Randolph-Legman I, pp. 257-263, "The Foggy Foggy Dew" (1 text, 1 tune)
Cray, pp. 61-64, "The Foggy Foggy Dew" (1 text, 1 tune)
Logsdon 38, pp. 203-206, "The Boogaboo" (1 text, 1 tune)
SharpAp 137, "The Foggy Dew" (1 text, 1 tune)
Cambiaire, pp. 57-58, "A Gentleman's Meeting (Down by Yon Riverside" (1 text, which starts out as "Pretty Little Miss" [Laws P18] but ends with 'The Foggy Dew (The Bugaboo)" [Laws O3]; Roud lists it as a version of Laws P18, but it appears that the larger part of the text is O3 -- though the material in the middle could be from either)
Sandburg, pp. 14-15, "Foggy, Foggy Dew"; 460-461, "The Weaver" (2 texts, 2 tunes)
Combs/Wilgus 107, pp. 183-184, "The Bugaboo" (1 text)
Kennedy 174, "The Foggy Foggy Dew" (1 text, 1 tune)
Lomax-FSNA 43, "The Foggy Dew-I"; 44, "The Foggy Dew-II" (2 texts, 2 tunes)
Meredith/Covell/Brown, pp. 123-125, "The Foggy Dew" (1 text, 1 tune)
Peacock, pp. 518-519, "Foggy Dew" (1 text, 1 tune)
Arnett, pp. 37-38, "Foggy, Foggy Dew" (1 text, 1 tune)
PBB 83, "The Foggy Dew" (1 text)
Darling-NAS, pp. 126-137, "The Foggy Dew" (1 text)
Silber-FSWB, p. 159, "The Foggy, Foggy Dew" (1 text)
BBI, ZN2840, "When first I began to court" (?)
DT 333, FOGGYDEW* FOGGDEW2 FOGGDEW5 BOGLEBO*
Roud #558
RECORDINGS:
Bob Atcher, "Foggy, Foggy Dew" (Columbia 20538, 1949)
Phil Hammond, "The Foggy Dew" (on FSB2, FSB2CD)
Bradley Kincaid, "The Foggy Dew" (Decca 12024, n.d.)
A. L. Lloyd, "The Foggy Dew" (on Lloyd3, Lloyd5)
Pete Seeger, "Foggy Dew" (on PeteSeeger32)
Doug Wallin, "The Foggy Dew" (on Wallins1)
CROSS_REFERENCES:
cf. "Sligo Town" (theme, floating lyrics)
NOTES: This ballad should be [called] "The Foggy, Foggy Dew" to distinguish it from the Irish lyric love song "The Foggy Dew."
The original of this ballad is traced to a broadside ballad dating to 1815 in the collection of the antiquarian bookseller John Bell of Newcastle now in the King's College Library. See A.L. Lloyd, Folk Song in England (London, 1967). - EC
It will be observed, however, that the item ZN2840 in the Broadside Index dates to 1689. I have not been able to verify whether this is actually "The Foggy, Foggy Dew" itself or something similar. - RBW
File: LO03
===
NAME: Foggy Mountain Top
DESCRIPTION: Floating fragments: "If I was on some foggy mountain top/I'd sail away to the west...." "If I'd listened to what my mama said/I would not have been here today/Lying around this old jail cell/Just a-weeping my poor life away"
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection)
KEYWORDS: love prison floatingverses nonballad
FOUND_IN: US(Ap,SE)
REFERENCES: (6 citations)
[Randolph 799, "If I Was On Some Foggy Mountain Top" -- deleted in the second printing]
BrownIII 365, "The Foggy Mountain Top" (1 text)
SharpAp 112, "The Rocky Mountain Top" (2 texts, 2 tunes)
Cohen/Seeger/Wood, pp. 42-43, "Foggy Mountain Top" (1 text, 1 tune)
Silber-FSWB, p. 66, "Foggy Mountain Top" (1 text)
DT, FGGYMTTP
Roud #11735
RECORDINGS:
Carter Family, "The Foggy Mountain Top" (Victor V-40058, 1929)
Carter Sisters & Mother Maybelle, "Foggy Mountain Top" (Columbia 20920, 1952)
Monroe Bros., "On Some Foggy Mountain Top" (Montgomery Ward M-4749/Bluebird B-6607, 1936)
New Lost City Ramblers, "On Some Foggy Mountain Top" (on NLCREP1, NLCRCD1) (NLCR16)
Ola Belle & Bud Reed, "Foggy Mountain Top" (on Reeds01)
NOTES: Some versions of this never-entirely-coherent song seem to have mixed with "The False Young Man, (The Rose in the Garden, As I Walked Out)" to yield mixed forms such as "White Oak Mountain." It can be hard to tell, with shorter versions, which is which. - RBW
File: CSW042
===
NAME: Foggy, Foggy Dew: see The Foggy Dew (The Bugaboo) [Laws O3] (File: LO03)
===
NAME: Folk o' the Muckle Toon o' Rora, The: see Potterton (File: GdD3392)
===
NAME: Folkestone Murder, The
DESCRIPTION: (Switzerland John) asks Caroline to walk with him. Her mother tells her she should take her sister Maria along. He stabs both girls and cuts their names into the turf. The murderer is taken and sentenced to death; in the last verse he bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1905 (Gardiner ms.)
LONG_DESCRIPTION: (Switzerland John) asks Caroline of Dover to walk with him to Shorncliffe Camp; she agrees, but her mother tells her it's not fit for them to walk alone, and that she should take her sister Maria along. They go, but before they reach Folkestone he stabs both girls to death despite their entreaties for mercy and cuts their names into the turf. Their parents grieve; the murderer is taken and sentenced to death; in the last verse he bids farewell, tells others to take warning, and hopes to meet Caroline in heaven
KEYWORDS: grief courting violence warning crime execution murder punishment death gallows-confession family
HISTORICAL_REFERENCES: August 3, 1856 - Caroline and Maria Beck murdered in Folkestone
January 1, 1857 - Tedea (Dedea?) Redanies hanged for the crime
FOUND_IN: Britain(England(South)) Canada(Newf)
REFERENCES: (3 citations)
Kennedy 320, "The Folkestone Murder" (1 text, 1 tune)
Greenleaf/Mansfield 61, "Maria and Caroline" (1 text)
Leach-Labrador 11, "Mary and Sweet Caroline" (1 text, 1 tune)
Roud #897
NOTES: Although the song is not properly a gallows-confession, the last verse is (it seems tacked on, and is similar to the warnings found at the end of many songs of this type). - PJS
File: K320
===
NAME: Folks on t'Other Side the Wave, The
DESCRIPTION: "The folks on t'other side the wave Have beef as well as you, sirs." The listener (clearly England) is reminded that the Americans are much like them, but will resist attacks on them -- and can hold off the English simply by running away
AUTHOR: unknown
EARLIEST_DATE: 1776
KEYWORDS: political warning rebellion
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Scott-BoA, pp. 62-63, "The Folks on t'Other Side the Wave" (1 text, 1 tune)
NOTES: Published as a broadside in 1777, this piece was a highly accurate portrayal of the situation in the American Revolutionary War. Most of the colonists were actually loyal to Britain, but would fight if their rights were threatened. What is more, the colonists could win the war simply by not giving up.
This latter assessment was a good prediction of the way the war was fought. The British won the majority of the battles of the war -- but the fact that they were fighting thousands of miles from their bases meant that the Americans needed to win only ONE decisive battle. It took the colonials six years, but they finally did win such a battle -- at Yorktown. - RBW
File: SBoA063
===
NAME: Foller de Drinkin' Gou'd: see Follow the Drinking Gourd (File: Arn062)
===
NAME: Follom Brown-Red, The
DESCRIPTION: "Oh it's of a noted brown-red cock in Follom he did walk." Tom Kelly takes his cock to Lurgan to fight. It wins. The owners and trainers are named.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: fight gambling moniker chickens
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 11, pp. 25-26,104,159-160, "The Follom Brown-Red" (1 text, 1 tune)
Roud #2922
CROSS_REFERENCES:
cf. "The Cock-Fight" (theme)
cf. "The Kildallan Brown Red" (theme)
File: MoMa011
===
NAME: Follow Me Up to Carlow
DESCRIPTION: "Lift, Mac Cahir Oge, your face... Curse and swear, Lord Kildare! Feagh will do what Feagh will dare -- Now, FitzWilliam, have a care...." The singer hails the Irish rebels and their victory over FitzWilliam
AUTHOR: Words: P. J. McCall
EARLIEST_DATE: 1962
KEYWORDS: Ireland rebellion battle bragging
HISTORICAL_REFERENCES: 1569-1573 - First "Desmond Rebellion"
1579-1583 - Second "Desmond Rebellion"
1580 - Feagh MacHugh defeats Lord Grey of Wilton at Glen Malure
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 90-91, "Follow Me up to Carlow" (1 text, 1 tune)
DT, FLLWCRLO
NOTES: The rebellions of the sixteenth century occurred at a time when English rule in Ireland was still very weak and incomplete, and began not as battles between Irish and English but as civil wars between Irish chieftains. The English, to preserve their power, often interfered with these quarrels.
An example was the conflict between the Earl of Ormond and the Earl of Desmond. Both were summoned to London, but Ormond was soon freed, while Desmond (Gerald Fitzgerald) and his cousin, James FitzMaurice Fitzgerald, spent time in English prisons.
The flashpoint came in 1569, when the Englishman Sir Peter Carew claimed certain of the holdings of Fitzgeralds and the Butlers in Carlow. The problem was made worse when, in 1570, the Pope excommunicated Elizabeth of England. FitzMaurice started a rebellion (quashed in 1573), though Desmond himself, crippled and irresolute, took no part.
Desmond spent some time in a sort of protective custody, but eventually escaped and was briefly frightened from his lethargy. He tried to create a strong position, and Elizabeth's new deputy, William FitzWilliam, did not at that time have the strength to oppose him.
FitzMaurice fled Ireland in 1575, having been set aside by his cousin Desmond. But he returned in 1579 with foreign aid (though only about 300 soldiers reached Ireland; the remaining 3000 men he had been promised had been frittered away before FitzMaurice set sail). FitzMaurice was soon killed, but the Europeans continued to meddle, and new forces landed. Desmond was finally forced into rebellion, and the English forced to send reinforcements, but the rebellion was put down by 1583.
The battle of Glen Malure was an extremely minor by-blow of the second rebellion, and led to nothing. It was, however, one of the few Irish triumphs of the campaign. The story is that the tune was composed on the spot; whether true or not, P. J. McCall added the words to commemorate the event. - RBW
File: PGa090
===
NAME: Follow the Drinking Gourd
DESCRIPTION: A guide to slaves fleeing to freedom. Various landmarks are described, and the listeners are reminded, "For the old man is a-waiting for to carry you to freedom." Above all, they are reminded to "follow the drinking gourd." 
AUTHOR: unknown
EARLIEST_DATE: 1928 (Texas Folklore Society)
KEYWORDS: slave freedom
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-ABFS, pp. 227-228, "Foller de Drinkin' Gou'd" (1 text, 1 tune)
Arnett, p. 62, "Follow the Drinkin' Gourd" (1 text, 1 tune)
Greenway-AFP, pp. 99-100, "The Drinking Gourd" (1 text, 1 tune)
DT, FOLGOURD
Roud #15532
RECORDINGS:
Pete Seeger, "Follow the Drinking Gourd" (on PeteSeeger46)
NOTES: The "Drinking Gourd" is, of course, the Big Dipper, pointing north to the Ohio River, New England, Canada, and freedom. - RBW
File: Arn062
===
NAME: Fond Affection, A: see Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection) (File: R755)
===
NAME: Fond of Chewing Gum
DESCRIPTION: The singer "fell in love with a pretty little girl" who was "fond of chewing gum." He describes their courting, always recalling the gum. When they are to be wed, she cannot say "I do" because her mouth was full of gum. Now he avoids gum-chewers
AUTHOR: unknown
EARLIEST_DATE: 1915 (Pound)
KEYWORDS: courting love marriage separation food humorous
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 368, "Fond of Chewing Gum" (2 texts, 2 tunes)
Randolph/Cohen, pp. 297-299, "Fond of Chewing Gum" (1 text, 1 tune -- Randolph's 368A)
Cohen/Seeger/Wood, p. 158, "Chewing Gum" (1 text, 1 tune)
Silber-FSWB, p. 239, "Chewing Gum" (1 text)
Roud #3714
RECORDINGS:
Carter Family, "Chewing Gum" (Victor 21517, 1928)
Lake Howard, "Chewing Chewing Gum" (Perfect 13128/Melotone M-13355/Oriole 8449, 1935; on CrowTold02)
New Lost City Ramblers, "Chewing Gum" (on NLCR10) (on NLCR12)
CROSS_REFERENCES:
cf. "A Railroader for Me (Soldier Boy for Me)" (floating verses)
NOTES: The Carter Family version of this song includes a number of floating verses ("I wouldn't have a lawyer/Now here's the reason why/Every time he opens his mouth/He tells a great big lie"; "Mama don't 'low me to whistle/Papa don't 'low me to sing/They don't want me to marry/I'll marry just the same"). Their absence in the Randolph text implies that they are intrusions. - RBW, (PJS)
File: R368
===
NAME: Fooba-Wooba John: see Martin Said To His Man (File: WB022)
===
NAME: Foolish Boy, The: see The Swapping Boy (File: E093)
===
NAME: Foolish Frog, The: see May Irwin's Frog Song (The Foolish Frog, Way Down Yonder) (File: Br3189)
===
NAME: Foolish Shepherd, The: see The Baffled Knight [Child 112] (File: C112)
===
NAME: Fools of '49, The: see The Fools of Forty-Nine (File: San107A)
===
NAME: Fools of Forty-Nine, The
DESCRIPTION: Crowds head for California and the gold fields. En route they suffer poverty, hunger, and disaster -- and few find gold. "Then they thought of what they had been told, When they started after gold: That they never, in this world, would make their pile."
AUTHOR: unknown
EARLIEST_DATE: 1855 (Put's Original California Songster)
KEYWORDS: poverty hardtimes gold mining
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Sandburg, p. 107, "(The Fools of '49)" (1 text found under "Sweet Betsy from Pike")
Scott-BoA, pp. 184-185, "The Fools of Forty-Nine" (1 text, 1 tune)
DT, FOOLS49
Roud #8058
CROSS_REFERENCES:
cf. "That Is Even So" (plot)
File: San107A
===
NAME: Foot and Mouth Disease, The
DESCRIPTION: An Englishman plunders a girl's father's land, leaving only the sheep he thinks have "foot and mouth" disease. If the singer marries her they can "save the herds and my father's life." The diseases "from England Were the cloven hoof and the dirty tongue"
AUTHOR: Joseph Plunkett (per OLochlainn)
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: marriage farming hardtimes England Ireland patriotic sheep father disease
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 8A, "The Foot and Mouth Disease" (1 text, 1 tune)
Roud #3069
CROSS_REFERENCES:
cf. "Youghal Harbour" (tune)
File: OLoc008A
===
NAME: Foot of the Mountain Bow, The: see The Foot of the Mountain Brow (The Maid of the Mountain Brow) [Laws P7] (File: LP07)
===
NAME: Foot of the Mountain Brow, The (The Maid of the Mountain Brow) [Laws P7]
DESCRIPTION: Jimmy woos Polly with a promise to work hard. He offers her crops, horses, and servants. She says he spends too much time and money at the inn. He observes that the money is his and he will do with it as he will. He leaves her; she regrets her words
AUTHOR: unknown
EARLIEST_DATE: 1913 (OLochlainn); c.1867 (broadside, Bodleian 2806 b.9(179))
KEYWORDS: courting money rejection
FOUND_IN: US(MA,MW) Canada(Mar,Newf) Ireland
REFERENCES: (13 citations)
Laws P7, "The Foot of the Mountain Brow (The Maid of the Mountain Brow)"
Dean, pp. 83-84, "The Maid of the Logan Bough" (1 text)
Gardner/Chickering 39, "The Foot of the Mountain Bow" (1 text)
FSCatskills 27, "The Maid on the Mountain Brow" (1 text, 1 tune)
Greenleaf/Mansfield 74, "At the Foot of the Mountain Brow" (1 text, 1 tune)
Leach-Labrador 45, "Maid of the Mountain Brow" (1 text, 1 tune)
Mackenzie 42, "The Maid of the Mountain Brow" (1 text)
SHenry H84+H688, p. 364, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
OLochlainn 19, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
Hayward-Ulster, pp. 85-86, "The Maid of the Sweet Brown Knowe" (1 text)
MacSeegTrav 52, "The Maid of the Sweet Brown Knowe" (1 text, 1 tune)
DT 494, BRNKNOWE
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 282-283, "The Maid of the Sweet Brown Knowe" (1 text)
Roud #562
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Maid of the Sweet Brown Knowe" (on IRClancyMakem01)
BROADSIDES:
Bodleian, 2806 b.9(179), "The Maid of the Sweet Brown Howe," P. Brereton (Dublin), c.1867; also 2806 c.8(236), 2806 c.8(294), "The Maid of Sweet Brown Howe"
CROSS_REFERENCES:
cf. "The Largy Line" (tune)
cf. "Roll Me From the Wall" (tune)
SAME_TUNE:
The Largy Line (File: HHH781)
File: LP07
===
NAME: Footboy, The
DESCRIPTION: A father learns his daughter loves a servant. He dismisses the servant, plants a ring on him, and has him arrested for robbery and hanged. The daughter climbs onto the gallows with him, stabs herself, and asks that they be buried in the same grave.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Fowke/MacMillan)
KEYWORDS: love ring robbery execution death betrayal trick suicide servant
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke/MacMillan 80, "The Footboy" (1 text, 1 tune)
Roud #3580
RECORDINGS:
cf. "Mary Acklin (The Squire's Young Daughter) [Laws M16]" (ring plot)
cf. "William Riley's Courtship" [Laws M9] (plot)
cf. "Henry Connors" [Laws M5] (plot)
cf. "Jock Scott" (plot)
NOTES: [A] similar story line to "William Riley," "Henry Connors," and "Mary Acklin" except that in none of those songs is the young man executed or does the girl kill herself.
According to Fowke/MacMillan, [this] song uses a metre and type of repetition more often found in older ballads. The fact that the servant is hanged suggests that it dates from an earlier periods than those in which the man is transported. The term "footboy" for a young manservant has a medieval flavour: it was in common use at the time of Shakespeare but had largely disappeared by the nineteenth century. - SL
File: FowM080
===
NAME: Footprints in the Snow
DESCRIPTION: Singer goes to visit his girlfriend, but she's gone out for a walk. He follows her footprints in the snow, finds her, and proposes. She accepts, and he says he'll never "forget the day/When Mary (Lily) lost her way/I found her footprints in the snow"
AUTHOR: unknown
EARLIEST_DATE: 1876 (sheet music -- probably not the original)
KEYWORDS: courting love marriage
FOUND_IN: US(MW)
REFERENCES: (1 citation)
DT, FTPRINTS
Roud #2660
RECORDINGS:
Big Slim Aliff, "Footprints in the Snow"  (Decca 5316, 1937; rec. 1936)
Buckley & Skidmore "Footprints in the Snow" (Continental 8030, n.d.)
Cliff Carlisle, "Footprints in the Snow" (Decca 5720, n.d.; Decca 46105, 1947; rec. 1939)
Dusty Ellison & his Saddle Dusters, "Footprints in the Snow" (4-Star 1155, n.d. but post-World War II)
Rambling Red Foley, "I Traced Her Little Footprints in the Snow" (Conqueror 8304, 1934)
Bogue Ford, "Footprints in the snow" (AFS 4209 B1, 1939; in AMMEM/Cowell)
Clint Howard et al, "Footprints in the Snow" (on Ashley02, WatsonAshley01)
Bradley Kincaid, "Footprints in the Snow" (Varsity 8038, 1939) (Majestic 6011, 1947)
Bill Monroe and his Bluegrass Boys, "Footprints in the Snow" (Columbia 37151 1946; Columbia 20080, n.d.,; rec. 1945) (Decca 28416, 1952)
BROADSIDES:
Bodleian, Johnson Ballads 2837, "Footprints in the Snow" ("Some lovers like the summer time, when they can stroll about"), unknown, n.d.; also Harding B 11(1660), Harding B 11(1661), "I Traced Her Little Footmarks in the Snow"
NOTES: This has become a bluegrass standard, and I suspect it was composed by one of the "brother acts" of the 1930s, possibly the Monroe Bros.? - PJS
Touched up, perhaps. But it's older, as the sundry recordings show (and that's not a complete list -- Vernon Dalhart also recorded the piece). - RBW
Broadside Bodleian Harding B 11(1660) states "This song is the sole Copyright of Mr. Geo. Lewis....,29,Quay Street, Manchester.
_Country Music Sources_ by Guthrie T Meade Jr with Dick Spottswood and Douglas S. Meade (Chapel Hill, 2002), p. 214 states "Harry Wright, w&m[words and music],1880s/Geo. Russell Jackson, wds, C.W.Bennett,m,1886; Ref: (1)WCS[Wehman's Collection of Songs(NYC:Henry J. Wehman,1884-94),42 issues](July, 1891);....." Steve Roud, in a BALLAD-L note: "A copy of the sheet music obviously came up on Amazon at some point in the past.... in fact it's there twice, as 1876 and 1878 [for Harry Wright]." In fact it's there [http://babynames.tk/cgi-bin/amazon_products_feed.cgi?mode=books_uk&page_num=1&search_type=AuthorSearch&input_string=Harry+Wright&locale=uk] three times: as "I traced her little footmarks in the snow. [Song, begins: 'Some lovers like'.]" in 1876, and as "Footmarks in the Snow ... for the Pianoforte" and as "I traced her little footmarks in the snow. [Song.]" in 1878.
Incidentally, the 1931 record by Bernice (Si) Coleman and the West Virginia Ramblers ("Footprints in the Snow" on _West Virginia Hills_ Old Homestead OHCS-141) uses words much closer to the broadsides than those on the later records I have heard by Bill Monroe (and, consequently, by Flatt and Scruggs).- BS
File: DTftprin
===
NAME: Footprints on the Dashboard
DESCRIPTION: A father asks if the singer was the one who did the pushin', and left footprints on the dashboard upside down. The singer replies it was he, and now he has trouble passing water, "so I guess we're even all around."
AUTHOR: unknown (music by Antonin Dvorak)
EARLIEST_DATE: 1964  (music published 1894)
KEYWORDS: bawdy humorous disease sex
FOUND_IN: Australia US(MA,So,SW)
REFERENCES: (3 citations)
Cray, pp. 239-240, "Footprints on the Dashboard" (1 text, tune cited)
Randolph-Legman II, pp. 702-703, "Footprints on the Dashboard" (4 texts)
DT, HUMORESQ*
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Humoresque" (tune)
NOTES: This is sometimes incorporated bodily into "Humoresque." - EC (As see, e.g., the Digital Tradition version - RBW)
File: EM239
===
NAME: For A' That and A' That (I)
DESCRIPTION: "Be gude to me as lang's I'm here, I'll maybe win away' yet, He's bonnie coming o'er the hills That will tak' me frae ye a' yet, For a' that and a' that, And thrice as muckle's a' that...." She describes her love, and hopes he will make her well-to-do
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 196, "For A' That and A' That" (1 text)
Roud #5536
CROSS_REFERENCES:
cf. "A Man's A Man For A' That" (lyrics, stanza form)
NOTES: Ord thinks this Burns's model for "A Man's a Man for A' That." Certainly the form of the verses, and the "For a' that and a' that" chorus in line five of each verse reveal kinship. In addition, the Burns song is reported to be based on an item "The Jolly Beggars." Plus, this is a rare piece; so it's possible that the relationship goes the other way --  i.e. this might be a rewrite of the Burns song designed to be less political. Or, rather, less *overtly* political, perhaps reminding listeners of the other version.... - RBW
File: Ord196
===
NAME: For A' That And A' That (II): see A Man's A Man For A' That (File: FSWB297A)
===
NAME: For He's a Jolly Good Fellow
DESCRIPTION: "For he's a jolly good fellow (x3), Which nobody can deny." (Other verses, if any, come from the other versions of this song)
AUTHOR: unknown
EARLIEST_DATE: 1870 (tune dates to 1783 or earlier)
KEYWORDS: drink nonballad floatingverses
FOUND_IN: US
REFERENCES: (3 citations)
Silber-FSWB, p. 250, "For He's a Jolly Good Fellow" (1 text, with verses from all parts of the "Malbrouck" family)
Fuld-WFM, pp. 231-233, "For He's a Jolly Good Fellow -- (Malbrouk -- We Won't Go Home till Morning! -- The Bear Went over the Mountain)
DT, JOLLGOOD*
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
NOTES: For the history of this tune, see the entry on "We Won't Go Home Until Morning." - RBW
File: FSWB250
===
NAME: For Seven Long Years I've Been Married
DESCRIPTION: "For seven long years I've been married, I wish I had lived an old maid... My husband won't work at his trade." She complains about how hard her life is; her husband has broken his promises and wasted her wealth on drink
AUTHOR: unknown
EARLIEST_DATE: 1916 (Gardner/Chickering)
KEYWORDS: husband wife drink poverty hardtimes marriage warning technology
FOUND_IN: US(MW,SE)
REFERENCES: (2 citations)
Gardner/Chickering 44, "Seven Long Years" (1 text)
BrownIII 29, "Seven Long Years I've Been Married" (2 texts)
Roud #724
RECORDINGS:
Kelly Harrell, "For Seven Long Years I've Been Married" (Victor 21069, 1927; on KHarrell02)
CROSS_REFERENCES:
cf. "Single Girl, Married Girl"
cf. "Sorry the Day I Was Married"
cf. "I Wish I Were a Single Girl Again" (theme)
cf. "I Wish I Were Single Again (II - Female)" (theme)
cf. "Do You Love an Apple?" (theme, floating lyrics)
cf. "When I Was Young (II)" (theme)
NOTES: Kelly Harrell's version of this song appears to be modernized (it mentions automobiles and their failings), and the whole thing may be an update of one or another of the songs in the cross-rederences -- but it doesn't follow the standard pattern of any that I recognize, so I am forced to file it separately.
The notes in Brown say that this piece is found in Randolph's _Ozark Folksongs_, II 417. It's not in the second edition, however. It is true that a song on that page has been deleted -- but the deleted song is "Beautiful Brown Eyes." - RBW
File: RcFSLYBM
===
NAME: For Six Days Do All That Thou Art Able: see Six Days Shalt Thou Labor (File: Br3228)
===
NAME: For the Day Is A-Breakin' In My Soul: see Bright Morning Stars (For the Day Is A-Breakin' In My Soul) (File: Shel089)
===
NAME: For the Fish We Must Prepare
DESCRIPTION: Summer is near. "For the fish we must prepare." Fix traps, trawls, lines, clothes, yoke goats and fix fences so goats don't eat the catch, spay hens, catch and freeze bait, get government seed for the garden.
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing nonballad work gardening animal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 130-131, "For the Fish We Must Prepare" (1 text, 1 tune)
Roud #9963
File: Pea130
===
NAME: For the Victory at Agincourt: see The Agincourt Carol (File: MEL51)
===
NAME: For the Walk So Neat, and the Dress So Gay: see The Gallant Soldier (Mary/Peggy and the Soldier) (File: HHH782)
===
NAME: Foreign Lander
DESCRIPTION: "I've been a foreign lander full seven long years and more...." The singer has "conquered all my enemies," but is defeated by his love's beauty. He offers illustrations of how faithful he is, and would give anything to marry her
AUTHOR: unknown
EARLIEST_DATE: 1955 (Ritchie)
KEYWORDS: love courting separation travel soldier
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, pp. 64-66, "[I've Been a Foreign Lander]" (1 text, 1 tune)
Roud #5711
RECORDINGS:
Martha Hall, "Foreign Lander" (on MMOK, MMOKCD)
NOTES: The Ritchie versions of this song mention a "Queen Ellen." England never had a "Queen Ellen"; in fact, I know of no Queen Ellen of any nation.
England did, however, have three Queens Eleanor: Eleanor of Aquitaine (wife of Henry II), Eleanor of Provence (wife of Henry III), and Eleanor of Castile (first wife of Edward I). - RBW
File: JRSF064
===
NAME: Foreman, Well Known Jerry Ryan, The: see Jerry Ryan (File: Doyl3068)
===
NAME: Forfar Sodger, The
DESCRIPTION: The singer grows up in Forfar, where he is rather a cut-up. After many adventures, he joins the army. He loses a leg in the Peninsular War, but it does not bother him; "Snug in Forfar now I sit, And thrive upon a pension."
AUTHOR: David Shaw
EARLIEST_DATE: 1904 (Ford); author Shaw died 1856
KEYWORDS: soldier injury money
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Ford-Vagabond, pp. 163-166, "The Farfar Soldier" (1 text, 1 tune); cf. pp. 166-168, "The Perthshire Pensioner" (1 text, a Crimean War item adapted from the above and probably not a folk song in its own right)
Greig #74, pp. 1-2, "The Sailor Boy's Farewell" (2 texts) 
GreigDuncan1 69, "The Forfar Sodger" (15 texts, 13 tunes)
DT, FORFARSL*
Roud #2857
SAME_TUNE:
The Perthshire Pensioner (Ford-Vagabond, pp. 166-168)
ALTERNATE_TITLES:
The Forfar Soldier
The Forfarshire Sodger
The Sodger
In Forfar I Was Born and Bred
NOTES: It will be obvious that the author of this song did not in fact have to live off the sort of pension paid by the British government in the early nineteenth century....
At least some versions of the song mention the singer being taught the "rule of three." This is a statement about proportions -- in effect, "if a is to b as c is to d, what is d?" (an equation in three known and one unknown term, hence the name). In modern fractional notation, we would say that a/b=c/d, and that the rule tells us that d=bc/a. A trivial calculation today, but it let minimally educated people calculate such things as the price of a fraction of a pound when the price for a whole pound was known. - RBW
File: FVS163
===
NAME: Forget You I Never May
DESCRIPTION: "Fare thee well, for once I loved you Even more than tongue can tell, Little did I think you'd leave me, Now I bid you all farewell." The singer tells how (s)he loved him, asks why he is unkind, and ends, "I'll forgive you, But forget you I never may."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Brown)
KEYWORDS: love betrayal farewell
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 737, "Forget You I Never May" (1 text)
BrownII 154, "You Are False, But I'll Forgive You" (3 texts)
Roud #460
RECORDINGS:
Buell Kazee, "You Are False But I'll Forgive you" (Brunswick 217, 1928/Supertone S-2047, 1930)
CROSS_REFERENCES:
cf. "I Can Forgive But Not Forget (Sweetheart, Farewell)"
ALTERNATE_TITLES:
You Were False
Fare Thee Well
NOTES: Roud links this with a large number of other lost-but-not-forgotten love songs. In most cases, however, the link seems more thematic than textual. - RBW
To me this reeks of a Victorian parlor-song origin. I expect the sheet music to turn up any day now. - PJS
File: R737
===
NAME: Forglen (Forglen You Know, Strichen's Plantins)
DESCRIPTION: The singer comes across young lovers who are preparing to part. The man wishes he did not have to go, but he has no choice. He praises her in many lyric ways, some not obviously complimentary: "Your love is like the moon That wanders up and down."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love separation parting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 79-80, "Forglen You Know" (1 text)
Roud #6286
CROSS_REFERENCES:
cf. "The Curragh of Kildare" (lyrics, form)
NOTES: Versions of this take whole stanzas from the "Curragh of Kildare/Winter It Is Past" family; whether there is dependence I don't know.
The reference to David and his family being banished probably refers to 1 Samuel 22:3-4; although David himself had fled Saul three chapters earlier, this is the first reference to his family going into exile (in Moab).
The reference to Lazarus appears to be the Lazarus of Luke (16:19-31), not the Lazarus of John, even though Luke's Lazarus is simply the subject of a parable, not a real person; this is not the only instance in traditional song of this Lazarus being treated as real. - RBW
File: Ord079
===
NAME: Forsaken Lover, A: see On Top of Old Smokey (File: BSoF740)
===
NAME: Forsaken Mother and Child, The: see The Fatal Snowstorm [Laws P20] (File: LP20)
===
NAME: Fort Thomas Murder, The: see Pearl Bryan (III) [Laws F3] AND Pearl Bryan (IV) (File: LF03)
===
NAME: Fortification of New Ross, The: see The Entrenchment of Ross (File: CrPS262)
===
NAME: Fortune My Foe (Aim Not Too High)
DESCRIPTION: "Fortune my foe, why dost thou frown on me? And will thy favour never better be?" The singer laments the sad fortune that has stolen his love away, and hopes for ease. Notable primarily for the tune, often cited under the title "Aim Not Too High"
AUTHOR: unknown
EARLIEST_DATE: 1610 (W. Corkine's Instruction Book for the Lute)
KEYWORDS: love separation nonballad
FOUND_IN: Britain
REFERENCES: (3 citations)
Chappell/Wooldridge I, pp. 76-79, "Fortune" (1 tune, with partial texts of "Fortune My Foe" and "Aim Not Too High")
BBI ZN912, "Fortune my foe, why dost thou frown on me"
DT, FORTFOE*
ST ChWI076 (Full)
SAME_TUNE:
A Caveat for Young-men/Give ear to me you youngmen whilst I write (BBI ZN963)
The Great Assize../Here is presented to the eye (BBI ZN1135)
The Disturbed Ghost/Good Christain people all pray lend an ear (BBI ZN992)
A Looking- Glass for Traytors [executed Dec. 3, 1678]/Let all bold Traytors here come take a view (BBI ZN1614)
The true manner of the Kings Tryal/King Charles was once a Prince of great state (BBI ZN1578)
A Pill against Popery/Kind countrymen give ear unto these lines (BBI ZN1565)
A Godly Guide of Directions/Good people all I pray you understand (BBI ZN1034)
Newes from Hereford..Earthquake [Oct. 1, 1661]/Old England of thy sins in time repent (BBI ZN2135)
The Godly Mans Instruction/Good people all I pray hear what I read (BBI ZN1031)
Sad News from Salisbury. Dreadful Frost and Snow.. 23d. of December, 1684/Good Christians all that live both far & near (BBI ZN999)
Dying Tears [death of Henry, son of K. Chas. I, 13 Sept., 1660]/Great are the wonders that our God has done (BBI ZN1072)
The Bloody- minded Husband... John Chamber/Good people all I pray attend, and mind (BBI ZN1025)
The Bloody Murtherer..James Selbee/All you that come to see my fatal end (BBI ZN115)
The Gunpowder Plot/True Protestants I pray you to draw near (BBI ZN2674) [cf. in this Index "Guy Fawkes"]
The Downfall of Pride/In London liv'd a wealthy merchants wife (BBI ZN1439)
The Distressed Gentlewoman/Good people all, I pray you now draw near (BBI ZN1032)
The Royal Court in Mourning.. Death.. King William/England, thy Sun have shined many years (BBI ZN828)
The Young-Mans A. B. C./Accept dear Love, these shadows of my grief (BBI ZN6)
..Strange and Wonderful Storm of Hail.. 18th of May 1680../Good Christians all attend unto my ditty (BBI ZN997)
Criminals Cruelty.. Tho. Wise.. murdered Elizabeth Fairbank.. executed.. Oct. 1684/Oh! this would make a stout heart lament (BBI ZN2048)
Englands Miseries..preserving ..Royal Brother.. last horrid Plot/Old England now rise up with one accord (BBI ZN2134)
Looking- glass for a Christian Family/All you that fear the Lord that rules the sky (BBI ZN133)
Looking-Glass for all true Christians/O hark, O hark, methinks I hear a voice (BBI ZN2012)
The Despairing Lover/Break heart and dye, I can no longer live (BBI ZN449)
The Young Man's Counsellor/All you that to begin the world intend (BBI ZN149)
[Title lost. Naval Warfare of 1692]/To God alone, let us all Glory give (BBI ZN2641); C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 114
The Kentish Wonder/You faithful Christians, whereso'er you be (BBI ZN3008)
The Young- Mans Repentance/You that have spent your time in wickedness (BBI ZN3127)
Dying Christians friendly Advice/You mortal men who vainly spend your youth (BBI ZN3073)
Truth brought to Light/Amongst those wonders which on earth are shown (BBI ZN178)
A Lamentable List.. Prodigious signs.. 1618.. 1638/You who would be inform'd of forraine news (BBI ZN3147)
A Warning for Swearers/All you that do desire to hear and know (BBI ZN124)
A True Relation of the Great Floods/Oh, England, England! 'tis high time to repent (BBI ZN2002)
[missing title, Fire on London bridge]/It grieves my heart to write such heavy news (BBI ZN1510)
The Hartford-shires Murder/All melting hearts come here and.. (BBI ZN93)
A wonderfull wonder/Look downe, O Lord, upon this sinful land (BBI ZN1715)
Death's loud Allarum/Lament your sinnes, good people all, lament (BBI ZN1599)
You that the Lord have blessed with riches (BBI ZN3134)
Now to discourse of man I take in hand/A discourse of Man's life (BBI ZN1982)
What woeful times we have now in our land/A Looking- Glass for all true Protestants (BBI  ZN2812)
Behold, O Lord, a Sinner in distresse/A Godly Song, entituled, A Farewell to the world (BBI ZN400)
Give thanks, rejoyce all, you that are secure/A Sad and True Relation of a great fire or two (BBI ZN972)
Brave Windham late/Iohn Flodder and his Wife,... burning Town of Windham. .xi day of June 1615 (BBI ZN448)
Who please to heare such news as are most true/The lamentable burning..Corke..1621 (BBI ZN2912(
All Christian men give ear a while to me/The Judgement of God..John Faustus (BBI ZN59)
Aim not to high in things above thy reach/An excellent song..consolation for a troubled mind  (BBI ZN37)
As I lay slumbering in my bed one night/St. Bernard's Vision  (BBI ZN224)
Ay me, vile wretch, that ever I was born/complaint and lamentation of Mistresse Arden of Feuversham in Kent (BBI ZN369)
Listen a while dear friends I do you pray/sad judgement..Dorothy Mattley.. 1660 (BBI ZN1698)
You disobedient children mark my fall/Save a Thief from the Gallows (BBI ZN3006)
Kind countreymen, and our acquaintances all/The lamentation of Edward Bruton [Mar. 18, 1633] (BBI ZN1563)
Now, like the swan, before my death I sing/.. lamentation of..John Stevens..[executed Mar. 7, 1632 (old style)] (BBI ZN1933)
England, give prayse unto the Lord thy God/A joyfull new ballad..Victory obtained by my Lord Mount-joy.. 2 of December last [1601] to [Jan. 9, 1602] (BBI ZN825)
I pray give ear unto my tale of woe/..cruel murder.. upon..Abraham Gearsy (BBI ZN1320)
Great God that sees all things that here are don/Anne Wallens Lamentation,. murthering ..husband...22 June 1616 (BBI ZN1077)
Vnhappy she whom fortune hath forlorne/Lamentation ..Master Pages Wife of Plymouth [1609?] (BBI ZN2697)
Titus Andronicus's Complaint/You noble minds, and famous martial wights (Percy/Wheately I, pp. 224-229; BBI ZN3085)
NOTES: As a song, this is of no particular note, but the tune was immensely popular, and sustained numbers of broadsides (see the Same Tune list; these more often list the tune as "Aim Not Too High," but many give both titles; in any case, it's the same melody). This popularity, rather than the not-demonstrably-traditional and quite banal text, explain the song's inclusion here.
Chappell claims that Shakespeare alludes to this song in The Merry Wives of Windsor, Act II, Scene iii. I can't find anything that strikes *me* as an allusion to the song, though. - RBW
File: ChWI076
===
NAME: Forty Years Ago: see Twenty Years Ago (Forty Years Ago) (File: R869)
===
NAME: Forward, Boys, Hurrah!: see These Temperance Folks (File: R323)
===
NAME: Foundering of the Asia, The: see The Wreck of the Asia (File: RcWreAsi)
===
NAME: Foundling Baby, The: see The Basket of Eggs (File: VWL018)
===
NAME: Foundling Child, The: see The Basket of Eggs (File: VWL018)
===
NAME: Four and Twenty Tailors
DESCRIPTION: Four-and-twenty tailors chase a snail (ending in defeat); depending on the version, four-and-twenty others (blind men, young maids, auld wives) have equally unlikely adventures
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammar Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: humorous talltale fight animal
FOUND_IN: Britain(Scotland)
REFERENCES: (6 citations)
Kinloch-BBook XIII, pp. 48-49, (no title) (1 text)
Ford-Vagabond, pp. 271-272, "Neerie Norrie" (1 text)
Opie-Oxford2 495, "Four and twenty tailors" (1 text)
Baring-Gould-MotherGoose #90, p. 86, "(Four and twenty tailors)"
Montgomerie-ScottishNR 143, "(Four-and-twenty Highlandmen)" (1 text)
DT, TAILOR4
Roud #1036
CROSS_REFERENCES:
cf. "Hey the Mantle!" (style)
NOTES: This is a very amorphous piece; the Digital Tradition version has very little in common with Kinloch's except the initial reference to the Hunting of the Snail, and the meters are different. There seems to be a whole genre of Improbable Scots Songs, many of which are not traditional. But there are so many references in the DT text that I imagine the piece belongs in the Index.
It is perhaps significant that the "heroes" of this alleged "adventure" are tailors, since tailors were regarded as the most feeble of all workers; see, e.g., the notes to "Benjamin Bowmaneer." - RBW
File: KinBB13
===
NAME: Four Brothers, The: see I Gave My Love a Cherry
 (File: R123)
===
NAME: Four Drunken Maidens: see Drunken Maidens (File: Log240)
===
NAME: Four Horses
DESCRIPTION: "There was a young fellow who first drove a team" of four horses, which he kept well. He drove them to a fair, paid his bills. He and his team had a good reputation. He drove them home and left them to rest, thinking "Straight way is the best"
AUTHOR: unknown
EARLIEST_DATE: 1962 (recording, Hockey Feltwell)
KEYWORDS: work virtue horse
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #12929
RECORDINGS:
Hockey Feltwell, "Four Horses" (on Voice05)
CROSS_REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah)" [Laws M31A/B] (tune) and references there
File: Rc4Horse
===
NAME: Four in the Middle: see Coffee Grows (Four in the Middle) (File: R524)
===
NAME: Four Jolly Fellows: see When Jones's Ale Was New (File: Doe168)
===
NAME: Four Little Johnny Cakes
DESCRIPTION: "Hurrah for the Lachlan, come join me in my cheer, For that' the place to make a cheque At the end of every year." When not working as a shearer, the singer enjoys "Camping in the bend" with the cakes he has cooked and the books and such he has "shook"
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: sheep food work
FOUND_IN: Australia
REFERENCES: (2 citations)
Paterson/Fahey/Seal, pp. 276-279, "Four Little Johnny Cakes" (1 text)
DT, FOURJOHN*
ALTERNATE_TITLES:
Camping in the Bend
The Shearer's Song
File: PFS276
===
NAME: Four Maries (Marys), The: see Mary Hamilton [Child 173] (File: C173)
===
NAME: Four Nights Drunk [Child 274]
DESCRIPTION: Our goodman comes home drunk for several nights. Each night he observes an oddity -- another man's horse, boots, sword, etc. Each time his wife says it is something else. Finally he sees a man's head; she explains that, too -- but the head has a beard
AUTHOR: unknown
EARLIEST_DATE: 1776 [Herd]
KEYWORDS: humorous trick adultery drink bawdy dialog disguise husband wife
FOUND_IN: Australia Canada(Ont,Mar) Britain(England(Lond,West),Scotland(Aber,Bord)) Ireland US(All) Bahamas
REFERENCES: (37 citations)
Child 274, "Our Goodman" (3 texts)
Bronson 274, "Our Goodman" (58 versions)
BarryEckstormSmyth pp. 315-317, "Our Goodman" (2 texts, 1 tune) {Bronson's #5}
Linscott, pp. 259-262, "Our Goodman" (1 text, 1 tune)
Flanders-Ancient4, pp. 63-71, "Our Goodman" (5 texts plus 2 fragments)
Belden, pp. 89-91, "Our Goodman" (2 texts)
Randolph 33, "I Went Home One Night" (2 texts, 2 tunes) {Bronson's #19, #46}
Randolph/Cohen, pp. 60-63, "i Went Home One Night" (1 text, 1 tune -- Randolph's 33B) {Bronson's #46}
Randolph-Legman I, pp. 53-57, "Four Nights Drunk" (5 texts, 1 tune)
Eddy 25, "Our Goodman" (1 text)
Davis-Ballads 43, "Our Goodman" (6 text, one of which is in an appendix because of dialect; 5 tunes entitled "Hobble and Bobble," "The Old Man," "Home Comes the Old Man," "Down Came the Old Man") {Bronson's #8, #39, #6, #7, #56}
Davis-More 38, pp. 299-304, "Our Goodman" (2 texts, 2 tunes)
BrownII 42, "Our Goodman" (2 texts plus mention of 2 more)
Chappell-FSRA 19, "Our Goodman" (1 text)
MHenry-Appalachians, pp. 14-16, "Four Nights (Our Goodman)" (1 text)
Hudson 22, pp. 122-123, "Our Goodman" (1 short text)
Scarborough-SongCatcher, pp. 231-236, "Our Goodman" (4 texts, with local titles "Three Nights of Experience," Three Nights of Experience," "I Called To My Loving Wife," "Parson Jones"; 3 tunes on pp. 417-418) {Bronson's #29, #54, #50}
Brewster 22, "Our Goodman" (1 fragment)
Creighton/Senior, pp. 91-92, "Our Goodman" (1 text, 1 tune) {Bronson's #44}
Leach, pp. 653-657, "Our Goodman" (1 text)
McNeil-SFB2, pp. 35-39, "Four Night Drunk or The Cabbage Head Song" ; "Ole Lady" (2 texts, 2 tunes)
Friedman, p. 445, "Our Goodman" (2 texts)
Cray, pp. 11-23, "Four Nights Drunk" (4 texts, 3 tunes)
Niles 57, "Our Goodman" (1 text, 1 tune)
SharpAp 38, "Our Goodman" (4 texts plus 1 fragment, 5 tunes) {Bronson's #55, #53, #15, #58, #30}
Sharp/Karpeles-80E 26, "Our Goodman" (1 text, 1 tune -- a composite version) {Bronson's #30}
Chase, pp. 118-119, "Home Came the Old Man" (1 text, 1 tune)
DBuchan 61, "Our Goodman" (1 text)
JHCox 28, "Our Goodman" (3 texts)
SHenry H21ab, p. 508, "The Blin' Auld Man/The Covered Cavalier" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 255-258, "Shickered As he Could Be" (1 text, told in the third person ("This bloke I know") rather than first person)
TBB 38, "Our Goodman" (1 text, 1 tune)
Abrahams/Foss, pp. 108-110, "Our Goodman" (1 text, 1 tune) {Bronson's #36}
Darling-NAS, pp. 78-80, "Three Nights Drunk"; "Our Goodman" (2 texts)
PSeeger-AFB, p. 22, "Four Nights Drunk" (1 text, 1 tune)
Silber-FSWB, p. 233, "Four Nights Drunk" (1 text)
DT 274, DRUNK5NT GOODMAN2* GOODMAN3
Roud #114
RECORDINGS:
Jo Jo Adams, "Cabbage Head, Parts 1 & 2" (Aristocrat 803, rec. 1948)
Anonymous singer, "The Merry Cuckold" (on Unexp1)
Thomas C[larence] Ashley, "Four Night's Experience" (Gennett 6404, 1928; Challenge 405 [as Tom Hutchinson], c. 1928)
Emmett Bankston & Red Henderson, "Six Nights Drunk, pt. 1/pt. 2" (OKeh 45292, 1929; rec. 1928) {Bronson's #32}
Harry Cox, Mary Connors, Colin Keane [composite] "The Cuckold's Song (Our Goodman)" (on FSB5, FSBBAL2)
Jack Elliott, "The Blind Fool" (on Elliotts01)
John B. Evans, "Three Nights Experience" (Brunswick 237, 1928)
Blind Lemon Jefferson, "Laboring Man Away from Home" (Paramount, unissued, rec. 1927)
Earl Johnson & his Dixie Entertainers, "Three Nights Experience" (OKeh 45092, 1927)
Coley Jones, "Drunkard's Special" (Columbia 14489, 1929; on AAFM1, BefBlues3) {Bronson's #33}
Colon Keel, "The Three Nights Experience" (AFS 2709 B1, 1939)
Lena & Sylvester Kimbrough, "Cabbage Head Blues" (Meritt 2201, 1926)
A. L. Lloyd, "Shickered As He Could Be" (on Lloyd2)
J. E. Mainer & Band, "Three Nights Drunk" (on LomaxCD1701) {Bronson's #38}
Wade Mainer, "Three Nights in a Barroom" (Blue Ridge 109, n.d.)
Mustard and Gravy, "Five Nights' Experience" (Bluebird B-7905, 1938)
Chris Powell & the Five Blue Flames, "Last Saturday Night" (Columbia 30162, 1949)
Orrin Rice, "Our Goodman" (AFS; on LC12) {Bronson's #31}
Pete Seeger, "My Good Man" (on PeteSeeger24)
George Spicer, "Coming Home Late" (on Voice13)
Will Starks, "Our Good Man" (AFS 6652 A1, 1942)
Gid Tanner & his Skillet Lickers, "Three Nights Drunk" (Bluebird B-5748, 1934)
Gordon Tanner & Smokey Joe Miller, "Four Nights' Experience" (on DownYonder)
Tony Wales, "Our Goodman" (on TWales1)
Sonny Boy Williamson [pseud. for Rice Miller] "Wake Up Baby" (Checker 894, 1958)
CROSS_REFERENCES:
cf. "Eleven More Months and Ten More Day" (lyrics)
ALTERNATE_TITLES:
Five Nights Drunk
Seven Nights Drunk
Home (Hame) Drunk Came I
The Jealous Hearted Husband
The Old Man Came Home One Night
When I Came Home Last Saturday Night
The Good Old Man
Arrow Goodman
Kind Wife
Parson Jones
NOTES: According to Joseph Hickerson, archivist at the Archive of American Folk Culture, Library of Congress, who has studied the ballad, this is the most commonly recovered Child ballad, surpassing even "Barbara Allen" (Child 84). - EC
I have to note that alcohol consumption inhibits sexual performance (even while making men think they are capable of more than they are). Maybe, if Our Goodman came home sober more often, he wouldn't have to worry so much about what his wife was doing while he was in his cups. - RBW
File: C274
===
NAME: Four O'Clock
DESCRIPTION: "Baby, I can't sleep, and neither can I eat; Round your bedside I'm gwine to creep. Four o'clock, baby, four o'clock, I'll make it in about four o'clock."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting nightvisit
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 274, "Four O'Clock" (1 short text, 1 tune)
NOTES: A "creeper" song -- that, according to Scarborough, being the southern name for a night visitor. - RBW
File: ScNF274A
===
NAME: Four Old Whores
DESCRIPTION: Two, three, or four whores, sometimes from Baltimore, Winnipeg, or Mexico, compare the size of their vaginas with extravagant boasts.
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: bawdy bragging contest humorous lie nonballad whore
FOUND_IN: Australia Canada Britain(England,Scotland) US(MA,MW,NE,NW,So,SE,SW)
REFERENCES: (4 citations)
Cray, pp. 6-11, "Four Old Whores" (2 texts, 1 tune)
Randolph-Legman I, pp. 121-123, "Four Old Whores" (3 texts, 1 tune)
Logsdon 28, pp. 167-168, "All Night Long" (1 text, 1 tune)
DT, OLDWHORE OLDWHOR2*
Roud #5666
ALTERNATE_TITLES:
Three Old Whores
Three Old Whores from Mexico
Three Old Whores from Winnepeg
NOTES: Technically, this is not a ballad in that it tells no story. The women merely top each other's boast. - EC
Legman, in _The Horn Book_ (pp. 414-415) connects this with "A Talk of Ten Wives on their Husbands' Ware," which occurs in the Porkington manuscript of about 1460 and waas pubished by Furnivall in 1871. on this basis he regards this as "the oldest surviving erotic folksong in English." But the only verse Legman quites is clearly modern, so the identification must be considered unproved. - RBW
File: EM006
===
NAME: Four Pence a Day
DESCRIPTION: "The ore is waiting in the tubs, the snow's upon the fell." The washer lads must be at work early in the day. The singer's poor parents could not send him to school, so he must work for four pence a day. He hopes his boss will develop a conscience
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Ewan MacColl)
KEYWORDS: work worker poverty boss hardtimes mining
FOUND_IN: Britain(England(North))
REFERENCES: (3 citations)
MacColl-Shuttle, p. 6, "Fourpence a Day" (1 text, 1 tune)
Silber-FSWB, p. 130, "Four Pence a Day" (1 text)
DT, FOURPENC*
Roud #2586
RECORDINGS:
Ewan MacColl, "Four Pence a Day" (on Lomax41, LomaxCD1741)
Pete Seeger, "The Washer Lad" (on PeteSeeger23, AmHist1)
NOTES: Although printed in at least five different collections, it appears that the only source for this is John Gowland of Yorkshire. And it appears no other songs were collected from him. Could he possibly be the author? - RBW
File: FSWB130A
===
NAME: Four Seasons of the Year, The
DESCRIPTION: "The spring is the quarter, the first that I'll mention, The fields and the meadows are covered with green." The singer catalogs the seasons: Spring (and Valentine's day), the busy summer, the hunting season of autumn, the chill winter, and repeat
AUTHOR: unknown
EARLIEST_DATE: 1905 (Leather)
KEYWORDS: nonballad
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, pp. 207-208, "Four Seasons of the Year" (1 text, 1 tune)
ST Leath207 (Partial)
File: Leath207
===
NAME: Four-Leaved Shamrock, The
DESCRIPTION: "I'll seek a four-leaved shamrock In all the fairy dells" and use its magic to cure the world of tears and aching hearts, mend estrangement between friends and see that "vanished dreams of love" return.
AUTHOR: Samuel Lover
EARLIEST_DATE: before 1846 (broadside, Bodleian 2806 c.16(203))
KEYWORDS: magic healing nonballad
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, pp. 137-138, "The Four-Leaved Shamrock" (1 text)
BROADSIDES:
Bodleian, 2806 c.16(203), "The Four Leaved Shamrock", J. Paul and Co (London), 1838-1845; also Harding B 11(3888), Johnson Ballads 562, Harding B 11(1250), Firth b.25(599), Johnson Ballads 417, Harding B 11(1249), "The Four Leaved Shamrock"
LOCSinging, sb10120b, "The Four-Leaved Shamrock", H. De Marsan (New York), 1864-1878; also as104540, as104080, as201070, "[The] Four-Leaved Shamrock"
NLScotland, RB.m.143(139), "The Four-Leaved Shamrock", Poet's Box (Glasgow), c.1880
NOTES: Broadside NLScotland RB.m.143(139): The text includes the statement that "This is supposed to be one of Sheilds' productions." The commentary states "It is not clear who Shields is, but this piece was in fact written by the Irish songwriter, painter and novelist, Samuel Lover (1797-1868)." That agrees with the O'Conor attribution.
Broadside LOCSinging sb10130a: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: OCon137
===
NAME: Four-Loom Weaver, The
DESCRIPTION: Singer, a weaver, laments hard times --  his clothes are worn out, his furniture repossessed, his family starved and keeping alive by eating boiled nettles. His wife states that if she had clothes to wear she would go to London and confront the wealthy
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Ewan MacColl)
KEYWORDS: poverty unemployment weaving hardtimes starvation wife worker
FOUND_IN: Britain(England(North))
REFERENCES: (2 citations)
MacColl-Shuttle, pp. 4-5, "The Four Loom Weaver" (1 text, 1 tune)
DT, FOURLOOM*
Roud #937
RECORDINGS:
A. L. Lloyd, "The Poor Cotton Wayver" (on IronMuse1)
Ewan MacColl, "The Four Loom Weaver" (on Lomax41, LomaxCD1700, LomaxCD1741) (on IronMuse2)
CROSS_REFERENCES:
cf. "Tammy Traddlefeet" (subject)
NOTES: The period 1819-1820, following the Napoleonic Wars, brought unemployment and starvation to much of the English working class. - PJS
According to MacColl-Shuttle, this is attributed to "John o' Greenfield." - RBW
File: DTfourlo
===
NAME: Fourpence a Day: see Four Pence a Day (File: FSWB130A)
===
NAME: Fourth Day of July, The: see The Cuckoo (File: R049)
===
NAME: Fox and Goose, The: see The Fox (File: R103)
===
NAME: Fox and Hare (They've All Got a Mate But Me)
DESCRIPTION: The singer laments, "Six wives I've had and they're all dead," noting "Oh, the fox and the hare, the badger and the bear And the birds in the greenwood tree And the pretty little rabbits engaging in their habits Have all got a mate but me."
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: animal love wife shrewishness marriage fight
FOUND_IN: US(NE,SE)
REFERENCES: (4 citations)
Flanders/Brown, p. 121, "Fox and Hare" (1 fragment, 1 tune)
Scarborough-NegroFS, p. 205, "Dey All Got a Mate But Me" (1 fragment, 1 tune, probably this though it consists of little more than the "they've all got a mate but me" lines)
BrownIII 172, "The Weasel and the Rat" (1 fragment, so similar in form that I file it here though it omits the mention of a mate: "Weasel and the rat, Mosquito and the cat, Chicken and the bumble-bee; The old baboon, the fuzzy little coon; They all went wild but me.")
SharpAp 239, "The Tottenham Toad" (1 text, 1 tune)
ST FlBr121 (Full)
Roud #1140 and 3624
NOTES: Flanders and Brown claim this is from the romance of Reynard the Fox. If so, it's evolved a bit in the course of half a millennium.
The versions in fact are very diverse, and probably include material inherited from multiple sources. The key line is the one about "They all have a wife/mate but me." Mentions of six wives or six weeks of quarrelling with a single wife are also common. - RBW
File: FlBr121
===
NAME: Fox and His Wife, The: see The Fox (File: R103)
===
NAME: Fox and the Goose, The: see The Fox (File: R103)
===
NAME: Fox and the Grapes, The
DESCRIPTION: "A hungry fox one day did spy Some rich ripe grapes that hung so high And to him they seemed to say, 'If you can get us down, you may.'" After an hour of trying, the fox admits failure, "Then he went away, and he swore that the grapes were sour."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown)
KEYWORDS: food animal
FOUND_IN: US(NE) Canada(Ont,West)
REFERENCES: (2 citations)
Flanders/Brown, p. 247, "The Fox and the Grapes" (1 text)
cf. Gardner/Chickering, p. 479, "The Fox and the Grapes" (source notes only)
ST GC479a (Full)
Roud #3713
RECORDINGS:
Wellington Thompson, "A Hungry Fox" (on Saskatch01)
NOTES: This is, of course, a retelling of Aesop's fable, "The Fox and the Grapes"; Cass-Beggs also refers to Maria Edgeworth's 1833 book of instructive stories for children, although she isn't clear about whether this story is there. She notes that [Welllington] Thompson reported learning the song as a small boy in Ontario (he was born in 1866). - PJS
File: GC479a
===
NAME: Fox and the Lawyer, The
DESCRIPTION: "The fox and the lawyer was different in kind... The lawyer loved done meat because it was easy to chaw, The fox... would take his blood raw." The fox goes out to take a hen. Pursued to his den, he says the fight is not fair; the hunter doesn't care
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal lawyer hunting
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 70, (no title) (1 text)
ST ScaNF070 (Partial)
NOTES: Scarborough's informant claimed this was sung by slaves. This strikes me as unlikely; while they often told stories about foxes and chickens, the first verse about lawyers strikes me as a graft -- and why would slaves preserve it? - RBW
File: ScaNF070
===
NAME: Fox Chase, A: see The Duke of Buckingham's Hounds (File: Br3218)
===
NAME: Fox Hunt, The: see Bold Reynard the Fox (Tallyho! Hark! Away!) (File: DTReynrd)
===
NAME: Fox River Line, The (The Rock Island Line) [Laws C28]
DESCRIPTION: The singer (and men of many nations) work in George Allan's camp without earning any money. He decides to get another job
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: logger poverty boss work
FOUND_IN: US(MA) Canada(Mar,Ont,Que)
REFERENCES: (7 citations)
Laws C28, "The Fox River Line (The Rock Island Line)"
FSCatskills 93, "The Rock Island Line" (1 text, 1 tune)
Creighton-NovaScotia 116, "Fox River Line" (1 text, 1 tune)
Fowke-Lumbering #11, "The Rock Island Line" (2 texts, tune referenced)
Ives-NewBrunswick, pp. 119-123, "The Scantling Line" (1 text, 1 tune)
Manny/Wilson 41, "The Scantaling Line" (1 text, 1 tune)
DT 655, ROCKISL
Roud #643
CROSS_REFERENCES:
cf. "The New Limit Line" (tune)
ALTERNATE_TITLES:
The Margineau Line
The Keith and Hiles Line
NOTES: Manny/Wilson: "Mr Brown [the singer] credits this song to Larry Gorman, but Sandy Ives, who should know, says he does not believe Larry wrote it. Still it seems to have some Gorman touches. Similar songs are sung in all parts of the Northeast, with names altered to suit." - BS
Not to be confused with "The Rock Island Line" as sung by Lead Belly. - RBW
File: LC28
===
NAME: Fox Walked Out, The: see The Fox (File: R103)
===
NAME: Fox Went Out on a Starry Night, A: see The Fox (File: R103)
===
NAME: Fox, The
DESCRIPTION: Fox goes hunting on a (chilly) night. It goes to the farmer's yard and takes a goose. The farmer and wife are aroused; the farmer sets out after the fox. Fox escapes home with its kill; the fox family celebrates with a fine dinner
AUTHOR: unknown
EARLIEST_DATE: 1810 (Gammer Gurton's Garland)
KEYWORDS: animal food hunting
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(Lond,South),Scotland(Aber)) Ireland Canada(Mar,Newf)
REFERENCES: (25 citations)
Randolph 103, "The Fox Walked Out" (4 texts, 2 tunes)
Randolph/Cohen, pp. 135-137, "The Fox Walked Out" (1 text, 1 tune -- Randolph's 103A)
Eddy 91, "The Fox" (1 text, 1 tune)
Gardner/Chickering 192, "The Fox and the Goose" (1 text)
BrownIII 129, "The Fox and the Goose" (4 texts plus mention of 1 more)
Brewster 77, "The Fox" (1 fragment)
Creighton/Senior, pp. 248-250, "The Fox" (2 texts plus 1 fragment, 1 tune)
Peacock, pp. 12-13, "The Fox and the Goose" (1 text, 1 tune)
Flanders/Brown, pp. 119-120, "Fox and Goose" (1 text)
Linscott, pp. 202-204, "A Fox Went Out on a Starry Night" (1 text, 1 tune)
Fuson, pp. 181-182, "Old Man Fox" (1 text)
SharpAp 226, "The Old Black Duck" (2 texts, 2 tunes)
Logan, pp. 291-293, "The Fox" (1 text)
GreigDuncan3 499, "Father Fox" (3 text fragments, 2 tunes)
Kennedy 301, "Old Daddy Fox" (1 text, 1 tune)
Leach, p. 749, "The Fox" (1 text)
SHenry H38, p. 29, "The Fox and His Wife" (1 text, 1 tune)
JHCox 163, "The Fox" (1 text, 1 tune)
JHCoxIIB, #21, pp. 172-173, "The Fox" (1 text, 1 tune)
Opie-Oxford2 171, "A fox jumped up one winter's night" (2 texts)
Baring-Gould-MotherGoose #116, p. 96, "(Old Mother Widdle Waddle jumpt out of bed)"
PSeeger-AFB, p. 80, "The Fox" (1 text, 1 tune)
Silber-FSWB, p. 400, "The Fox" (1 text)
DT, FOXOUT
ADDITIONAL: Brown/Robbins, _Index of Middle English Verse_, #1622, 3328
ST R103 (Full)
Roud #131
RECORDINGS:
Blue Ridge Highballers, "Darneo" (Columbia 15132-D, 1927)
Harry Burgess, "The Hungry Fox" (on Voice18)
Cyril Biddick with chorus, "Old Daddy Fox" (on Lomax41, LomaxCD1741)
Pete Seeger, "The Fox" (on PeteSeeger09, PeteSeegerCD02) (on PeteSeeger18)
ALTERNATE_TITLES:
Daddy Fox
Old Mother Hippletoe
The Fox and the Grey Goose
Up, John, Get Up, John
NOTES: The earliest version of this piece appears to have been a Middle English poem found in British Museum MS. Royal 19.B.iv, and is thought to date from the fifteenth century. About as old is a strange version in Cambridge MS. Ee.1.12 with an extended prologue about the fox's raids but with lyrics closer to most modern versions. It is reasonable to assume that this, and perhaps even the British Museum text, are rewritings of documents still older.
It should perhaps be noted that foxes are asocial animals; the males do not take part in raising the young. - RBW
File: R103
===
NAME: Foxes, The: see Bold Ranger, The (File: R076)
===
NAME: Frae the Martimas Term
DESCRIPTION: "Frae the Martimas term in the year ...twa Till Whitsunday's wind blew a half year awa." 
AUTHOR: John Ker (Carr?) (source: GreigDuncan3)
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: farming work
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 365, "Frae the Martimas Term" (1 fragment)
Roud #5908
NOTES: Candlemas [February 2], Whitsunday [May 15], Lammas [August 1] and Martinmas [November 11] were the four "Old Scottish term days" "on which servants were hired, and rents and rates were due." (Source: Wikipedia article _Quarter days_).
The current description is all of the GreigDuncan3 fragment. - BS
File: GrD3365
===
NAME: Frances Silvers: see Frankie Silvers [Laws E13] (File: LE13)
===
NAME: Frank Dupree [Laws E24]
DESCRIPTION: Frank Dupree, the singer, gets in trouble when he steals a diamond from an Atlanta jewelry store. As he leaves, he shoots a policeman and drives off. He is arrested and sentenced to death when he returns to his sweetheart Betty
AUTHOR: Probably Andrew Jenkins
EARLIEST_DATE: 1925 (recording, Blind Andy [Jenkins], Rosa Lee Carson)
KEYWORDS: robbery murder love prison execution
HISTORICAL_REFERENCES: Dec 15, 1921 - Frank Dupree robs an Atlanta jewelry store
Sept. 1, 1922 - Dupree hanged
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Laws E24, "Frank Dupree"
BrownII 247, "Frank Dupree" (1 text)
Friedman, p. 396, "Dupree" (2 texts, but only the first is E24; Laws considers the second to be I11)
DT 794, DUPREE1 DUPREE2
Roud #2253
RECORDINGS:
Blind Andy [Jenkins], "Frank Dupree" (OKeh 40446, 1925)
Rosa Lee Carson, "Frank Du Pree" (OKeh 40446, 1925)
Vernon Dalhart, "Frank Dupree" (Columbia 15042-D, 1925)
CROSS_REFERENCES:
cf. "Dupree" [Laws I11] (plot)
File: LE24
===
NAME: Frank Fidd
DESCRIPTION: Frank Fidd was as gallant a tar As ever took reef in a sail ... One night off the Cape of Good Hope" a rope catches Frank by the heels and his head is bashed. His dying words are "Safe moored in Felicity Bay I'll ride by the Cape of Delight"
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: death sailor injury
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Mackenzie 94, "Frank Fidd" (1 text, 1 tune)
Roud #3281
CROSS_REFERENCES:
cf. "Tom Bowling" (theme)
NOTES: Mackenzie: "The same phraseological method that is employed [in the song of Tom Bowling] is used in narrating 'The Life and Death of Frank Fidd.'" Mackenzie includes Frank Fidd among "that brave group of sailors" including Tom Bowling. You can see and hear "Tom Bowling" by Charles Dibdin (1745-1814) at the Lesley Nelson-Burns site Folk Music of England Scotland Ireland, Wales & America collection site. - BS
File: Mack094
===
NAME: Frank Gardiner
DESCRIPTION: "Frank Gardiner he is caught at last; he lies in Sydney jail...." The song details the deeds of this daring bushranger, then tells how he was taken after the death of fellow bushrangers Ben Hall and Gilbert
AUTHOR: unknown
EARLIEST_DATE: 1954 (collected by Meredith from Ina Popplewell); fragments are reportedly found in Bradhsaw's _The Only True Account of Frank Gardiner, Ben Hall and Gang_ from before 1900
KEYWORDS: outlaw prison
HISTORICAL_REFERENCES: 1830 - Birth of Francis Christie in New South Wales. He later took the name Frank Gardiner, and was known as "the Darkie" for his part-Aborigine ancestry
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, p. 30, "Frank Gardiner" (1 text, 1 tune, with a confused ending)
Fahey-Eureka, pp. 86-87, "Frank Gardiner" (1 text, 1 tune)
Manifold-PASB, pp. 58-59, "Frank Gardiner" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 84-86, "Frank Gardiner He Is Caught at Last" (1 text)
DT,FRNKGARD*
Roud #9117
NOTES: According to Harry Nunn, in _Bushrangers: A Pictorial History_ (Ure Smith Press, 1979, 1992), p.113, Frankie Gardiner was "the illegitimate son of a Scottish free settler and an Irish-Aboriginal servant girl, Born Frank Christie at Goulburn in 1830, he was befriended by an old man from whom he took the name Gardiner." He turned to crime in his teens, was caught, was sentenced to five year in Pentridge in 1850, escaped, was caught again, and was sentenced to seven years of hard labor. According to George Boxall, _The Story of the Australian Bushrangers_, Swan Sonnenschein & Co, 1899 (I use the 1974 Penguin facsimile edition), p. 193, he served half the sentence, was given a ticket-of-leave, and once again fled.
According to Fahey, he also claimed higher morals than most bushrangers; an 1862 newspaper published a letter in which he claimed never to have taken the last of a poor man's money, and to have discharged those from his gang who did such things! The letter was signed,
Fearing nothing, I remain, Prince of Tobymen,
Francis Gardner, The Highwayman.
(Boxall, p. 201, prints the whole letter and notes the misspelling of Gardiner's name but believes it an error made by the paper.)
Ben Hall (d. 1865; for whom see "The Death of Ben Hall" and "Ben Hall"), who also disdained violence, was associated with the Gardiner gang. Other members included Johnny Dunn (d. 1866), Johnny O'Meally (d. 1863), and John Gilbert (d. 1866). These were among the leaders of the gang that committed one of the most famous crimes in Australian history, the Eugowra Rocks robbery of 1862.
Despite the implication in some versions of the song that Gardiner would be executed, he was condemned to prison. (The confusion may arise from the fact that many versions are reconstructed from fragments.) Having served 10 years of a 32 year sentence, he was released in 1874 (known as the "year of clemency"; Nunn, p. 117). He went into voluntary exile in America (he is said to have opened a saloon in San Francisco).
Gardiner himself was much longer-lived than most of his gang; legend says that he died in a poker game in Colorado in 1903. - RBW
File: MA030
===
NAME: Frank Gardiner He Is Caught at Last: see Frank Gardiner (File: MA030)
===
NAME: Frank James, the Burglar: see The Boston Burglar [LawsL16] (File: LL16)
===
NAME: Frankie: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie and Albert [Laws I3]
DESCRIPTION: Frankie discovers her husband (Albert/Johnnie) involved with another woman. She shoots him. Depending on the version, she may be imprisoned or allowed to go free
AUTHOR: unknown
EARLIEST_DATE: 1904 (Copyright as "He Done Me Wrong" by Hughie Cannon)
KEYWORDS: infidelity murder bawdy betrayal execution jealousy judge prison trial
FOUND_IN: US(Ap,MA,MW,SE,So,SW) Australia
REFERENCES: (34 citations)
Laws I3, "Frankie and Albert"
Belden, pp. 330-333, "Frankie and Albert" (1 text, composite)
Randolph 159, "Frankie and Johnny" (6 texts, 2 tunes)
Randolph/Cohen, pp. 166-170, "Frankie and Johnny" (1 text, 1 tune -- Randolph's 159A)
Randolph-Legman I, pp. 477-484, "Frankie and Johnny" (5 texts, 1 tune)
Eddy 108, "Maggie Was a Lady" (3 texts, 3 tunes)
BrownII 251, "Frankie and Albert" (3 texts plus 2 excerpts and mention of 4 more; 4 of these were called "Frankie Baker" by the informants, but none of the texts appear to use that name in the body of the song)
Chappell-FSRA 111, "Frankie and Johnny" (1 text, 1 tune)
Hudson 65, pp. 189-191, "Frankie" (1 text)
Scarborough-NegroFS, pp. 80-84, "Frankie and Albert" (4 texts plus 2 excerpts, 2 tunes)
Cambiaire, pp. 5-8, "Frankie Baker" (1 text)
Leach, pp. 761-765, "Frankie and Albert (Johnnie)" (2 texts)
Friedman, p. 211, "Frankie and Albert (Frankie and Johnny)" (2 texts)
Cray, pp. 137-149, "Frankie and Johnnie" (4 texts, 1 tune)
PBB 113, "Frankie and Albert" (1 text)
Sandburg, pp. 76-77, "Frankie and Albert"; 77-81, "Frankie and Johnny"; 82-82, "Frankie Blues"; 84-85, "Josie"; 86, "Sadie" (5 texts, 6 tunes)
Lomax-FSUSA 88, "Frankie and Albert" (1 text, 1 tune)
Lomax-FSNA 305, "Frankie" (1 text, 1 tune)
Lomax-ABFS, pp. 103-110, "Frankie and Albert" (2 texts, 2 tunes)
Asch/Dunson/Raim, p. 58 "Frankie" (1 text, 1 tune)
Arnett, pp. 148-149, "Frankie and Johnny" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 31-36, "Frankie and Johnnie" (1 text with variant stanzas, 2 tunes)
JHJohnson, pp. 33-38, "Frankie and Johnnie" (1 text)
Courlander-NFM, pp. 182-184, "(Frankie and Albert)" (1 text)
JHCox 46, "Maggie Was a Lady" (2 texts)
PSeeger-AFB, p. 64, "Frankie And Johnny" (1 text, 1 tune)
Silber-FSWB, p. 177, "Frankie And Johnny" (1 text)
Fuld-WFM, pp. 233-235, "Frankie and Johnny"
DT 316, FRANJOHN* FRANJON2
~~~~~
Versions of "Leaving Home," the Charlie Poole song:
Cohen/Seeger/Wood, pp. 144-145, "Leaving Home" (1 text, 1 tune)
Rorrer, p. 72, "Leaving Home" (1 text)
DT 316, FRANJON3*
Roud #254
RECORDINGS:
Gene Autry, "Frankie and Johnny" (OKeh 45417, 1930) (Velvet Tone 7063-V/Clarion 5026-C, 1930)
Emry Arthur, "Frankie Baker, pts. 1 & 2" (Vocalion 5340, 1929)
Al Bernard, "Frankie and Johnny" (Brunswick 2107, 1921)
James Burke, "Frankie and Johnnie" (Superior 2590, 1931)
Frank Crumit, "Frankie and Johnnie" (Victor 20715, 1927)
[Tom] Darby & [Jimmy] Tarlton, "Frankie Dean" (Columbia 15701-D, c. 1931; rec. 1930)
Slim Dusty, "Frankie and Johnny" (Regal Zonophone [Australia] G25403, n.d.)
Dykes Magic City Trio, "Frankie" (Brunswick 127/Vocalion 5143, 1927; on RoughWays1)
Louise Foreacre, "Frankie was a Good Girl" (on Stonemans01)
Roscoe Holcomb, "Frankie and Johnny" (on Holcomb2)
Mississippi John Hurt, "Frankie" (OKeh 8560, 1928; on AAFM1, RoughWays2)
Billy Jones, "Frankie and Johnny" (Edison 52284, 1928)
Frankie Marvin, "Frankie and Johnny" (Brunswick 400/Crown 3076, 1930)
McMichen's Melody Men, "Frankie and Johnny" (Decca 5418, 1937)
Nick Nichols, "Frankie and Johnny (The Shooting Scene) Part 1"/"Frankie and Johnny (The Courtroom Scene) Part 2" (Columbia 2071-D, 1929)
Luther Ossenbrink: "Frankie and Albert" (Conqueror 7879 [as Arkansas
Woodchopper], 1931); "Frankie and Johnny" (Champion 15852 [as West Virginia
Rail Splitter]/Supertone 9569 [as Arkansas Woodchopper], 1929; Champion
45058 [as West Virginia Rail Splitter], 1935) (Supertone S-2590 [as Arkansas
Woodchopper], 1931)
Charley Patton, "Frankie and Albert" (Paramount 13110, 1931; rec. 1929)
Riley Puckett, "Frankie and Johnny" (Columbia 15505-D, 1930; rec. 1929) (Bluebird B-8277, 1939)
Carson Robison, "Frankie and Johnny" (QRS 1014, c. 1929)
Jimmie Rodgers, "Frankie and Johnny" (Victor 22143, 1929; Montgomery Ward M-4309/Bluebird B-5223, 1933; Montgomery Ward M-4721, c. 1935)
Mike Seeger, "Frankie" (on MSeeger01)
Pete Seeger, "Frankie and Johnny" (on PeteSeeger17)
Bessie Smith, "Frankie Blues" (Columbia 14023-D, 1924)
Mamie Smith & her Jazz Hounds, "Frankie Blues" (OKeh 4856, 1923)
Leo Soileau & his Aces "Frankie and Johnny" (Decca 5133, 1935)
Leonard Stokes, "Frankie and Johnny" (Montgomery Ward M-4309, 1933)
Ernest Thompson, "Frankie Baker" (Columbia 168-D, 1924)
Welby Toomey, "Frankie's Gamblin' Man" (Gennett 3195, 1926/Challenge 232, 1927)
Edith Wilson w. Johnny Dunn's Original Jazz Hounds, "Frankie" (Columbia A3506, 1921)
~~~~~
Versions of "Leaving Home," the Charlie Poole song:
New Lost City Ramblers, "Leaving Home" (on NLCR02, NLCRCD1)
Charlie Poole and the North Carolina Ramblers, "Leaving Home" (Columbia 15116-D, 1926; on CPoole01, CPoole05)
Swing Billies, "Leavin' Home" (Bluebird B-7121, 1937)
CROSS_REFERENCES:
cf. "The Boll Weevil" [Laws I17] (tune)
cf. "Dark Was the Night, Cold Was the Ground" (lyrics)
SAME_TUNE:
Billy Vest, "Frankie & Johnny - No. 2" (Banner 32762, 1933); "Frankie and Johnny No. 2" (Melotone M-12691, 1933)
NOTES: Various theories have been proposed to explain the origin of this ballad. One theory connects it with the story of Frankie Silvers [Laws E13]. Another links it to the murder of Allen Britt ("Al Britt"= "Albert") by Frankie Baker in St. Louis, MO, on Oct. 15, 1899 (she was jealous of his relationship with Alice Pryor). (This murder was documented in the October 19, 1899 edition of the St. Louis Post-Dispatch.) Versions have shown a tendency to take on local color and even be connected with local events. - RBW, EC
Legman offers extensive documentation for the ballad in Randolph-Legman I. - EC
Researcher Rusty David, of St. Louis, suggests that while the details of the current ballad support the Frankie Baker/Allen Britt story, in fact the ballad predates this murder, and describes a killing that took place in the same red-light district of St. Louis sometime around 1865-70. When the Baker/Britt killing took place, according to David, the earlier ballad was modified to fit the new events. He bases this suggestion on having found traces of the ballad before 1899. -PJS
Belden catalogs scholars who date the origins of the song before 1899, listing:
* Thomas Beer (who offers a date before 1863, and cites a date in the 1840s for the original murder). Belden finds no authority for these claims
* Sandburg (claims widespread currency by 1888)
* Niles (claims it predates 1830, but without evidence)
* Orrick Johns (early 1890s)
* Tyrrel Williams (pre-Civil War), but Cohen says his evidence for this is "very weak"
* George Milburn ("long before 1899," using names other than Frankie and Albert)
Fuld, however, lists the first occurrence of the tune as 1904 (with documentation), and notes that the "Frankie and Johnny were lovers" version first appears in 1925.
The song "Leaving Home," recorded by Charlie Poole and others (and properly called "Frankie and Johnny"), is not actually a "Frankie and Johnny" text; it was written by the Leighton Brothers and Ren Shields and copyrighted in 1912. If it entered oral tradition, it is as a result of the Poole recording or some such similar source. It is, however, included under this entry because it is based on "Frankie and Johnnie" and often treated as a variant of that song.
Adding all this up, the verifiable facts appear to be as follows:
Whatever the earlier history, it seems certain that a canonical Frankie and Albert emerged from the Frankie Baker (1876-1952) and Al Britt (1882/3-1899) affair. The Leighton/Shields song supplied the names "Frankie and Johnny," which are now well-established. It is possible that "The Boll Weevil," or one of its musical relatives, contributed a tune at some point; not all "Frankie and Albert" texts are to this melody, but the usual "Frankie" tune sung today is close to "Boll Weevil." (Thanks to Paul J. Stamler for pointing this out.)
Frankie Baker, in her trial, claimed that Al Britt threatened her with a knife, and she shot him in self-defence. She was acquitted, but later left the area to try to find peace, and worked odd jobs for the rest of her life. She eventually sued Hollywood because of their treatments of the Frankie legend. - RBW
File: LI03
===
NAME: Frankie and Johnnie: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie and Johnny: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Baker: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Blues: see Frankie and Albert [Laws I3] (File: LI03)
===
NAME: Frankie Silvers [Laws E13]
DESCRIPTION: The singer, Frankie Silvers, has been condemned to die for murdering her husband. She describes the deed and its consequences with horror: "This dreadful, dark, and dismal day Has swept all my glories away." "But oh! that dreadful judge I fear...."
AUTHOR: unknown
EARLIEST_DATE: 1886 (Lenoir Topic, quoting the "Morganton paper")
KEYWORDS: murder husband wife punishment execution
HISTORICAL_REFERENCES: Dec 22, 1831 - Frankie Silver(s) murders her husband Charles Silvers in North Carolina
July 12, 1833 - Frankie Silver(s) is hanged
FOUND_IN: US(Ap,SE,So)
REFERENCES: (6 citations)
Laws E13, "Frankie Silvers"
Randolph 158, "Frankie Silver" (1 short text, 1 tune)
BrownII 301, "Frankie Silver" (1 text)
MHenry-Appalachians, pp. 48-50, "Frances Silvers" (1 text)
Burt, pp. 17-18, (no title) (1 text)
DT 776, FRANSILV
Roud #783
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "Frankie Silvers" (Vocalion 02647, 1934?)
Clarence Ashley & Tex Isley, "Frankie Silvers" (on Ashley01)
Byrd Moore & his Hot Shots, "Frankie Silvers" (Columbia 15536-D, 1930; rec. 1929); "Frankie Silver's Confession" (Gennett, unissued, 1930)
New Lost City Ramblers, "Frankie Silver" (on NLCR04)
NOTES: This incident has frequently been reported as the inspiration for "Frankie and Albert" also; see the notes to that song.
Brown has extensive background notes on this murder, without clear conclusions as to why Frankie Silvers murdered her husband, noting that the jury apparently believed the motive was jealousy.
In Brown's and Randolph's texts, the judge who convicted Frankie Silvers is called "Judge Daniels," but Randolph reports that he was actually named John R. Donnell.
A recent book, _The Untold Story of Frankie Silver_ by Perry Deane Young, puts the whole thing in a rather different light. Lyle Lofgren gives me the following facts from the book; I cannot vouch for the accuracy of Young's information:
Frances Stewart married Charles Silver in 1829, when both were 17; they lived near Toe River (Kona), North Carolina. They had a daugher Nancy in 1830. Charlie apparently was fond of drink and other women. On December 22, 1831, they quarreled. Charlie went for a gun; Frankie killed him with an ax.
Had Frankie simply notified the authorities at that point, all might have been well. But she burned his body and hid the remains, claiming that he had gone hunting and never come back. When the physical evidence was found, she was charged with murder. Having denied the crime, she couldn't plead self-defence, and her request for clemency were denied. She was executed on the date listed. - RBW
File: LE13
===
NAME: Franklin: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin and His Bold Crew: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin D. Roosevelt
DESCRIPTION: "Franklin Roosevelt took his seat About one year ago; He cannot please the world, That we all well know." "I esteem our worthy President." "He has given work to laboring men." "We're on the verge of better times." The singer encourages unions, religion
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: political nonballad
HISTORICAL_REFERENCES: 1929-1933 - Presidency of Herbert Hoover
1933-1945 - Presidency of Franklin D. Roosevelt
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 245-246, (no title) (1 text)
NOTES: This is presumably the song recorded by Setters on Library of Congress recording 1010B1, but I haven't heard it. - RBW
File: ThBa245
===
NAME: Franklin D. Roosevelt's Back Again
DESCRIPTION: "Just hand me my old Martin, for soon I will be startin... Since Roosevelt's been re-elected, we'll not be neglected." Singer praises Roosevelt's re-election, celebrates legal liquor and the end of moonshine, and returning prosperity. 
AUTHOR: Bill Cox
EARLIEST_DATE: 1936 (recording, Bill Cox and Cliff Hobbs)
KEYWORDS: drink hardtimes nonballad political
HISTORICAL_REFERENCES: 1933-1945 - Presidency of Franklin D. Roosevelt
FOUND_IN: 
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 230-231, "Franklin D. Roosevelt's Back Again" (1 text, 1 tune)
Silber-FSWB, p. 287, "Franklin D. Roosevelt's Back Again" (1 text)
DT, FDRBACK*
RECORDINGS:
Bill Cox, "Franklin D. Roosevelt's Back Again" (Melotone 07-02-61/Oriole 07-02-61, 1937; OKeh 05896 [as Bill Cox & Cliff Hobbs], 1940; 1940; rec. 1936)
New Lost City Ramblers, "Franklin Roosevelt's Back Again" (on NCLR09, AmHist2, NLCRCD1)
CROSS_REFERENCES:
cf. "The Democratic Donkey is Back In His Stall" (subject matter)
ALTERNATE_TITLES:
We've Got Franklin Delano Roosevelt Back Again
NOTES: Franklin Delano Roosevelt, an anti-Prohibition Democrat, was elected to his second of four terms in 1936, carrying all but two states. - PJS
As poetry, this is about as bad as a song can get. But as a reflection of the attitude of its time, it is obviously highly accurate. - RBW
"As poetry, this is about as bad as a song can get." Oh yeah? Ever listen to "MacArthur Park"? - PJS
No, I haven't. Sounds like I should be glad.... - RBW
File: CSW230
===
NAME: Franklin Expedition, The: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin In Search of the North-West Passage: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin Slaughter Ranch: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Franklin the Brave: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Franklin's Crew: see Lady Franklin's Lament (The Sailor's Dream) [Laws K9] (File: LK09)
===
NAME: Fraserburgh Meal Riot, The
DESCRIPTION: Charlie is warned to run because the fisher wives are shouting. It will be a bloody morning. Charlie runs away from town across the dyke. We have to fight so "the meal will be doon in the mornin'"
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan2)
KEYWORDS: violence commerce food
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #147, p. 1, ("Charlie, Charlie, rise and rin"); Greig #149, p. 2, "Meal Riots" (2 fragments)
GreigDuncan2 240, "The Fraserburgh Meal Riot" (2 fragments)
Roud #5844
NOTES: GreigDuncan2: "The song probably relates to the riot that took place on 6 March 1813. A mob, in which a fisherwoman played a prominent part, turned back a cart carrying grain belonging to Charles and George Simpson, grain dealers in Fraserburgh, which was being taken to the harbour to be shipped on board the sloop Resolution at a time when popular feeling demanded that it should be kept for the local market. When Charles Simpson made a move to continue the attempt to ship the grain, he was pelted with mud and stones and pursued by the mob." - BS
File: GrD2240
===
NAME: Fred Sargent's Shanty Song
DESCRIPTION: "In eighteen hundred and seventy-one, To swamp for a go-devil I begun, 'Twas on the banks of the Eau Claire, We landed there when the ground was bare. Tra-la-la-la...." The loggers get up, get dressed, go to work; the singer toasts the boss
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger work drink
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Rickaby 21, "Fred Sargent's Shanty Song" (1 text, 1 tune)
ST Rick092 (Partial)
NOTES: This is probably a particularization of some other shanty song. But with only three verses (the introductory formula, the verse about getting up in the morning, and the conclusion toasting Fred Sargent), what remains is almost all the particularized parts, and so cannot really be identified. - RBW
File: Rick092
===
NAME: Free a Little Bird: see Free Little Bird (File: FSWB391A)
===
NAME: Free America
DESCRIPTION: "The seat of science, Athens, And earth's proud mistress Rome, Where now are all their glories?" The writer advises Americans to "guard their rights" and fight back against European tyranny.
AUTHOR: words: Joseph Warren?
EARLIEST_DATE: 
KEYWORDS: political patriotic freedom derivative
FOUND_IN: US
REFERENCES: (6 citations)
Arnett, pp. 14-15, "Free America" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 14-16, "Free America" (1 text, 1 tune)
Botkin-NEFolklr, pp. 537-538, "Free America" (1 text, 1 tune)
Darling-NAS, pp. 337-338, "Free America(y)" (1 text)
Silber-FSWB, p. 284, "Free America" (1 text)
DT, FREEAMER*
CROSS_REFERENCES:
cf. "The British Grenadiers" (tune) and references there
File: Arn014
===
NAME: Free Americay: see Free America (File: Arn014)
===
NAME: Free At Last
DESCRIPTION: "Free at last! Free at last! Thank God a'mighty, I'm free at last!" "One of these mornings bright and fair, I'm gonna put on my wings and try the air." "Old Satan's mad because we're glad...." "I wonder what old Satan's grumblin' bout...."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious freedom nonballad floatingverses Devil
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
BrownIII 624, "Old Satan's Mad" (5 text, of which the short "A" text is probably "Free at Last"; "B" is a variation on "Down By the Riverside (Study War No More)"; "C" has the "Old Satan's Mad" stanza but a "climbing Zion's walls" chorus; D" is an unidentifiable fragment perhaps related to "I Belong to that Band; and "E" is also a fragment, perhaps of "Free At Last")
Randolph 302, "The Devil's Mad and I Am Glad" (1 fragment, possibly this one)
Silber-FSWB, p. 368, "Free At Last" (1 text)
Roud #10974
RECORDINGS:
Dock Reed & Vera Hall Ward, "Free At Last" (on NFMAla2) (on Babylon)
CROSS_REFERENCES:
cf. "All My Sins Been Taken Away" (lyrics)
cf. "Hand Me Down My Walkin' Cane" (lyrics)
NOTES: The versions of this all seem rather fragmentary, and some may be floating bits of other songs. The line "Satan is mad and I am glad" seems to be about as characteristic of this song as anyrhing, but it also floats. - RBW
File: FSWB368A
===
NAME: Free Gardener, The
DESCRIPTION: "Old Adam was the gardener ... A fig-leaved apron he sewed and put on ... who would na wish a free gardener to be?" Eve asked to be a gardener. He said "no woman on earth my secrets should gain." "She made him leave the garden a ploughboy to be"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: Bible wordplay worker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 473, "The Free Gardener" (2 texts, 1 tune)
Roud #5972
ALTERNATE_TITLES:
Old Adam Was a Gairner
NOTES: If it's not clear from my description, Adam's secrets ("I early obtained them by Heaven's decree"), those of the free "gardener" are really those of the Free Mason: "We're noble fellows and our aprons are blue, We toil in our garden, we plant and we sow, Kings are our companions, how noble are we! Then who would na wish a free gardener to be?"  Women cannot know those secrets. After all, Eve "made him eat the apple, She made him go bound when he might have gone free...." 
GreigDuncan3: "'From her [Mrs Beaton] early note-book, this being dated April, 1867.'" - BS
File: Gr3473
===
NAME: Free Little Bird
DESCRIPTION: "I'm as free little bird as I can be (x2), I'm as free at my age as a bird in a cage, I'm as free little bird...." "Take me home, little birdie, take me home...." "Oh, I won't build my nest on the ground...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Dykes Magic City Trio)
KEYWORDS: nonballad courting bird home
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
Fuson, p. 130, "Free Little Bird" (1 text)
Shellans, p. 24, "Pretty Little Bird" (1 text, 1 tune)
Darling-NAS, pp. 268-269, "Free a Little Bird" (1 text)
Silber-FSWB, p. 391, "Free Little Bird" (1 text)
Roud #7690
RECORDINGS:
Allen Brothers, "Free a Little Bird" (Victor V-40266, 1930; Bluebird B-5668, 1934; rec. 1928)
Clarence Ashley, Clint Howard et al: "Free Little Bird" (on Ashley03, WatsonAshley01)
Cousin Emmy [Cynthia May Carver], "Free Little Bird" (Decca 24216, 1947)
Dykes Magic City Trio, "Free Little Bird" (Brunswick 129, 1927; on CrowTold01)
John Hammond, "Free A Little Bird As I Can Be" (Challenge 332 [as William Price], 1927)
Austin Harmon, "Free Little Bird" (AAFS 2887 A1)
Roscoe Holcomb, "I'm a Free Little Bird" (on Holcomb1, HolcombCD1)
Bascom Lamar Lunsford, "Free Little Bird" (AAFS 1778 B2) (AAFS 3244 A2)
Clayton McMichen's Wildcats, "I'm Free a Little Bird as I Can Be" (Decca 5574, 1938)
Ridgel's Fountain Citians, "Free Little Bird" (Vocalion 5389, 1930; rec. 1929)
[Leonard] Rutherford & [John] Foster, "I'm As Free a Little Birdie As Can Be" (Gennett 6746, 1929; on KMM)
CROSS_REFERENCES:
cf. "I'm Alone, All Alone (I)" (lyrics)
SAME_TUNE:
Clayton McMichen's Georgia Wildcats, "Free a Little Bird As I Can Be No. 2" (Decca 5701, 1939)
Roane County Ramblers, "Free a Little Bird - 1930 Model" (Columbia 15498-D, 1930; rec. 1929)
File: FSWB391A
===
NAME: Free Mason Song
DESCRIPTION: "Come all ye free masons ... And wear a badge of innocence." Noah's ark, the binding of Isaac, Moses on Mt Zion are recounted. St Peter keeps heaven's door "and there's no one to enter in exceptin' they are pure"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(29))
KEYWORDS: nonballad religious
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 63, "Free Mason Song" (1 text, 1 tune)
ST LLab063 (Partial)
Roud #1179
BROADSIDES:
Bodleian, Harding B 28(29), "Freemason's Song" ("Come all you Freemasons that dwell around the globe"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(1116), Harding B 25(1232), "A Mason's Song"; Harding B 28(270), Firth b.26(469), "[The] Masonic Hymn"; Harding B 28(139), Harding B 28(10), "A Celebrated Masonic Hymn"; Harding B 11(1638), Harding B 11(563), "The Celebrated Masonic Hymn"; Harding B 25(689), "The Freemason's Hymn"; Harding B 28(240), "The Free Masons Song"; Firth b.25(81), "Free-Mason's Anthem"; Harding B 17(99a), "Freemasons"; Harding B 11(3590), Firth c.21(35)[some illegible words], 2806 c.16(253), Johnson Ballads 2512, Johnson Ballads 2022, 2806 c.17(137), Harding B 15(113b), "Freemason's Song"; Firth b.27(495), "Freemasons' Song"; Harding B 25(1038)[mostly illegible], "Knights Templars of Malta"
CROSS_REFERENCES:
cf. "The Bible Story" (themes, lyrics)
cf. "Freemason's Song (II)" (subject, themes)
NOTES: The story of Noah's flood is found in Genesis 6-8; Abraham's near-sacrifice of Isaac is in Genesis 22:1-14. Moses never climbed Mount Zion, which is of course *inside* Israel; the reference is to Deuteronomy 34:1-5, where Moses went up Mount Nebo, saw the which the Israelites would possess, and died. - RBW
File: LLab063
===
NAME: Free Salvation (The Resurrection)
DESCRIPTION: The expulsion from Eden is briefly told: "Man at his first creation / In Eden God did place... But by the subtle serpent / Beguiled he was and fell / And by his disobedience / Was doomed to death and Hell." The rest of the song tells of Jesus's passion
AUTHOR: unknown
EARLIEST_DATE: 1842 (Wesleyan Psalmist)
KEYWORDS: Bible religious Jesus death
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 79, "The Resurrection" (1 text plus an excerpt from the Wesleyan Psalmist version, 1 tune)
ST FSC079 (Partial)
Roud #4608
NOTES: Most of this song is paraphrased directly from the Bible:
* The "subtle serpent": Gen. 3:1
* "by his disobedience was doomed": Rom. 5:19
* "was doomed to death": cf. Gen. 2:17, 3:2
* "rugged thorns": Mark 15:17, etc., John 19:1
* "sepulchre, as being near at hand": John 19:41-42
* "to Mary he appeared": John 20:11f. (the other gospels are less explicit)
* "go tell them I am risen... I'm going to my Father's": John 20:17 (in Mark 16:6-7 it is an angel that announces Jesus's resurrection; Jesus never appears on stage)
* "Go preach to all the nations": Matt. 28:19
* "Begin this in Jerusalem": Luke 24:47
* "I will be with you...": Matt. 28:20 - RBW
File: FSC079
===
NAME: Free Silver
DESCRIPTION: "Laboring men please all attend While I relate my history, Money it is very scarce...." "The farmer is the cornerstone, though he is cruelly treated. Bryan is the poor man's friend...." "We'll arise, defend free silver's cause...."
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: money political nonballad
HISTORICAL_REFERENCES: July 7, 1896 - William Jennings Bryan gives his "Cross of Gold" speech calling for a silver currency
1896, 1900, 1908 - Bryan's three runs for the presidency
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 191-192, (no title) (1 text)
NOTES: William Jennings Bryan (1860-1925) was a curious mix of genius and fool. A genuine peacemaker and friend of the poor, and a brilliant speaker, he had neither economic nor scientific sense (as he demonstrated by serving as prosecutor in the Scopes trial).
By the 1890s, farmers oppressed by debt were begging for a loosening of the money supply, and their proposed solution was free coinage of silver. That they needed relief is beyond question; that free silver was the answer is unlikely.
But Bryan adopted the cause, and his famous "Cross of gold" speech ("you shall not press down upon the brown of labor this crown of thorns, you shall not crucify mankind upon a cross of gold") swept the 1896 Democratic convention and made Bryan the youngest serious presidential candidate in history.
But while Bryan inspired fervent devotion in certain circles, the country was basically conservative, and he lost in 1896 -- and by wider margins in 1900 and 1908. - RBW
File: ThBa191
===
NAME: Free Slave, The
DESCRIPTION: "I stand as a free man beside the northern banks Of old Erie, the freshwater sea, And it cheers my very soul to behold the billows roll And to think, like the waves, I am free." The slave recalls the abuse he suffered, but he is safe under British laws
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, E. R. Nance Singers)
KEYWORDS: slavery freedom
HISTORICAL_REFERENCES: 1793 - Sale of slaves outlawed in Canada
1833 - Slavery abolished in the British Empire
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 96-98, "The Free Slave" (1 text, 1 tune)
Roud #4520
RECORDINGS:
E. R. Nance Singers [or Traphill Twins], "Sweet Freedom" (Brunswick 565/Supertone S-2813, 1931)
CROSS_REFERENCES:
cf. "O Freedom"
NOTES: This may be a version of "O Freedom"; at least, Ed Trickett sings a version of "O Freedom" with many of the same words. But this text is highly detailed, whereas "O Freedom" is usually rather vague. - RBW
File: FMB
===
NAME: Freedom Is a Constant Struggle
DESCRIPTION: "They say that freedom is a constant struggle (x3) Oh Lord, we've struggled so long, We must be free, we must be free." Similarly, "They say that freedom is a constant crying..." "constant sorrow..." "constant moaning..." "constant dying..."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: freedom nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 298, "Freedom Is a Constant Struggle" (1 text)
File: FSWB298
===
NAME: Freedom on the Wallaby
DESCRIPTION: The singer sees freedom in the Australian outback, and recalls how Australia was settled by freedom-loving British citizens. Having built homes, they find the government trying to control them. He calls on citizens to rebel
AUTHOR: Words: Henry Lawson
EARLIEST_DATE: 1891
KEYWORDS: Australia political freedom
FOUND_IN: Australia
REFERENCES: (2 citations)
Manifold-PASB, pp. 166-167, "Freedom on the Wallaby" (1 text, 1 tune)
DT, WALLABBY*
CROSS_REFERENCES:
cf. "Australia's on the Wallaby"
NOTES: While this piece is assuredly by Henry Lawson, it is not clear whether it is an adaption or a forerunner of "Australia's on the Wallaby." - RBW
File: PASB167
===
NAME: Freedom Triumphant
DESCRIPTION: When the Bastille fell French soldiers joined in the battle for freedom. "From France now see LIBERTY's TREE Its branches wide extending" and the "swine ... unite, and swear they'll bite Their unrelenting drivers"
AUTHOR: Zimmermann: "Madden ascribed this song to a United Irishman named Thomas Storey"
EARLIEST_DATE: 1796 (Zimmermann's text is from _Paddy's Resource_, Belfast, 1796, published by United Irishmen)
KEYWORDS: rebellion France political
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 4, "Freedom Triumphant" (1 text, 1 tune)
Moylan 14, "Freedom Triumphant" (1 text, 1 tune)
NOTES: Zimmermann: "The word 'swine' is used affectionately ... perhaps an allusion to the 'swinish multitude' denounced by Edmund Burke (_Reflections on the French Revolution_) and vindicated by Tom Paine (_The Rights of Man_)." A United Irishmen song, "The Swinish Multitude," was "sung by them as they marched to the Battle of Antrim Killen." (source: a review of _The Decade of the United Irishmen--Contemporary Accounts 1791-1801_ by John Killen; the review is by John Russell on the Irish Republican News site for December 18, 1997). See broadside Bodleian, Harding B 5(97), "Edmund Burke, to the Swinish Multitude" ("Ye base swinish herd, in the stye of taxation"), unknown, n.d.
Zimmermann points out that lines, including the first four, "were borrowed from the famous Orange ballad "The Battle of the Boyne"
"The Battle of the Boyne" begins
July the first, in Oldbridge town,
There was a grievous battle,
Where many a man lay on the ground,
By cannons that did rattle
"Freedom Triumphant" begins
The fourteenth of July, in Paris town,
There was a glorious battle,
Where many a tyrant lay on the ground
By cannons that did rattle
Zimmermann's tune is "Boyne Water." - BS
The sad irony is, of course, that this song was obsolete by the time it was published. By 1796, France had been through the Reign of Terror (1793-1794) and the Directory of 1795 was already losing public support; in 1796, a young fellow by the name of Napoleon was named to his first major command in Italy.
Ireland in that year would see the first of the fiascos that clustered around the 1798 rebellion; this was the year of the Bantry Bay invasion (for which see especially the notes to "The Shan Van Voght"). - RBW
File: Zimm004
===
NAME: Freehold on the Plain, The
DESCRIPTION: The singer reports that he is now a "broken-down old squatter, my cash it is all gone." He once had a fine holding, a mansion, and a good wife -- but he turned to speculation, and now "I've lost that little freehold on the plain."
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: commerce poverty rambling Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 174-175, "The Freehold on the Plain" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 166-167, "Freehold on the Plain" (1 text)
CROSS_REFERENCES:
cf. "Little Joe the Wrangler" [Laws B5] (tune) and references there
File: FaE174
===
NAME: Freemason King, The: see The Building of Solomon's Temple [Laws Q39] (File: LQ39)
===
NAME: Freemason's Song (I), The
DESCRIPTION: "In the year of eighteen hundred and three I took a notion a Freemason to be." For his initiation he has to ride a goat, sit on a chair and "they threw me a sign from the nose to the chin saying This is our sign since Freemasons begin."
AUTHOR: unknown
EARLIEST_DATE: 1862 (Greenleaf/Mansfield)
KEYWORDS: ritual humorous
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 114, "The Freemason's Song" (1 text)
Roud #17746
NOTES: Greenleaf/Mansfield notes that "When a man was initiated into the Freemasons he was supposed to ride a goat for five hundred miles, they said"; "This is a variant of 'The Freemason' popular on stage in the sixties." - BS
File: GrMa114
===
NAME: Freemason's Song (II)
DESCRIPTION: Freemasonry began in the garden where Adam's fig leaf was his mason's apron. King David and Noah were freemasons. "Now come over the mountain you maidens all, bring a square and rule along" because a freemason "will secure you on a cold winter's night"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: nonballad religious
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 175, "Freemason's Song" (1 text, 1 tune)
Roud #1179
CROSS_REFERENCES:
cf. "Free Mason Song" (subject, themes)
NOTES: This and the "Free Mason Song" are very similar, recounting Biblical events and connecting them to masonry. Roud lumps them. As there are no exact parallels, we split them -- but it's a close thing. - RBW
File: CrMa175
===
NAME: Freemasons' Song
DESCRIPTION: Freemasons meet in a Lodge. "Our secrets to none but ourselves shall be known." The singer praises buildings: they "will always proclaim What honour is due to a Freemason's name." Others deride us; "let every true brother these vermin despise"
AUTHOR: unknown
EARLIEST_DATE: 1910 (GreigDuncan3)
KEYWORDS: work nonballad ritual
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #156, p. 1, "Freemasons' Song" (1 text) 
GreigDuncan3 466, "Freemasons' Song" (1 text)
Roud #5964
NOTES: It is technically true that the Masons had secrets -- rituals, handshakes, and even a so-called secret code of a very simple sort, based on a tic-tac-toe grid and an x, so that, e.g., the letter "o" was "|-|"; the letter "i" was "|-."; and the letter "w" was "\/" (for details, and clearer drawings -- the above are not quite right -- see Fred B. Wrixon, _Codes, Ciphers, & Other Cryptic & Clandestine Communications_, Barnes & Noble, 1998). But few of these secrets were really very secret. - RBW
File: GrD3466
===
NAME: Freight Train
DESCRIPTION: "Freight train, freight train, run so fast/Please don't tell what train I'm on/So they won't know where I've gone." Rest of song gives singer's wishes for her burial "at the foot of old Chestnut Street."
AUTHOR: Elizabeth Cotten
EARLIEST_DATE: 1952 (composed c. 1905?)
KEYWORDS: train burial death nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Cohen-LSRail, pp. 521-523, "Freight Train" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 120, "Freight Train" (1 text, 1 tune)
Silber-FSWB, p. 63, "Freight Train" (1 text)
DT, FRGHTRN
RECORDINGS:
Elizabeth Cotten, "Freight Train" (on Cotten01) (on Cotten03)
Pete Seeger, "Freight Train" (on PeteSeeger34)
NOTES: Though not folk in origin, it was so widely recorded in the Sixties that it did seem briefly to go into oral tradition, though I suspect it's nearly dead as a folk song by now.
The popularity of the song seems to have been due partly to its use as a fingerpicking exercise. It is ironic to note that Elizabeth Cotten herself was left-handed, but instead of playing a left-handed guitar, she played a right-handed guitar flipped 180 degrees (i.e. she had her left hand on the fretboard, but with the bass strings on top and the treble on the bottom). So effectively none of the people imitating her style are actually imitating her technique. - RBW
File: CSW120
===
NAME: Freight Train Blues (I)
DESCRIPTION: "I hate to hear that engine blow, boo-hoo (x2), Every time I hear it blowin' I feel like ridin' too." The singer wants to travel to forget her man. She asks to ride the blinds; the brakeman says no. She compares how men and women get the blues
AUTHOR: Thomas Dorsey and Everett Murphy
EARLIEST_DATE: 1924 (copyright); also recordings by Trixie Smith and Clara Smith
KEYWORDS: train separation
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 446-449, "Freight Train Blues (I)" (1 text, 1 tune)
File: LSRai446
===
NAME: Freight Train Blues (II)
DESCRIPTION: "I waas born in Dixie in a boomer's shack, Just a little shanty by the railroad track...." "I got the fright train blues... When the whistle blows, I got to go...." The singer tells of how the rails have always ruled his life; he cannot outgrow them
AUTHOR: John Lair
EARLIEST_DATE: 1934 (recording, Red Foley)
KEYWORDS: railroading rambling love
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Cohen-LSRail, pp. 524-527, "Freight Train Blues (II)" (1 text, 1 tune)
ADDITIONAL: _Sing Out_ magazine, Volume 22, #2 (1973), p, 19, "Freight Train Blues" (1 text, 1 tune, apparently learned from tradition by Derroll Adams)
Roud #16393
RECORDINGS:
Roy Acuff and his Smoky Mountain Boys, "Freight Train Blues" (Vocalion 04466 [vocal by Sam Hatcher], 1936) (Columbia 37598 [vocal by Acuff], 1947) [It appears that some releases of this song, including Columbia 20034 and 37008, used the same record number for the Hatcher and Acuff masters]
Richard O. Hamilton, "Freight Train Blues" (on USWarnerColl01)
File: LSRai524
===
NAME: Freight Wreck at Altoona, The: see The Wreck of the 1262 (The Freight Wreck at Altoona) (File: DTwrck12)
===
NAME: Freighting from Wilcox to Globe
DESCRIPTION: "Come all you jolly freighters who travel upon the rooad That ever hauled a load of coke from Wilcox to Globe!" A tale of a bad trip, with everything overpriced, and having a mule stolen. The singer hopes to go into business and treat them as they did him
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work travel hardtimes commerce
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Fife-Cowboy/West 20, "Freighting from Wilcox to Globe" (1 text, 1 tune)
Roud #8016
File: FCW020
===
NAME: French Privateer, The
DESCRIPTION: The Irish ship goes to sea, and after four days overtakes a Spanish ship, which they defeat. They prepare to pursue the defeated ship, but a French privateer come in sight. They sink the French ship, but the Spaniard escapes
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: ship sea battle escape pirate
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H560, pp. 112-113, "The French Privateer" (1 text, 1 tune)
Ranson, pp. 33-34, "The Spanish Privateer" (1 text)
Roud #690
RECORDINGS:
Robert Cinnamond, "The American and Irish Privateer" (on IRRCinnamond03)
CROSS_REFERENCES:
cf. "Warlike Seamen (The Irish Captain)" (plot, lyrics) and references there
cf. "The Terrible Privateer" (plot)
cf. "Captain Coulston" (plot)
cf. "The Dolphin" (plot)
NOTES: On the face of it, the fact that Sam Henry's version of this song involves battles with both French and Spanish would seem to date the piece. It doesn't; the English were at war with both on several occasions. Even if one ignores the Spanish Armada era (when France wasn't formally at war), the British faced a Franco-Spanish coalition during parts of the War of the Spanish Succession, the War of the Austrian Succession, and the Napoleonic Wars.
Huntington notes several similar songs which may be related. He seems to have missed the most famous, the Copper Family song "Warlike Seamen," which Roud lumps with this (and with others such as "The Dolphin"). Much of that piece is identical to the second half of this song, though this appears to be some sort of cross-fertilization, since they have distinct openings. It would appear that this sort of patriotic song was common, and they mixed heavily. - RBW
The Ranson ballad is only slightly different from SHenry H560. An American, rather than French, ship interferes. Eventually the American ship flees but the Spanish prize is lost.
In Cinnamond's version "our ship the _Amazon")_ is defeated but "then bespoke our captain boys, 'We'll make them mind the time Neither Yankee, French nor Spaniard could fight our Irish boys.'" SHenry ("neither French nor Spanish can fight our Irish boys") and Ranson ("neither Yankee, Dutch nor Spaniard can match our Irish play"), each with a different result for our privateer, end with the same tag line.
Cinnamond's version makes the name of the ship _Amazon_ and, as I hear it, the captain's name "Colvin." Maybe there is a real-life connection to this report of a Co Antrim wreck near Bangor by Bourke in _Shipwrecks of the Irish Coast_ v2, p. 8: "The privateer Amazon was wrecked in Ballyholme bay near Bangor on 25-2-1780. Some of her cannon were recovered and one stands at Bangor where Captain Colvill is buried. The 14 gun Amazon had fought a battle with a Spanish brig off Bangor." In this connection you can read Captain George Colvill's headstone at Bangor Abbey, Co Down, or by referring to Memorial M1231 at the National Maritime Museum (UK) site; it refers to the wreck. - BS
File: HHH560
===
NAME: Frenchmen, The
DESCRIPTION: The singer says the French and General Humbert were "too late again" at Killala Bay. He fights at Castlebar, where 700 Frenchmen help chase Lord Roden's cavalry, and when Cornwallis drives the French out, leaving Tone and Teeling to be martyred.
AUTHOR: Pete St John (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: army battle rebellion France Ireland
HISTORICAL_REFERENCES: December 1796 - The French fleet is driven from Bantry Bay by "near-hurricane weather"
August 22, 1798 - A French force of 1070 French troops, under General Jean-Joseph-Amable Humbert lands at Killala Bay and defeats a garrison at Kilalla, County Mayo.
August 27, 1798 - The French and rebels route the British, "notably the Fraser Fencibles and Roden's Dragoons," at Castlebar, County Mayo. 
September 8, 1798 - With Cornwallis guarding Dublin and under attack by General Lake at Ballinamuck, County Longford, the greatly outnumbered Humbert surrenders. The French prisoners were sent to Dublin and then repatriated. The Irish officers, including Teeling [and Matthew Tone], were hanged as traitors.
(source: "In the Footsteps of General Humbert: The French Invasion of Ireland, 1798" by Bill Peterson in _The Napoleonic Wargaming Club Newsletter_, Sep 2001, at the Wargames Club site) 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 116, "The Frenchmen" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Men of the West" (subject: The landing of General Humbert) and references there
cf. "Henry Munroe" (character of Bartholomew Teeling)
NOTES: Moylan: The song was written in the 1980s. - BS
For the story of General Humbert's invasion, see the notes to "The Men of the West." For the overall strategic situation, see "The Shan Van Voght." - RBW
File: Moyl116
===
NAME: Frere Jacques (Are You Sleeping; Brother John)
DESCRIPTION: French: "Frere Jacques (x2), Dormez-vous (x2), Sonnez les matines (x2), Din din don (x2)." English: "Are you sleeping (x2), Brother John? (x2), Morning bells are ringing (x2), Ding ding dong (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1811 (melody in "Le Clw du Caveau...")
KEYWORDS: nonballad
FOUND_IN: US France
REFERENCES: (4 citations)
Silber-FSWB, p. 412, "Frere Jacques (Brother John)" (1 English and 1 French text)
Pankake-PHCFSB, p. 268, "Brother John" (1 text, tune referenced)
Fuld-WFM, pp. 237-238
DT, FRERJACQ*
SAME_TUNE:
Turkey Dinner (Pankake-PHCFSB, p. 21)
Next Thanksgiving (Pankake-PHCFSB, p. 21)
Perfect Posture (Pankake-PHCFSB, p. 74)
NOTES: Fuld reports that a manuscript copy of this tune was made c. 1780 (under another title); the melody was published in 1811. Words and music were first published together in 1860. - RBW
File: FSWB412F
===
NAME: Fresh Peanuts!
DESCRIPTION: Extended street cry: "Fresh peanuts! Is the best of all, They's raised in the summer and dug in the fall. I got fresh peanuts! The singer boasts of their quality, his work in preparing them, and his prices.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: commerce food nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 184, "Fresh Peanuts" (1 text)
Roud #16405
NOTES: Perhaps this is a token of how times have changed since the Warners collected this in 1940. The singer doesn't have sales, nor bulk discounts; he declares
I'll sell a whole five cents worth for just one nickel,
I'll sell a whole ten cents worth for one little dime.
A whole twenty-five cents worth for a quarter of a dollar. - RBW
File: Wa184
===
NAME: Friar in the Well, The [Child 276]
DESCRIPTION: A friar solicits a girl; she is afraid of hell. The friar points out that he can pray her out. That promise, plus cash in advance, wins her consent, but she -- claiming her father is coming -- causes him to fall into a well, dampening his ardor
AUTHOR: unknown
EARLIEST_DATE: 1719 (Pills; tune in "The Dancing Master," 1651)
KEYWORDS: humorous trick
FOUND_IN: Britain(England(South))
REFERENCES: (6 citations)
Child 276, "The Friar in the Well" (2 texts)
Bronson 276, "The Friar in the Well" (3 versions)
Chappell/Wooldridge I, pp. 296-297, "The Maid Peeped out at the Window, or, The Friar in the Well" (1 tune) {Bronson's #1}
Kinloch-BBook VII, pp. 24-29, "The Friar" (1 text)
BBI, ZN219, "As I lay musing all alone"
DT 276, FRIARWEL* FRIARWL2*
Roud #116
CROSS_REFERENCES:
cf. "Harry the Tailor" (plot)
File: C276
===
NAME: Friendless Soldier Boy, The: see The Soldier's Poor Little Boy [Laws Q28] (File: LQ28)
===
NAME: Friends and Neighbors (Virginia's Alders)
DESCRIPTION: The singer reports, "Friends and neighbors, I am now going to leave you..." He says that, despite what people think, it is not for any wrongdoing. He simply wants to go home to "the handsome young girl I left behind" among Virginia's alders
AUTHOR: unknown
EARLIEST_DATE: 1982 (Cazden, Haufrecht, Studer)
KEYWORDS: love separation rambling farewell
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 35, "Friends and Neighbors" (1 text, 1 tune)
ST FSC035 (Partial)
Roud #4603
ALTERNATE_TITLES:
Virginia's Alders
NOTES: This song is sung to the shape note hymn "Nettleton" (one of several settings for "Come Thou Fount of Every Blessing"). Cazden et al report that it has only been collected twice: From their informant George Edwards, and from a recording of another Catskills singer, Frank Edwards, who may have been related to George. - RBW
File: FSC035
===
NAME: Friends of Temperance
DESCRIPTION: "Friends of temperance, lift your banners, Wave them in the air, Sing ye now your glad hosannahs, Sing them loud and clear. Lo, the hour of victory cometh, See the dawning day. Rouse ye, drunkards, break your bondage, Dash your cups away!"
AUTHOR: Arthur Bittenger?
EARLIEST_DATE: 1875 (printing known to Randolph)
KEYWORDS: drink
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 326, "Friends of Temperance" (1 text)
Roud #7800
File: R326
===
NAME: Frigging Fusileers, The
DESCRIPTION: A mock boast in which the singer(s), "the heroes of the night," brag they are ever eager for beer and women.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex drink
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 518-522, "The Frigging Fusileers" (2 texts, 2 tunes)
ALTERNATE_TITLES:
The Foreskin Fusileers
The Fucking [Foreskin] Fusileers
File: RL518
===
NAME: Frigging in the Rigging: see The Good Ship Venus (File: EM315)
===
NAME: Frisch Aug, Alle Mann an Deck (Lively There, All Hands on Deck)
DESCRIPTION: German shanty. Sentimental song about a ship facing a storm. Describes efforts to make the ship fast, sounds and images of the storm, thoughts of loved ones, and how hard the sailor's lot is compared to those on shore. Ch: "Holla-hi, holla-he, holla-ho!"
AUTHOR: unknown
EARLIEST_DATE: 1935 (Baltzer's _Knurrhahn_)
KEYWORDS: foreignlanguage shanty ship storm
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 535-537, "Frisch Aug, Alle Mann an Deck" (2 texts-German & English, 1 tune)
File: Hug535
===
NAME: Frisky Jim: see Happy, Frisky Jim (File: R431)
===
NAME: Fritz Truan, a Great Cowboy
DESCRIPTION: "Over the divide a great cowboy did go, To ride broncs in heaven at the big rodeo. I've watched him ride since I was fifteen, Up till the day he became a marine." Truan's skill is remembered; the poet "bet[s] Fritz got a hundred before they got him."
AUTHOR: Larry Finley
EARLIEST_DATE: 1973
KEYWORDS: cowboy horse soldier death recitation
HISTORICAL_REFERENCES: 1945 - Death of Fritz Truan during the battle for Iwo Jima
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 35, "Fritz Truan, a Great Cowboy" (1 text)
NOTES: According to Ohrlin, Truan won sundry world championship events in 1939 and 1940, but joined the Marines during World War II and perished. - RBW
File: Ohr035
===
NAME: Frog and the Mouse (I), The: see Frog Went A-Courting (File: R108)
===
NAME: Frog and the Mouse (II), The: see Kemo Kimo (File: R282)
===
NAME: Frog and the Mouse, The: see Frog Went A-Courting (File: R108)
===
NAME: Frog He Went A-Courting, A: see Frog Went A-Courting (File: R108)
===
NAME: Frog He Would A-Wooing Go, (A): see Frog Went A-Courting (File: R108)
===
NAME: Frog in the Middle
DESCRIPTION: Children's game: "Frog in the middle And can't get out. Take a stick And punch him out."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 130, (no title) (1 short text)
Roud #14047
NOTES: I suspect that there is a good deal more to this game than Scarborough describes. But until we find another version, we're left guessing, e.g., as to how one becomes the "frog" (whom she describes as a child in the middle of a circle, and poked out into the ring). - RBW
File: ScaNF130
===
NAME: Frog in the Spring, The: see Frog Went A-Courting AND Kemo Kimo (File: R108)
===
NAME: Frog in the Well: see Kemo Kimo (File: R282)
===
NAME: Frog Went A-Courting
DESCRIPTION: Frog rides to ask Miss Mouse to marry him. She is willing but must ask permission of Uncle Rat. Rat's permission received, the two work out details of the wedding. (Some versions end with a cat or other creature devouring the participants)
AUTHOR: unknown
EARLIEST_DATE: perhaps 1549 (Wedderburn's "Complaynt of Scotland"); there is a reference in the Stationer's Register of 1580 to "A Moste Strange Weddinge of the Frogge and the Mouse"
KEYWORDS: animal courting love marriage request
FOUND_IN: US(Ap,MA,MW,NE,SE,So,SW) Canada(Mar,Newf) Britain(England(West)) Ireland
REFERENCES: (44 citations)
Leather, pp. 209-210, "The Frog and the Mouse" (2 texts)
Belden, pp. 494-499, "The Frog's Courtship" (7 texts in 3 groups, 2 tunes; several of the texts are short, and IB at least appears to be "Kemo Kimo")
Randolph 108, "The Frog's Courtship" (5 texts plus 5 excerpts, 2 tunes)
Randolph/Cohen, pp. 139-141, "The Frog's Courtship" (1 text, 1 tune -- Randolph's 108A)
BrownIII 120, "The Frog's Courtship" (7 texts plus 13 excerpts, 2 fragments, and mention of 5 more; "Kemo Kimo" in appendix)
Hudson 136, pp. 282-283, "The Frog's Courting" (1 text plus mention of 9 more)
Scarborough-SongCatcher, pp. 244-248, "The Frog He Went A-Courting" (3 texts, the first two, with local titles "Frog Went A-Courting" and "Frog Went Courting" and tune on p. 420, are this song; the third item, "The Gentleman Frog," is separate, probably part of the "Kemo Kimo"/"Frog in the Well"  family)
Scarborough-NegroFS, pp. 46-48, "Frog Went A-Courtin'"; p. 48, (no title); pp. 48-50, "Mister Frog) (3 texts, 1 tune)
Brewster 42, "The Frog Went A-Courting" (5 texts plus an excerpt and mention of 4 more, 3 tunes -- one of them of the "Kitty Alone" type)
Eddy 44, "The Frog and the Mouse" (5 texts, 2 tunes)
Gardner/Chickering 189, "The Frog's Courtship" (2 texts plus an exceprt and mention of 5 more, 3 tunes)
Greenleaf/Mansfield 40, "The First Come in it was a Rat" (1 text)
Creighton/Senior, pp. 250-254, "The Frog and the Mouse" (3 texts plus 4 fragments, 2 tunes)
Creighton-NovaScotia 89, "It Was a Mouse" (1 text, 1 tune)
Creighton-SNewBrunswick 83, "The Frog and the Mouse" (1 text, 1 tune)
Mackenzie 155, "A Frog He Would a Wooing Go" (1 text, 1 tune)
Flanders/Olney, pp. 11-13, "Gentleman Froggie" (1 text, 1 tune)
Linscott, pp. 199-202, "A Frog He Would A-Wooing Go" (1 text, 1 tune)
Kennedy 294, "The Frog and the Mouse" (1 text, 1 tune)
McNeil-SFB2, pp. 41-43, "Frog Went A-Courtin" (1 text, 1 tune)
Wyman-Brockway I, p. 25, "Frog Went A-Courting" (1 text, 1 tune)
Wyman-Brockway II, p. 86, "The Toad's Courtship" (1 text, 1 tune)
Fowke/Johnston, pp. 170-171, "A Frog He Would A-Wooing Go" (1 text, 1 tune)
FSCatskills 142, "Missie Mouse" (1 text, 1 tune)
SharpAp 220, "A Frog He Went A-courting" (11 texts, 11 tunes)
Sharp/Karpeles-80E 75, "The Frog and the Mouse" (1 text, 1 tune -- a composite version)
Sandburg, p. 143, "Mister Frog Went A-Courting" (1 text, 1 tune)
Scott-BoA, pp. 339-341, "The Mouse's Courting Song" (1 text, 1 tune)
Asch/Dunson/Raim, p. 32 "King Kong Kitchie Kitchie Ki-Me-O" (1 text, 1 tune)
Lomax-ABFS, pp. 310-313, "Frog Went A-Courtin'" (1 text, 1 tune)
Botkin-NEFolklr, pp. 571-572, "The Frog in the Spring" (1 text, 1 tune)
Botkin-SoFolklr, p. 722, "Frog Went A-Courting" (1 text, 1 tune)
PSeeger-AFB, p. 56, "Froggie Went A-Courtin'" (1 text, 1 tune)
Pankake-PHCFSB, pp. 48-49, "Froggie Went A-Courting" (1 text)
JHCox 162, "The Frog and the Mouse" (3 texts plus mention of two more including some excerpts, 1 tune)
JHCoxIIB, #22A-E, pp. 174-182, "Mr. Mouse Went A-Courting," "The Frog and the Mouse," "Frog Went A-Courting," "A Frog He Would A-Wooing Go" (3 texts plus 2 fragments, 5 tunes)
Opie-Oxford2 175, "A frog he would a-wooing go" (3 texts)
Baring-Gould-MotherGoose #69, pp. 77-79, "(There was a frog liv'd in a well)" (a complex composite with a short version of "Frog Went A-Courting" plus enough auxiliary verses to make an almost complete "Kemo Kimo" text)
Montgomerie-ScottishNR 193, "(There dwelt a puddy in a well)" (1 text, very long, containing a full "Frog Went A-Courting" version plus sundry "Kemo Kimo" type verses)
Chappell/Wooldridge I, pp. 142-143, "The Wedding of the Frog and Mouse" (1 text, 1 tune)
Silber-FSWB, p. 403, "Frog Went A-Courtin'" (1 text)
BBI, ZN3249, "It was a frog in a well"
DT 306, FRGCORT2* PUDDYWL2
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II, p. 194 (1931), "A Frog Went Courting" (1 text)
Roud #16
RECORDINGS:
Albert Beale, "A Frog He Would a-Wooing Go" (on FSB10)
Anne, Judy, & Zeke Canova, "Frog Went A-Courtin'" (Brunswick 264, 1928; on CrowTold02)
Elizabeth Cronin, "Uncle Rat Went Out to Ride" (on FSB10)
Drusilla Davis, "Frog Went A-Courting" (AFS 347 B, 1935)
Otis High & Flarrie Griffin, "Froggie Went A-Courtin'" (on HandMeDown1)
Bradley Kincaid, "Froggie Went A Courting" (Champion 15466 [as Dan Hughey]/Silvertone 5188/Silvertone 8219/Supertone 9209, 1928)
Adolphus Le Ruez ,"The Frog and the Mouse" (on FSB10)
Pleaz Mobley, "Froggie Went A-Courting" (AFS; on LC12)
Chubby Parker, "King Kong Kitchie Kitchie Ki-Me-O" (Columbia 15296D, 1928; on AAFM1, CrowTold01) (Supertone 9731, 1930) (Conqueror 7889, 1931)
Annie Paterson, "The Frog and the Mouse" (on FSB10)
Uncle Don, "Frog Went A'Courting" (Conqueror 9013, 1938)
Unknown artist(s), "A Frog He Would A-Wooing Go" (Harper-Columbia 1162, c. 1919)
CROSS_REFERENCES:
cf. "Kemo Kimo" (occasional floating lyrics)
cf. "I Ask That Gal" (tune)
cf. "The Bear in the Hill" (plot)
cf. "The Fly and the Bumblebee (Fiddle-Dee-Dee)" (theme)
ALTERNATE_TITLES:
There Was a Puggie in a Well
There Lived a Puddie in the Well
The Frog's Wooing
Y Broga Bach (Welsh)
NOTES: The notes on this song in Cazden et al (pp. 524-532) constitute probably the best succinct summary available on variants of this piece.
Spaeth has a note that the original version of this was supposed to refer to the Duke of Anjou's wooing of Elizabeth I of England. If the second known version (1611, in Melismata, reprinted in Chappell) were the oldest, this might be possible -- there are seeming political references to "Gib, our cat" and "Dick, our Drake." But the Wedderburn text, which at least anticipates the song, predates the reign of Queen Elizabeth by nine years, and Queen Mary of by four. If it refers to any queen at all, it would have to be Mary Stuart.
Those who want a version of this piece which does not involve inter-species hanky-panky are advised to try J. A. Scott's version (or other American texts); in this, both creatures are mice. Of course, it does end with the cat interfering with the festivities.
In addition to "pure" texts of this song, some there exist versions which have gotten mixed with "Martin Said to His Man." The versions I've seen are often titled "Kitty Alone" ; the first such text seems to have been in Gammer Gurton's Garland (1784), which has clearly a "Frog" plot but the form (and some of the exaggerations) of "Martin." - RBW
File: R108
===
NAME: Frog Went Courting, A: see Frog Went A-Courting (File: R108)
===
NAME: Frog, The (Fisherman's Luck)
DESCRIPTION: Swagman Paddy, out of food, decides to catch a fish. The only possible bait is a frog -- but a snake swallows the frog before Paddy can catch it. Paddy gets the snake drunk and retrieves the frog. The snake, wanting another drink, brings another frog
AUTHOR: unknown
EARLIEST_DATE:  c. 1938 (recording, Dixon Brothers)
KEYWORDS: food animal humorous hardtimes recitation
FOUND_IN: Australia US(SE)
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 279-281, "The Frog" (1 text)
RECORDINGS:
Dixon Brothers "Fisherman's Luck" (on Montgomery Ward M-7855, c. 1938)
Mike Seeger, "Fisherman's Luck" (on MSeeger01)
File: MCB279
===
NAME: Frog's Courtship, The: see Frog Went A-Courting (File: R108)
===
NAME: From Hillsborough Town the First of May
DESCRIPTION: "From Hillsborough town the first of May Marched those murdering traitors. They went to oppose the honest men That were called Regulators." Hamilton leads the regulators to raid the town
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: political rescue
HISTORICAL_REFERENCES: Apr 30, 1768 - Arrest of Regulator leaders Harmon Husband and William Butler
May 3, 1768 - Rescue of the arrested leaders
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 278, "From Hillsborough Town the First of May" (1 text)
CROSS_REFERENCES:
cf. "When Fanning First to Orange Came" (subject)
cf. "Said Frohock to Fanning" (subject)
cf. "Who Would Have Tho't Harmon" (subject)
NOTES: One of four "regulator" songs in Brown. The regulators were a group of protesters against high taxes and fees, found mostly in North Carolina though some also were active in South Carolina.
The Regulators formally organized in 1766, when William Tryon (1725-1788) was governor of North Carolina (1765-1771) ; he defeated them at Almance in 1771. That was Tryon's way; as governor of New York (1771-1778) he was equally harsh. His successors then turned to compromise.
The notes in Brown relate this to the 1768 raid on Hillsborough town: The authorities seized assorted items for back taxes, Regulators went to retake the items, Husband and Harmon were arrested, and Ninian Bell Hamilton led a raid to rescue the leaders. This is almost certainly the true setting -- but we note that Husband and Harmon aren't mentioned in the extent text of the song; the only people named are Hamilton and Edmund Fanning. - RBW
File: BrII278
===
NAME: From Liverpool 'cross the Atlantic: see The Stowaway (File: GrMa051)
===
NAME: From Ogemaw
DESCRIPTION: The song, in its entirety: "I'm a ramblin' wreck of poverty/From Ogemaw I came/My poverty compels me/To split wood in the rain/But in all kinds of weather/Be it wet or dry/I'm bound to gain an honest living/Or lay me down and die"
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: poverty lumbering work logger nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 24, "From Ogemaw" (1 text)
Roud #8860
CROSS_REFERENCES:
cf. "I Walk the Road Again"
NOTES: This fragment may be part of another song, but it's impossible to tell. - PJS
Looks to me more like an agglomeration of common lines, e.g. from "Son of a Gambolier" or one of its offspring and "I Walk the Road Again" (though it might be a much-worn-down version of the latter) - RBW
File: Be024
===
NAME: From Surabaya to Pasoeroean
DESCRIPTION: Javanese sea shanty. "Sum go coolie ah-e-ah ang, sor Sourabaya, Hoo-e la-e-la-e-la." Used as a capstan shanty, Harlow says he took it down from the coolies singing and can't vouch for the correctness of the words.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: shanty foreignlanguage
FOUND_IN: Indonesia
REFERENCES: (1 citation)
Harlow, p. 114, "From Surabaya to Pasoeroean" (1 text, 1 tune)
File: Harl114
===
NAME: Frostit Corn, The
DESCRIPTION: "Oh I am a young farmer hard set by the frost ... like to ruin us a'." Maybe that hardship was intended "for to humble oor pride" If the singer marries he won't be able to pay the laird but "If I should hae naething else I will aye hae a wife"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: poverty marriage ordeal work farming landlord
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 436, "The Frostit Corn" (1 text)
Roud #5951
CROSS_REFERENCES:
cf. "Johnnie Cope" (tune, per GreigDuncan3)
NOTES: GreigDuncan3: "'September 1907. Heard about 1850.'" - BS 
File: GrD3436
===
NAME: Frowns That She Gave Me, The
DESCRIPTION: "When first to this country a stranger I came, I placed my affection on a beautiful dame." ""Oh Susan... Won't you leave your old parents?" "Oh William, that never would do." "Take warning by me, Never place your affections on a green growing tree"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: love courting family floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 752, "The Frowns That She Gave Me" (1 text)
Roud #4296
CROSS_REFERENCES:
cf. "When First To This Country (I)" ("When First Unto This Country" lyrics) and references there
cf. "Oh No, Not I" (floating lyrics)
NOTES: This is another of those all-floating-verse pieces -- the first lines are from "The Banks of the Bann," then material that reminds us of "Green Grow the Lilacs" and others; then verses asking the girl to leave home that could be from anywhere, then the remark "Since it is no better I'm glad it is no worse," and finally a bit from "Oh No, Not I." - RBW
File: R752
===
NAME: Frozen Charlotte: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Frozen Girl, The: see Young Charlotte (Fair Charlotte) [Laws G17] (File: LG17)
===
NAME: Frozen Logger, The
DESCRIPTION: The singer meets a waitress. She recognizes him as a logger, and tells him the sad tale of her amazing logger lover. One night he forgot his Mackinaw, and at last, "at a thousand degrees below zero, it froze my logger love."
AUTHOR: James Stevens (1892-1971)
EARLIEST_DATE: 1951
KEYWORDS: love logger death talltale
FOUND_IN: 
REFERENCES: (4 citations)
Lomax-FSNA 61, "The Frozen Logger" (1 text, 1 tune)
Silber-FSWB, p. 30, "The Frozen Logger" (1 text)
DT, FROZLOGR*
ADDITIONAL: Walker D. Wyman, _Wisconsin Folklore_, University of Wisconsin Extension (?), 1979, pp. 35-36, has a version, quite different from the Weavers text, which he apparently thinks is traditional folklore
Roud #5470
NOTES: There is a good deal of uncertainty about the author of this. Not that there is any question that the author's name was pronounced "James Stevens"; all seem to agree on this. But different sources have spelled it "Stevens" or "Stephens."
Research by Abby Sale and others supports the theory that the author was the James Stevens whose dates are cited above; he also wrote the classic book _Paul Bunyan_ in 1925. The "Stephens" spelling may possibly be by confusion with the Irish author James Stephens.
According to _Sing Out!_, Volume 37, #3 (1993), p. 72, Stevens based this on an actual lumberjack tall tale. But, of course, Stevens also claimed his Paul Bunyan stories come from that source -- and many of them clearly came out of his head.
It may be questioned whether this is a folk song. I would not so count it, despite its inclusion in Lomax. Nonetheless, the versions have been folk processed to a certain extent -- notably in the first verse, where the original version read "A six foot seven waitress." Somebody (the Weavers?) converted this to the unremarkable "A forty year old waitress," and of course this has been common since, even though the line is banal and does nothing to enhance the tall tale aspects of the song.
There is some interesting science (or, perhaps, lack of science) here. There  is, of course, no such temperature as a thousand degrees below zero, in either the Farenheit or Celsius scales; Absolute zero is at -459.7 degrees Farenheit -- and anything not made of helium (which is everything more complex than a single atom) will have frozen rock-solid far warmer than that.
But it is in fact not unlikely that the logger was hard to freeze. Assume the logger's girl was, in fact, 79 inches tall. This would make her at least 15 inches taller than the average woman of Stevens's time. That's 23% taller. Presumably her lover is also about 23% taller than average. (For the time, that makes him an inch or two above seven feet.).
And that brings in what is called the "square-cube law" or "the law of squares and cubes": That the surface area of an shape increases as the square of its linear dimension, but the volume increases as the cube of its linear dimension. In simpler terms, as something gets bigger, its surface area gets smaller relative to its volume. By a lot.
Which is significant, because the heat generated by a body is roughly proportional to its volume, but heat loss is roughly proportional to surface area. The fact that the logger was very big did make him significantly less vulnerable to cold (though more vulnerable to heat). So while this is a tall tale, it's a little less tall than it might have been.- RBW
File: LoF061
===
NAME: Frugal Maid, The: see I've Two or Three Strings To My Bow (File: HHH070)
===
NAME: Fuck 'Em All: see Bless 'Em All (File: EM386)
===
NAME: Fucking Machine, The
DESCRIPTION: A sailor/airman/engineer marries a sexually insatiable woman, and builds a machine to service her. He cannot stop the machine, which continues to function until the woman is killed and the machine destroys itself.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex wife husband death technology
FOUND_IN: Australia Canada Britain(England) US(MW,SW) New Zealand
REFERENCES: (2 citations)
Cray, pp. 392-394, "The Fucking Machine" (1 text, 1 tune)
DT, GRTWHEEL*
Roud #10237
ALTERNATE_TITLES:
The Great [Bloody] Wheel
The Bloody [Great] Wheel
NOTES: Most often set to the familiar hymn tune "Old Hundred." - EC
File: EM392
===
NAME: Fugitive's Lament, The
DESCRIPTION: Singer longs for home, sweetheart, family. He is a fugitive because he committed a murder. Distinguished by the chorus: "I'm riding along out on the lone prairie/The rangers are searching for me/I'm riding away from my home in Texas/A fugitive ever to be"
AUTHOR: unknown
EARLIEST_DATE: c. 1935 (recording, Delmore Bros.)
KEYWORDS: homesickness loneliness violence rambling separation travel crime murder manhunt death police cowboy
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Delmore Brothers, "The Fugitive's Lament" (on Montgomery Ward 4752, c. 1935; on WhenIWas2)
CROSS_REFERENCES:
cf. "The Wandering Cowboy (I)" [Laws B7] (plot)
File: RcTFugLa
===
NAME: Full Loads to the Sealers
DESCRIPTION: "And here's grand success to the sealers, The pride of our city and town, Who face the doghood on the ocean, And with bat like heroes knock down." The singer bids success to the sealers and  hopes they have happy reunions at home
AUTHOR: Johnny Burke
EARLIEST_DATE: 1960 (Burke's Ballads)
KEYWORDS: hunting reunion
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 122, "Full Loads to the Sealers" (1 text)
NOTES: Most of Burke's songs are intended to be sung to a traditional tune. This particular text fits many melodies, and doesn't have the hints of parody found in many Burke pieces. It fits "Rosin the Beau," for instance. But I have this feeling it's sung to "The Badger Drive" (which, admittedly, is close to "Rosin"). - RBW
File: RySm122
===
NAME: Fuller and Warren [Laws F16]
DESCRIPTION: [Amasa] Fuller has become engaged to a woman, who however chooses to abandon him for [Paul] Warren. Fuller accuses Warren of saying that he (Fuller) was already married, and shoots him. He is sentenced to hang
AUTHOR: sometimes attributed to Moses Whitecotton
EARLIEST_DATE: 1874
KEYWORDS: murder trial execution
HISTORICAL_REFERENCES: Jan 10, 1820 - Amasa Fuller shoots Paul (Palmer?) Warren in Lawrenceburg, Indiana. Fuller was later hanged.
FOUND_IN: US(MW,NE,Ro,So,SW) Canada(Mar)
REFERENCES: (13 citations)
Laws F16, "Fuller and Warren"
Belden, pp. 302-307, "Fuller and Warren" (3 texts plus a fragment, 1 tune)
Randolph 143, "Fuller and Warren" (1 text plus 2 excerpts, 1 tune)
Hudson 66, pp. 191-193, "Fuller and Warren" (1 text)
Brewster 100, "Fuller and Warren" (2 texts plus an excerpt and mention of 4 more)
Larkin, pp. 127-130, "Fuller and Warren" (1 text, 1 tune)
Flanders/Olney, pp. 174-175, "Fuller and Warren" (1 text, 1 tune)
Burt, pp. 51-52, "(no title)" (1 text plus an excerpt, 1 tune)
Friedman, p. 205, "Fuller and Warren" (1 text)
LPound-ABS, 49, pp. 116-118, "Fuller and Warren" (1 text)
JHCox 45, "Ye Sons of Columbia" (1 text, 1 tune)
Ives-NewBrunswick, pp. 148-151, "Fuller and Warren" (1 text, 1 tune)
DT 704, FULLWARR
Roud #694
RECORDINGS:
Anna Underhill, "The Indiana Hero" (on FineTimes)
NOTES: Although this song is sometimes attributed to Moses Whitecotton, Belden has information that Whitecotton wrote a *different* poem about this particular event.
The reference to the hanging of Haman on the gallows so high is an allusion to the Biblical book of Esther (especially 7:10). The story of Samson and Delilah is told in Judges 16:4-22. The references to Eve causing Adam's fall are obviously to Genesis 3.
The reference to "Genesis, Judges, Samuel, Kings, and Job" seems confused; the texts in Belden apply it to various doctrines, and I can't see how the books listed combine to teach any of the doctrines cited. - RBW
File: LF16
===
NAME: Funeral Hymn, The
DESCRIPTION: "Oh, carry me away to the graveyard After a long time suffering, Where every day will be Sunday, by and by, By and by, by and by, Where every day will be Sunday, by and by." "So fare you well, dear (father/mother/brothers/etc.), I am going home to glory."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious death nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 207, "A Funeral Hymn" (1 text)
ST Fus207 (Partial)
Roud #16370
File: Fus207
===
NAME: Funeral Train, The
DESCRIPTION: "The funeral train is coming, I know it's going to slack, For the passengers are all crying and the train is creped in black." "You belong on that funeral train... Oh, sinner, why don't you pray." The singer looks forward to taking the train to heaven
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious death train nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 262, "The Funeral Train" (1 text)
File: ScaNF262
===
NAME: Fust Banjo, De (The Banjo Song; The Possum and the Banjo; Old Noah)
DESCRIPTION: Noah sets out to build the ark, despite the scorn of his neighbors. "Ham... couldn't stand the racket... soon he had a banjo made, the first that was invented." He took the hair of the possum's tail to string it; the possum remains bare-tailed to this day
AUTHOR: Irwin Russell?
EARLIEST_DATE: 1878 (Christmas Night in the Quarters)
KEYWORDS: flood ship animal music Bible
FOUND_IN: US(Ap, So)
REFERENCES: (2 citations)
Randolph 253, "The Banjo Song" (2 texts, 2 tunes)
JHCox 181, "Old Noah" (1 text)
ST R253 (Partial)
Roud #5467
NOTES: The versions of this display extreme variation, and may even be separate songs. Reports are few enough, however, that I decided to lump the things just because there wasn't enough evidence to split them cleanly.
The attribution to Irwin Russell is from Felleman's _ The Best Loved Poems of the American People_, which sometimes has some very strange attributions. Her version seems to come straight out of a minstrel show; the question then is whether it is the original or if Russell worked from an earlier song. - RBW
File: R253
===
NAME: Future Plans (The G-Man)
DESCRIPTION: "When I grow up, I think I'll be A G-Man brave and bold, Or maybe a fearful pirate, And bury lots of gold." The singer lists other job possibilities: sailor, diver, jockey, doctor, apple-cart-pusher. Finally he says, "I just think I'll wait and see."
AUTHOR: Billie Menshouse?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: work nonballad youth
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 256, (no title) (1 text)
File: ThBa256B
===
NAME: Fy, Let's A to the Bridal: see The Blythesome Bridal (File: PBB082)
===
NAME: Fylemore
DESCRIPTION: "Fylemore you're the place for merry sport and singing and the chief amongst them all is the charming beagle hunting" The singer describes the draghunt route and its "swift horses and fine riders." The riders are named. At hunt end all retire to the pubs.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: sports drink moniker dog horse hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 102-103, "Fylemore" (1 text, 1 tune)
NOTES: OCanainn p.16, quoting his friend Olan Dwyer on draghunting: "They drag a piece of meat with stuff put on it to give it a good scent. There were two fellows -- whips or huntsmen -- fellows who were used to running -- and they had a special course laid out. Usually the start would be about two miles up on the hill and these two fellows would start with the meat about four miles away -- one could come back this way towards the start and the other would go on to the finish. When the fellow going to the start would finish they'd leave off the hounds and the first dog in the gap would be the winner. There'd be a raffle for the spectators -- they'd buy a ticket and draw a dog and they'd get the money if they won. There would be a bookie there as well."
OCanainn: "Fylemore is near Cahirciveen in Co Kerry. It was famous for its draghunt and dogs went to it from all over Cork and Kerry." - BS
File: OCan102
===
NAME: Fyvie Ploughmen, The
DESCRIPTION: The singer, not a ploughman, sings the ploughmen's praise. They whistle and sing in all weather. They should not cheat "the bonnie lassie." They are poor but if farmers don't pay them well enough "there is emigration to tak' them o'er the sea"
AUTHOR: unknown
EARLIEST_DATE: 1904 (GreigDuncan3)
KEYWORDS: infidelity emigration farming money nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #16, p. 2, ("Come listen, all ye ploughman lads") (1 text) 
GreigDuncan3 420, "The Fyvie Ploughmen" (5 texts, 2 tunes)
Roud #5939
CROSS_REFERENCES:
cf. "The Plains of Waterloo" (tune, per Greig)
cf. "Harrowing Time" (subject: ploughing match)
cf. "The Plooin' Match" (subject: ploughing match)
ALTERNATE_TITLES:
The Ploughman Lad
The Ploughmen o' Fyvie
File: GrD3420
===
NAME: Gaberlunyie Man, A: see The Gaberlunzie Man [Child 279A] (File: C279A)
===
NAME: Gaberlunzie Man, The [Child 279A]
DESCRIPTION: A beggar comes to a lady's door and begs lodging. That night, he lures her daughter away with him. Later he returns to the lady's door and again begs lodging. The lady says she will never lodge a beggar again. He reveals her daughter, rich and happy
AUTHOR: unknown
EARLIEST_DATE: 1724 (Tea-Table Miscellany)
KEYWORDS: begging courting escape money elopement mother children disguise
FOUND_IN: Britain(England,North),Scotland)) Ireland Canada(Mar) US(NE)
REFERENCES: (12 citations)
Child 279 Appendix, "The Gaberlunyie-Man" (sic) (1 text)
Bronson (279 Appendix), "(The Jolly Beggar/The Gaberlunzie Man)" (49 versions)
Greig #30, pp. 1-2, "The Gaberlunzie Man" (1 text)
GreigDuncan2 275, "The Beggar Man" (22 texts, 20 tunes) {A=Bronson's #24, C=#9, D=#17, E=#19, F=#16?, G=#23, H=#25, I=#14, J=#13, K=#22, L=#10, M=#15, P=#8, R=#18, S=#12, T=#7; several other tunes cannot be identified with their sources}
BarryEckstormSmyth pp. 333-336, "The Gaberlunyie Man" (1 text plus an extensive quotation from Petrie, 1 tune) {Bronson's 32}
Percy/Wheatley II, pp. 67-71, "The Gaberlunyie Man" (1 text)
SHenry H810, p. 269, "A Beggarman Cam' ower the Lea" (1 text, 1 tune)
Ord, pp.375-377, "The Beggar Man" (1 text, 1 tune) {Bronson's #33}
MacSeegTrav 19, "The Gaberlunzie Man" (1 text, 1 tune)
Davis-More 42, pp. 333-338, "The Gaberlunyie-Man" (1 text, which though collected in Virginia comes from a man born in Scotland and is in Braid Scots)
Creighton/Senior, pp. 99-101, "The Gaberlunyie Man" (1 text, 1 tune) {Bronson's #11
BBI, ZN2346, "The silly poor man came over the lee" (?)
Roud #119
RECORDINGS:
Maggie & Sarah Chambers, "The Beggarman (The Gaberlunzie Man)" (on FSB5 [as "The Auld Beggarman"], FSBBAL2) {Bronson's #46}
Liam Clancy, "Hi For the Beggarman" (on IRLClancy01)
Togo Crawford, "The Beggarman (The Gaberlunzie Man)" (on FSBBAL2)
Lizzie Higgins, "A Beggar Man" (on Voice17)
Ewan MacColl, "The Beggar Man" (ESFB1, ESFB2)
Maggie Murphy, "Clinking O'er the Lea" (on Voice07)
John Strachan, "The Beggarman (The Gaberlunzie Man)" (on FSBBAL2) {Bronson's #38}
BROADSIDES:
NLScotland, RB.m.143(126), "The Beggar Man" ("There was an old man cam' o'er the lea"), Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "The Jolly Beggar" [Child 279] and references there
cf. "The Beggar-Laddie" [Child 280]
cf. "A Great Big Sea Hove in Long Beach" (tune & meter)
ALTERNATE_TITLES:
The Beggar's Bride
The Auld Gaberlunzie
NOTES: Although this ballad is associated in tradition with James V of Scotland, there is no evidence that he ever sought a woman in this fashion. James V in fact married a noble foreign lady, Mary of Guise-Lorraine.
Wheatley explains "Gaberlunyie" as a compound of "gaber," a wallet, and "lunyie," the loins, i.e. a Gaberlunyie man is one who carries a wallet by his side. The fact that the title vacillates between "Gaberlunyie" and "Gaberlunzie" implies that most singers were less aware of this than the average scholar....
For the relationship between this song and "The Jolly Beggar," see the notes to that song. Due to the degree of cross-fertilization of these ballads, one should be sure to check both songs to find all versions.- RBW
The following broadsides almost certainly belong here but I could not download them: Bodleian, 2806 c.18(171), "The Beggar Man" ("There was an old man cam o'er the lea"), unknown, n.d.; also Firth c.26(57), "The Beggar Man" - BS
File: C279A
===
NAME: Gabriel's Trumpet (Baptist Numbered in God)
DESCRIPTION: "Baptist, Baptist is my name, I hope to live and die the same, Oh Baptist numbered in God." "Gabriel's trumpet is the voice of God, to wake up the members in the old Church Yard." The singer regrets his (sister's) death and looks forward to the afterlife
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
MWheeler, pp. 71-72, "Gabriel's Trumpet" (1 text, 1 tune)
BrownIII 555, "Baptist, Baptist Is My Name" (1 fragment)
Roud #11881 and 10022
File: MWhee071
===
NAME: Gaie-Annee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Gairdner and the Plooman, The
DESCRIPTION: A gardner has long courted the girl, "But the blythe blink o the plooman lad Has stown my hairt frae me, me, Has stown my hairt frae me." The singer first saw her love singing "under a bush o' rue." She finally turns to the plooman
AUTHOR: unknown
EARLIEST_DATE: 1925 (Grieg)
KEYWORDS: love courting farming
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Bronson 219, "The Gardener" (9 versions+3 in addenda, but #1 at least is "The Gairdner and the Plooman")
Ord, p. 94, "The Gairdner and the Ploughman" (1 text)
Roud #339
NOTES: This song sometimes is listed as a version of "The Gardener" [Child #219], including by Bronson, who counts one of Grieg's versions there. This is understandable, as the song is very diverse (Bronson himself says that "The Gardener" "rests uneasily in Child's collection. It is both too little of a ballad... and too sophisticated").
Nonetheless, I think they should be separated. "The Gardener" seems to have at its root a dialog involving flowers and courting. This piece mentions a gardener, but he isn't wandering around waving flowers in the girl's face, really, and she has a separate love interest. - RBW
File: Ord094
===
NAME: Gairdner and the Ploughman, The: see The Gairdner and the Plooman (File: Ord094)
===
NAME: Gal I Left Behind Me, The: see The Girl I Left Behind Me (lyric) (File: R546)
===
NAME: Galbally Farmer, The: see Darby O'Leary (File: CrSNB110)
===
NAME: Gale of August '27, The
DESCRIPTION: 87 fishermen set out in April for the Sable Island fishing grounds. When a storm blows up, their vessels sink and all are lost. A memorial service in Lunenburg draws 5000. The singer hopes they will meet again in Heaven
AUTHOR: George Swinamer
EARLIEST_DATE: 1951
KEYWORDS: sailor sea fishing storm wreck funeral death religious
HISTORICAL_REFERENCES: Aug 25, 1927 - The _Joyce M. Smith_, _Uda F. Corkum_, _Mahala_, and _Clayton W. Walters_, all of Lunenburg, are lost with all hands off the Sable Island shoals
FOUND_IN: US(MA) Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 184-185, "The Gale of August '27" (1 text, 1 tune)
Roud #9431
NOTES: Lunenburg is a town (and county) in Nova Scotia; the town is on the coast about 60 kilometers south and west of Halifax. Sable Island, the "graveyard of the Atlantic," is a long, low island about 250 km. due south of the eastern tip of Nova Scotia. - RBW
File: Doe185
===
NAME: Gallagher Boys, The: see Lost on Lake Michigan (File: WGM172)
===
NAME: Gallant 69th, The: see The Irish Sixty-Ninth (File: Wa014)
===
NAME: Gallant Brigantine, The [Laws D25]
DESCRIPTION: A sailor and a girl meet. She gives him her address, saying her husband would be glad to meet them. He mentions his wife and newborn son. They go off to her farm hand in hand; sailor, woman, and husband spend dinner and a pleasant afternoon together
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: courting husband wife
FOUND_IN: US(MA,MW,NE) Canada(Mar,Newf)
REFERENCES: (10 citations)
Laws D25, "The Gallant Brigantine"
FSCatskills 127, "The Islands of Jamaica" (1 text, 1 tune)
Peacock, pp. 218-223, "My Gallant Brigantine" (3 texts, 3 tunes)
Leach-Labrador 88, "Jamaica Girl" (1 text, 1 tune)
Lehr/Best 39, "The Gallant Brigantine" (1 text, 1 tune)
Creighton-NovaScotia 36, "Gallant Brigantine" (1 text, 1 tune)
Creighton-Maritime, pp. 142-143, "The Gallant Brigantine" (2 texts, 1 tune)
Ives-NewBrunswick, pp. 46-49, "The Gallant Brigantine" (1 text, 1 tune)
Manny/Wilson 69, "The Gallant Brigantine" (1 text, 1 tune)
DT 670, GALLBRIG
Roud #648
RECORDINGS:
Mrs. Edward Gallagher, "My Gallant Brigantine" (on MRHCreighton)
ALTERNATE_TITLES:
Henry Orrison
NOTES: For this they wrote a ballad? - PJS
Even more amazing, the thing seems to have been fairly popular. Laws remarks, "This tongue-in-cheek narrative achieves its effect by repeatedly disappointing the listener's anticipation of stock situations of broadside balladry." - RBW
In Mrs. Gallagher's version, the last line is a teaser, leading you to expect that the sailor discovers his wife has run off with another man, but in fact she has had a baby son. - PJS
Ives-NewBrunswick: The final verse changes the tone entirely: "... the girl I loved so dear was the wife of another man, And I really thought my heart would break as I sailed for a foreign land." - BS
File: LD25
===
NAME: Gallant Farmer's Farewell to Ireland, The
DESCRIPTION: Michael Hayes claims he shot the land agent when he went to pay his rent and he has been running since. He describes the manhunt across Ireland and on ships at port. They go to America: "The paper said they had him caught" but he was not. 
AUTHOR: T. Walsh (according to broadside Bodleian Harding B 26(201))
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: murder manhunt escape farming Ireland
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 68B, "The Gallant Farmer's Farewell to Ireland" (1 fragment)
BROADSIDES:
Bodleian, Harding B 26(201), "The Gallant Farmers' Farewell to Ireland" ("Farewell to old Irelaud [sic] the land of my fathers")," P. Brereton (Dublin), c.1867
CROSS_REFERENCES:
cf. "M'Kenna's Dream" (tune, broadside Bodleian Harding B 26(201))
cf. "The Great Elopement to America" (see Notes)
cf. "The General Fox Chase" (character of Michael Hayes)
cf. "Rory of the Hill" (character of Michael Hayes)
NOTES: Compare "The Gallant Farmers' Farewell to Ireland" to broadside 
Bodleian, 2806 c.8(158), "The Great Elopement to America" ("Farewell to old Ireland the land of my fathers"), Haly (Cork), 19C. 
One of these is clearly derived from the other.
Here is the first verse of "The Gallant Farmers' Farewell to Ireland" [broadside Bodleian Harding B 26(201)] with Brereton's spelling:
Farewell to old Ireland the land of my Fathers,
From house home and farm I sharp had to flee,
I went to pay my rent on a fine summers morning
Myself and the agent we there did disgree
I had the money in my hand he told me I should quit the land
The truth to tel you know right well his words did me displease
He fel a victim to a shot his agency he soon forgot
And since that day theyre searching for the farmer Michael Hayes.
Here is the first verse of "The Great Elopement to America" [broadside Bodleian 2806 c.8(158)]:
Farewell to old Ireland the land of my fathers,
From house, home and farm, quite sharp I had to flee,
I once fell a courting a rich farmer's daughter
Myself and her father we could not agree;
500 pounds she had in hand, she asked me would I leave the land
I said I would, and to I did, and thought it no disgrace
To America we sailed off, we went as quick caused many to laugh
And since that day he is searching for his daughter Nancy Keays.
The description is based on broadside Bodleian, Harding B 26(201).
Zimmermann: "This ballad shows how a probably hateful character could become a gallant hero in the eyes of the oppressed peasants. Michael Hayes had been for many years the ruthless bailiff of a land agent, for whom he was said to have evicted more than one thousand people in one parish alone.... When he grew too old for this job he was allowed to stay on the land as a farmer, but a notice to quit was finally served on him too. He shot the agent in a hotel in Tipperary, (30th July, 1862)." In spite of a manhunt he was never caught. - BS
File: Zimm068B
===
NAME: Gallant Forty-Twa (II), The: see Here's to the Black Watch (File: GrD1071)
===
NAME: Gallant Forty-Twa, The
DESCRIPTION: Weaver Willie Brown enlists. The first sergeant fears he'll "make an awfu' mess o' the gallant forty-twa" Willie is always "first man at the table" When he goes home on furlough he'll teach his comrades to handle a gun and show them he's a corporal.
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan1); 19C (broadside, NLScotland L.C.Fol.70(25a))
KEYWORDS: army Scotland humorous nonballad soldier
FOUND_IN: Ireland Britain(Scotland(Aber))
REFERENCES: (3 citations)
GreigDuncan1 70, "The Gallant Forty-Twa" (1 text, 1 tune)
Hammond-Belfast, pp. 36-37, "The Gallant Forty-Twa" (1 text, 1 tune)
DT, GALNT42*
Roud #1877
BROADSIDES:
NLScotland, L.C.Fol.70(25a), "The Gallant Forty-Twa," Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "The Bonnets o' Blue" (subject: 42nd Highlanders or Black Watch)
cf. "McCaffery (McCassery)" (subject: 42nd Highlanders or Black Watch)
cf. "Wha Saw the Forty-Second" (subject: 42nd Highlanders or Black Watch)
cf. "Here's to the Black Watch" (subject: 42nd Highlanders or Black Watch)
cf. "Old Recruiting Soldier (Twa Recruiting Sergeants)" (subject: 42nd Highlanders or Black Watch)
cf. "The Bonnets o' Blue" (subject: 42nd Highlanders or Black Watch)
NOTES: NLScotland commentary to L.C.Fol.70(25a): "The 'forty-twa' is the 42nd Highland Regiment, more commonly known as the Black Watch." [For the record of this regiment, see "Wha Saw the Forty-Second." - RBW]
Hammond-Belfast attributes one verse and chorus to Oiny Boak and other verses to Hugh Quinn (1884-1956). Oiny Boak's verse ("You may talk about your Lancers or your Irish Fusiliers, Your Aberdeen Militia or the Dublin Volunteers; Or any other regiment that's lying far awa', But give to me the tartan of the gallant forty twa") is the chorus of the broadside. His chorus ("Strolling through the green fields on a summer's day, Watching all the country girls forking up the hay, I really was delighted till he stole my heart awa', Then left me for the tartan of the gallant forty-twa") and Quinn's verses (the female singer recalls the day her lover marched away to war, and then when he returned) have no broadside counterpart. If the Hammond-Belfast version is sung in Ireland, the broadside version is sung in Scotland (see GreigDuncan 1 70, which omits the chorus).
The source for the description is broadside NLScotland L.C.Fol.70(25a).
Also collected and sung by David Hammond, "The Gallant Forty-Twa" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) - BS
File: Hamm036
===
NAME: Gallant Grahams, The
DESCRIPTION: "As I was crossing ower Boyne Water... For the killin' o' an English lord My gude braid sword they've ta'en frae me." The singer complains of being abandoned by the Grahams. He escapes and flees from his home in Carrickfergus
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan2)
KEYWORDS: murder home exile prison escape
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 441-442, "The Galland Grahams" (1 text)
GreigDuncan2 245, "The Gallant Grahams" (1 fragment)
Roud #5618
CROSS_REFERENCES:
cf. "Hughie Grame [Child 191]" (lyrics)
NOTES: This is clearly related to "Hughie Grame"; about half the material in Ord's text, for instance, is standard in "Hughie." The perspective is different, though: The setting seems to be Ulster (where many Scots emigrated, both before and after Culloden). Only one girl would laments the hero's fate, and she makes no attempt to save him. The hero lives. And it is told in first person throughout.
Clearly the relation between the two songs needs more study (though that may be difficult unless additional texts turn up). In the absence of that, I follow standard Ballad Index policy and split the two. But my initial inclination was to lump; they have that much in common. - RBW
File: Ord441
===
NAME: Gallant Hussar, The (A Damsel Possessed of Great Beauty)
DESCRIPTION: The beautiful damsel waits at her father's gate for the hussars to pass by. At last she sees her lover. She reports that her parents kept her confined for a whole year, but she is all the more determined to follow and marry him
AUTHOR: unknown
EARLIEST_DATE: 1904  (Ford)
KEYWORDS: elopement love separation soldier
FOUND_IN: US(MW) Ireland Britain(Scotland)
REFERENCES: (3 citations)
Ford-Vagabond, pp. 254-256, "The Gallant Hussar" (1 text, 1 tune)
SHenry H243a, pp. 473-474, "Young Edward the Gallant Hussar" (1 text, 1 tune)
Eddy 147, "A Damsel Possessed of Great Beauty" (1 fragment, 1 tune)
ST E147 (Full)
Roud #1146
BROADSIDES:
NLScotland, L.C.Fol.70(84b), "The Gallant Hussar," Poet's Box (Dundee), c. 1890
CROSS_REFERENCES:
cf. "The Gallant Soldier (Mary/Peggy and the Soldier)" (plot)
cf. "Fare Ye Well, Enniskillen (The Inniskillen Dragoon)"
NOTES: Broadside Murray, Mu23-y1:031, "Answer to Young Jane and her Gallant Hussar," James Lindsay (Glasgow), 19C obviously claims to be an "answer" to this, but it's more of a sideline and continuation, in which Jane rejects another suitor and eventually goes off with the hussar.
File: E147
===
NAME: Gallant Ninety-Twa, The
DESCRIPTION: "Brave Ninety-Twa, I've read your story, A valour tale of fadeless glory." "Reared 'mong these glens 'mid which I stand, The brave, heroic Gordons grand." The singer lists places visited by the Ninety-Second, and hopes it will retain its fame
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: soldier war
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
Feb 26, 1881 - Battle of Majuba Hill
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 289-291, "The Gallant Ninety-Twa" (1 text)
Roud #3776
NOTES: Raised in 1794 as the 100th Foot, this regiment (the Gordon Highlanders) was renumbered the 92nd in 1798; under that number, it served in and was granted battle honours for the Peninsular War, the Hundred Days, and the Second Afghan War; it managed to miss the Crimea.
In 1881, the 92nd was consolidated with the 75th Highland Regiment as the Gordon Highlanders. The consolidated unit fought in the Sudan, in the Boer War, and on into the World Wars.
The 92nd does deserve a good deal of credit for Waterloo, incidentally. The first phase of the main battle consisted of the attack by d'Erlon's French corps on Wellington's center. This broke the British line, but Picton's division and others counterattacked and restored the situation. The 92nd was in the forefront of this fight, which was arguably the key to the battle -- had d'Erlon broken through, Napoleon would have won Waterloo; once the assault failed, Napoleon had almost no chance of beating Wellington completely before Blucher arrived with reinforcements.
The dating of the song is a bit of a conundrum. The last event mentioned seems to be Majuba Hill, part of the first (1880-1881) Boer war, in which a scratch force led by Major General Pomeroy-Colley attacked a larger and entrenched Boer force, with predictable results: The British lost about 20% of their force, including Pomeroy-Colley, killed in the field without achieving anything.
The 92nd was not engaged as a whole in this battle (and was given no battle honours), but portions were engaged, so it is fair to mention it. And yet, later that year, the 92nd lost its independent identity. Could the song, perhaps, have been written in response to the consolidation, or the threat of the same? - RBW
File: Ord289
===
NAME: Gallant Shearers, The
DESCRIPTION: As autumn brings on the shearing, the singer asks, "Bonnie lassie, will ye gang... To join yon band of shearers?" He promises to work hard for her -- e.g. if it is dry, he will still love her; if it is hot, he will still work, and she will remain his
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting work sheep
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 267, "The Gallant Shearers" (1 text)
Roud #5593
CROSS_REFERENCES:
cf. "The Band o' Shearers" (chorus)
NOTES: This song and "The Band o Shearers" share a chorus and a theme, and are undoubtedly connected, though it's not clear which is older. But the feel of the verses is different enough that I follow Ord in splitting them, as does Roud. - RBW
File: Ord267
===
NAME: Gallant Shoemaker, The
DESCRIPTION: A girl is courted by a wealthy farmer, but loves a shoemaker. Her father confines her to make her change her mind. She sends a letter to her love. He rides by and carries her away. They live happily, "For she had gotten her shoemaker."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord); the GreigDuncan fragment is from 1907
KEYWORDS: love courting escape
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Ord, pp. 102-103, "The Gallant Shoemaker" (1 text)
GreigDuncan3 480, "My Lovie Was a Shoemaker" (1 fragment, 1 tune)
Roud #3950
CROSS_REFERENCES:
cf. "The Iron Door" [Laws M15] (theme)
cf. "Locks and Bolts" [Laws M13] (theme)
NOTES: The Greig/Duncan fragment reads "A shoemaker neat and fine, My lovie was a shoemaker, Shoemaker neat and fine, My love's a gallant shoemaker." In the notes, Greig declares, "The words are stated to be a chorus, but the music for the verses is the same." Roud lists this fragment as #5974, but I'm guessing it's the same as Ord's song. - RBW, (BS)
File: Ord102
===
NAME: Gallant Soldier (I), The
DESCRIPTION: A soldier, passing through Ayr, asks a girl to leave home and he'd give her towers, castles and gold. She agrees. In Dundee he buys her a gown. At Inverness he meets a prettier girl. The first asks for her towers, etc. He has none and gives her no gold.
AUTHOR: unknown
EARLIEST_DATE: 1905 (GreigDuncan1)
KEYWORDS: seduction infidelity gold promise soldier beauty clothes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 88, "The Gallant Soldier" (1 text, 1 tune)
Roud #5792
CROSS_REFERENCES:
cf. "The Plains of Waterloo" (tune)
File: GrD088
===
NAME: Gallant Soldier (II), The: see Soldier, Soldier, Will You Marry Me (File: R065)
===
NAME: Gallant Soldier, The (Mary/Peggy and the Soldier)
DESCRIPTION: (Peggy) comes out and sees the soldiers marching by. She falls in love with one and offers to marry him. He warns her of the problems of travel and separation. She offers to come with him; she has money to care for herself. He agrees to marry her
AUTHOR: unknown
EARLIEST_DATE: before 1846 (broadside, Bodleian Harding B 11(1627))
KEYWORDS: love courting soldier travel marriage money
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (4 citations)
Greig #152, p. 3, ("For the walk so neat, and the dress so gay"); Greig #154, p. 2, ("Mary she went out one day") (2 texts) 
GreigDuncan1 91, "Highland Soldier" (5 texts, 2 tunes)
SHenry H782, p. 473, "The Gallant Soldier" (1 text, 1 tune)
DT, MARYSOLD
Roud #2496
BROADSIDES:
Bodleian, Harding B 11(1627), "The Highland Soldier" ("On the Highland mountains so far away"), J. Paul and Co. (London), 1838-1845; also Harding B 11(1548), Firth c.14(141), Harding B 11(1628), "[The] Highland Soldier"; Harding B 26(202), "The Gallant Soldier"
NLScotland, L.C.Fol.70(19a), "The Highland Soldier," Poet's Box (Dundee), c. 1890
CROSS_REFERENCES:
cf. "The Gallant Hussar (A Damsel Possessed of Great Beauty)" (plot)
cf. "Rambling Sailor" (tune, per broadsides Bodleian Harding B 11(1627), Harding B 11(1628) and Harding B 11(1548))
ALTERNATE_TITLES:
The Lovely Maiden
NOTES: All three versions of this song known to me (the Sam Henry version and the Paul Brady version in the Digital Tradition, plus a version sung by Connie Dover on"If Ever I Return") contain the line, "But O how cruel my parents (can/must) be, To banish my darling so far from me." But at that stage in the song, the man is *already* a soldier, and the parents probably don't know what Mary/Peggy is up to anyway. The conclusion would seem to be that this song picked up elements of some song involving banishment of a true love. - RBW
File: HHH782
===
NAME: Gallant Tommy Boyle, The
DESCRIPTION: "Come all you Beaver Island boys, I hope you will draw near To hear my  lamentation." The singer tells of Tommy Boyle, drowned in Lake Michigan.His father mourns him. The priest praises him. He was proper and tall. All wish him rest in "that blessed land"
AUTHOR: Dan Malloy
EARLIEST_DATE: 1940 (collected from Mike O'Donnel by Walton)
KEYWORDS: sailor death father
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 175-176, 'The Gallant Tommy Boyle" (1 text, 1 tune)
RECORDINGS:
Pat MacDonough, "The Gallant Tommy Boyle" (1938; on WaltonSailors; the text is different in many particulars from the text in Walton/Grimm/Murdock even though it is from the same primary informant)
CROSS_REFERENCES:
cf. "Lost on Lake Michigan" (subject)
File: WGM175
===
NAME: Gallant Victory, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Galloping Randy Dandy O!: see Randy Dandy O (File: Hugi167)
===
NAME: Gallowa Hills
DESCRIPTION: "I will tak my plaidie, contented to be, A wee bit kiltie abune my knee...." "For the Gallowa Hills are covered wi' broom... And we'll gang oot ower ths hills tae Gallowa." The girl will leave her reel and spinning wheel to join her lad
AUTHOR: unknown
EARLIEST_DATE: 1992 (Sing Out!)
KEYWORDS: love travel
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
DT, GALLWA
ADDITIONAL: _Sing Out_ magazine, Volume 37, #2 (1992), p, 49, "Gallowa Hills" (1 text, 1 tune, Ray Fisher's version based on the singing of Jeannie Robertson)
Roud #3358
File: DTGallwa
===
NAME: Gallows [Laws L11]
DESCRIPTION: A young man is to be hanged. His family and a clergyman contrive a few minutes delay by each asking for a last word. Just before the boy is to be hanged, his true love arrives with a royal pardon and he is saved
AUTHOR: unknown
EARLIEST_DATE: 1929 (Barry, Ecksotm, Smyth)
KEYWORDS: execution reprieve
FOUND_IN: US(NE) Canada(Mar,Newf) Ireland
REFERENCES: (9 citations)
Laws L11, "Gallows"
Bronson 95, "The Maid Freed from the Gallows" (68 versions, but the last four, given in an appendix, are this song)
BarryEckstormSmyth pp. 389-393, 483, "The Gallows Tree" (2 texts plus a fragment, 2 tunes); p. 483 (1 tune) {Bronson's #67, #68; the tune in the addenda is Bronson's #66}
Flanders-Ancient3, pp. 15-41, "The Maid Freed from the Gallows" (8 texts plus a fragment, 8 tunes, but of the texts, only "A," "B1," and "B2" are 'The Maid Freed" [Child 95]; the remaining six are "Gallows") {G=Bronson's #65}
Kennedy 316, "Derry Gaol" (1 text, 1 tune)
SHenry H705, p. 132, "The Dreary Gallows" (1 text, 2 tunes)
Creighton/Senior, pp. 109-112, "Gallows" (3 texts plus 1 fragment, 1 tune)
Leach-Labrador 27, "Sweet Ann O'Neill" (1 text, 1 tune)
DT 571, HANGMAN4
Roud #896
CROSS_REFERENCES:
cf. "The Maid Freed from the Gallows" (Child 95)
ALTERNATE_TITLES:
Streets of Derry
NOTES: Kennedy, following Barry, speculates that this was based on an incident during the 1798 Irish rebellion. The only real supporting evidence is a reference to King George (which, for all it directly proves, could date it to the 1916 rebellion; in any case, Britain had a King named George every year from 1714 to 1839), and in any case the reference to King George in not found in many versions, where it is the Queen who offers the pardon.
Barry et all state unequivocally that the song is Irish. This is likely enough, but there are only a handful of Irish collections (Sam Henry's, and Sarah Makem sang it); the rest are all North American. It's just possible that the song originated in North America and crossed back.
All agree that this was inspired by "The Maid Freed from the Gallows," but the form clearly makes it a separate ballad.
Peter Kennedy lists the Sam Henry version of this piece as from 1924, but it was not published until 1937. - RBW
File: LL11
===
NAME: Gallows Tree, The: see Gallows [Laws L11] (File: LL11)
===
NAME: Gals o' Chile, The: see Bangidero (File: Hug053)
===
NAME: Gals O' Dublin Town, The
DESCRIPTION: Capstan shanty (also listed as a forebitter) Chorus: "Hurrah, hurrah, for the gals o' Dublintown. Hurrah for the bonnie green flag and the harp without the crown."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
LONG_DESCRIPTION: Capstan shanty (also listed as a forebitter) Chorus: "Hurrah, hurrah, for the gals o' Dublintown. Hurrah for the bonnie green flag and the harp without the crown." There are two versions of this, one describes the ship, flags and captain; the other is more along general sailing themes, i.e. weather and complaints.
KEYWORDS: shanty sailor ship
FOUND_IN: US
REFERENCES: (2 citations)
Colcord, p. 175, "The Shenandoah" (1 text)
Hugill, pp. 140-142, "The Gals o' Dublin Town" (2 texts & a fragment, 2 tunes) [AbEd, pp. 112-113]
ST Hugi140 (Partial)
Roud #323
ALTERNATE_TITLES:
The Harp without the Crown
Heave Her and Bust Her
NOTES: The "Shenandoah" was an American clipper which sailed out of New York under the command of Captain Jim Murphy. The references to the "harp without the crown" refer to Murphy's custom of flying the Irish flag under the American one. - SL
This seems likely enough (though Ireland of course did not have an official flag at this time; the golden harp on a green field went back to Hugh O'Neill, but the orange, green, and white tricolor was also in use by the middle of the nineteenth century). But I sort of suspect that the song may be a modification of a piece about the C.S.S. raider _Shenandoah_. This is because both texts and tune look as if they were influenced by "The Bonnie Blue Flag." - RBW
File: Hugi140
===
NAME: Galway Bay
DESCRIPTION: "If you ever go across the sea to Ireland," then perhaps you can see Galway Bay. It's a land of beautiful women and children in the fields. They still speak a language the English don't know. The singer hopes to return there after death
AUTHOR: unknown
EARLIEST_DATE: before 1958 (Margaret Barry parody)
KEYWORDS: home Ireland travel
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, GLWAYBAY*
Roud #9306
SAME_TUNE:
Galway Bay Parody (sung by Margaret Barry on Voice14)
Galway Bay (2) (DT, GLWYBAY2)
NOTES: The Digital Tradition lists this as by Arthur Colahan.
Its popularity is probably demonstrated by the supply of parodies. Ben Schwartz gave this description of Margaret Barry's (Roud #12926):
"Singer considers going back to Ireland; 'it may be when I hear she's passed away/' She had a mouth as big as Galway Bay and she'd live, swim and die in it if it were Guinness. The rest of the song is a complaint about everyone singing Galway Bay."
Ben adds, "Among the references in the song are Topic Records and 'The Bedford Arms,' where the performance was recorded."
The other parody, in the Digital Tradition, is apparently from Tommy Makem. It could perhaps be considered the same parody -- it also talks about Galway Bay full of drink. But the ending is different. - RBW
File: RcGalBay
===
NAME: Galway Races, The
DESCRIPTION: On August 17 "half a million" gather at Galway for the horse races.The multitudes and occupations are described in great variety. "There was yet no animosity, no matter what persuasion"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn); 19C (broadside, LOCSinging as113080)
KEYWORDS: racing dancing food music Ireland political horse
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 10, "The Sporting Races of Galway" (1 text, 1 tune)
DT, [abbreviation unknown, but it's in there]
Roud #3031
RECORDINGS:
Liam Clancy, "Galway Races" (on IRLClancy01)
BROADSIDES:
LOCSinging, as113080, "The Sporting Races of Galway," unknown [Brereton (Dublin)?], 19C
NOTES: I could not see the following broadside in detail though it almost certainly refers to the same ballad:
Bodleian, Harding B 26(621), "The Sporting Races of Galway" ("As I roved out through Galway town to n ek for recreation"), P. Brereton (Dublin), c.1867. There are the usual Brereton spelling errors -- in this case in the first line -- as well as the imprint (so far as could be made out) that make me believe this is the same broadside as LOCSinging as113080. - BS
Although the "proper" title of this seems to be "The Sporting Races of Galway," I called it "The Galway Races" because that title (from the Clancy Brothers and Tommy Makem) seems to be what most people know these days.
Robert Gogan,  _130 Great Irish Ballads_ (third edition, Music Ireland, 2004), p. 44, notes that the Races were such a Big Deal that many people went there without ever seeing, or wishing to see, a horse! - RBW
File: OLoc010
===
NAME: Galway Shawl, The
DESCRIPTION: The singer walks out in May and sees a beautiful girl in a Galway shawl. He comes to her home and meets her parents. She sings beautifully to his musical accompaniment. He leaves the next morning, but cannot stop thinking of her.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: courting beauty father mother music separation
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H652, p. 269, "The Galway Shawl" (1 text, 1 tune)
DT, GLWYSHWL*
Roud #2737
RECORDINGS:
Margaret Barry, "The Galway Shawl" (on IRMBarry-Fairs)
File: HHH652
===
NAME: Gambler (I), The
DESCRIPTION: "My moments are lonesome, no pleasure I find, My true love is a gambler, It troubles my mind." Her love is gone. Gambling has put him in prison; it made him threaten to shoot her. She warns other girls of those who love cards more than wives
AUTHOR: unknown
EARLIEST_DATE: 1908?
KEYWORDS: gambling abuse hardtimes poverty separation
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 184, p. 190, "The Gambler" (1 text)
Roud #4302
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (theme, floating lyrics)
cf. "The Gambler's Sweetheart" (plot)
NOTES: From its structure and certain floating lyrics, as well as the subject matter, this seems likely to be a derivative or relative of "The Roving Gambler." However, it has enough detail of its own to deserve a separate listing. - RBW
File: CW190
===
NAME: Gambler (II), The
DESCRIPTION: "Good morning, Mister Railroad Man, What time do your trains roll by? At nine-sixteen and two-forty-four And twenty-five minutes till five." The gambler watches trains, wanders, and thinks about the woman who left him.
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: train gambling hobo separation
FOUND_IN: US
REFERENCES: (3 citations)
Botkin-RailFolklr, p. 459, "The Gambler" (1 text, 1 tune)
Silber-FSWB, p. 62, "The Gambler" (1 text)
DT, GAMBLR
RECORDINGS:
Dixon Brothers, "Rambling Gambler" (Bluebird 6809, 1937; on TimesAint04)
ALTERNATE_TITLES:
Good Morning Mister Railroadman
NOTES: I place the Dixon Brothers' recording here rather than in "Roving Gambler" mostly because of the tune; verses float freely between the two songs, so distinguishing them is difficult. - PJS
File: BRaF459
===
NAME: Gambler, The (My Father was a Gambler; Hang Me): see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: Gambler's Blues: see Saint James Infirmary (File: San228)
===
NAME: Gambler's Dying Words, The: see I Wonder Where's the Gambler [Laws H22] (File: LH22)
===
NAME: Gambler's Sweetheart, The
DESCRIPTION: "Forever remember your dark-eyed girl Whose love was ever true, Who has waited for your coming...." She accuses him of gambling while leaving her alone at home. She warns him that some day he'll find her dead.
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: love gambling betrayal death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 809, "The Gambler's Sweetheart" (2 texts)
Roud #7426
CROSS_REFERENCES:
cf. "The Gambler" (plot)
NOTES: There are, obviously, many songs on this theme, and I suspect this may be a derivative of one of the others. But the lyrics have no obvious connection with any of the others, so I classify this piece separately. - RBW
File: R809
===
NAME: Gambling on the Sabbath Day [Laws E14]
DESCRIPTION: A young man murders his comrade and is condemned to die. His family's pleas for him are in vain; despite repenting, he is hanged. His downfall is blamed on his habit of gambling on the sabbath day
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, George Reneau)
KEYWORDS: gambling murder execution
FOUND_IN: US(Ap,So)
REFERENCES: (5 citations)
Laws E14, "Gambling on the Sabbath Day"
MHenry-Appalachians, pp. 105-106, "Gambling on the Sabbath Day" (1 text)
Randolph 137, "Gambling on the Sabbath Day" (3 texts plus 2 excerpts, 2 tunes)
Randolph/Cohen, pp. 170-173, "Gambling on the Sabbath Day" (1 text, 1 tune -- Randolph's 137A)
DT 624, CMBLSBTH (?! -- if this doesn't work, try GMBLSBTH)
Roud #3544
RECORDINGS:
William Hanson, "Gambling on the Sabbath Day" (OKeh 45529, 1931; rec. 1930)
George Reneau, "Gambling on the Sabbath Day" (Vocalion 15149, 1925)
NOTES: Ozark lore attributes this song to one Bill Walker, executed May 10, 1889. Since some people believe they learned the song before this time, the attribution is doubtful. - RBW
File: LE14
===
NAME: Gambling Suitor, The: see The Courting Case (File: R361)
===
NAME: Gamboling Man, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Game of Cards (I), The
DESCRIPTION: A young man meets a girl by the highway. They walk together; she would play a game. He wants her to learn "the game of all fours." When the "cards" are "dealt," she takes his "jack." If he will return, she offers to "play the game over and over again."
AUTHOR: unknown
EARLIEST_DATE: 1908 (Sharp)
KEYWORDS: cards sex bawdy seduction game
FOUND_IN: Britain(England(South,Lond))
REFERENCES: (3 citations)
Kennedy 175, "The Game of Cards" (1 text, 1 tune)
MacSeegTrav 36, "All Fours" (2 texts, 2 tunes)
DT, GAMECARD
Roud #232
RECORDINGS:
Sam Larner, "All Fours" (on SLarner02)
Levi Smith, "The Game of Cards" (on Voice11)
BROADSIDES:
Bodleian, Firth b.34(120), "Game of All Fours," unknown, n.d.; also Firth b.34(281), "Game of All Fours"
ALTERNATE_TITLES:
One-Two-and-Three
The Game of All Fours
As I Walked Out
NOTES: The actual card-game of "All Fours" is also known, in the USA, as "Seven-Up," "Old Sledge," "High-Low-Jack," and "Pitch" -- but the use of the game as a sexual metaphor did not make it across the ocean. - PJS
W. C. Hazlitt _A Dictionary of Faiths & Folklore_, entry on "All Fours," notes that the common amusement of having an adult get down on arms and knees and have a child ride on his back is also known as "all fours," which obviously has high potential for sexual undercurrents.
There are other songs entitled "The Game of Cards" -- e.g. Healy-OISBv2, pp. 81-83. Some may have distant dependence on this, but most are probably distinct. - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 11" - 11.9.02: "it should be stressed that this song has nothing, whatsoever, to do with the card game." - BS
File: K175
===
NAME: Game of Cards (II), The
DESCRIPTION: Cahill, Napoleon, D'Esterre and O'Connell, Castlereagh and Pitt are presented as players of all-fours or twenty-five representing Erin, France and John Bull. In 1798, "'Twas easy to beat drunken men." Now we're sober. "Nearly ready to finish the game"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: game cards England France Ireland nonballad patriotic political
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 127, "The Game of Cards" (1 text)
Healy-OISBv2, pp. 81-83, "The Game of Cards" (1 text)
BROADSIDES:
Bodleian, 2806 b.9(35), "The Game of Cards" ("You true sons of Erin draw near me"), P. Brereton (Dublin), c.1867; also 2806 c.8(87), 2806 b.9(231), 2806 b.11(12), Johnson Ballads 3062, "The Game of Cards"; Harding B 26(283), "The Irish Volunteers of 1860"
CROSS_REFERENCES:
cf. "The Shan Van Voght (1848)" for references to the "stealing" of Grattan's Parliament
cf. "The Wheels of the World" for references to the "stealing" of Grattan's Parliament
NOTES: There is no "overall game" nor even a "game" in this broadside, just a set of disconnected plays in what seem to be two different card games.
Dr Daniel William Cahill [1796-1864] deals "the five fingers to France, The stout Knave of Clubs to America." Cahill argued against the government and the Established Church of Ireland (source: "Daniel William Cahill" in _The Catholic Encyclopedia_ at the New Advent site).
Napoleon deals all-fours next.
"D'Esterre went to play O'Connell ... with a trigger the cards he did shuffle." Daniel O'Connell killed challenger D'Esterre in an 1815 duel over a disparaging speech by O'Connell about the Dublin Corporation (source: "Daniel O'Connell" in _The Catholic Encyclopedia_ at the New Advent site).
The 1798 defeat at Tara is referred to as all-fours but seems to mix in the twenty-five rules.
"Castlereagh and old Pitt were gamesters ... Our Parliament they stole away." Castlereagh and William Pitt championed the Act of Union of Ireland and England in 1800, but both resigned with Cornwallis in 1801 when George III refused to allow Irish Emancipation (source: "Robert Stewart, Viscount Castlereagh" in _The Age of George III_ at the site of A Web of English History).
For another attribution of the 1798 loss to Irish drunkenness see "The Boys of Wexford."
For discussions of the card games of "All Fours" (Old Sledge, Auction Pitch, High-Low-Jack) and "Twenty-Five" (Spoil Five, Five Fingers) see the Card Games site and The United States Playing Card Company site. - BS 
It would be hard to claim that alcohol ruined the 1798 rebellion; that was wrecked by lack of planning and the fact that the United Irish leadership was informant-riddled. But the Fenians of the nineteenth century did often fall prey to drink. A still later rebel, Vinnie Byrne, claims it nearly cost them even after the 1916 rebellion: "[Michael] Collins was a marvel. If he hadn't done the work he did, we'd still be under Britain. Informers and drink would have taken care of us." (See Tim Pat Coogan, _ Michael Collins_, p. 116.)
The referencesto the stealing of Parliament remind me very much of "The Wheels of hte World," though which came first is not clear. - RBW
File: BrdTGoC2
===
NAME: Game of Howsers, The: see We Won't Go Home Until Morning (File: RJ19226)
===
NAME: Game Warden Song
DESCRIPTION: The game warden catches the singers netting salmon. He takes the nets but agrees, for a ride, not to turn them in. But he sends a letter to the magistrate. They are met by the judge with a summons. The warden gets half the $10 fine.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: trial trick fishing judge punishment
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Leach-Labrador 82, "Game Warden Song" (1 text, 1 tune)
ST LLab082 (Partial)
Roud #9978
File: LLab082
===
NAME: Game-Cock, The: see The Trooper and the Tailor (File: FSC139)
===
NAME: Gamekeepers Lie Sleeping
DESCRIPTION: "I keep my dogs and my ferrets too, O I have them in my keepin' To catch good hares all in the night While the gamekeeper lies sleeping." The singer goes out one night and poaches a female rabbit. Her cries bring the keepers, but he escapes and sells her
AUTHOR: unknown
EARLIEST_DATE: 1891
KEYWORDS: poaching hunting dog animal commerce
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (3 citations)
Kennedy 249, "Gamekeepers Lie Sleeping" (1 text, 1 tune)
Copper-SoBreeze, pp. 266-267, "Dogs and Ferrets" (1 text, 1 tune)
ADDITIONAL: Tim Coughlan, Now Shoon the Romano Gillie, (Cardiff,2001), pp. 444-445, ("My master turned me out of doors") [English text from singing of New Forest Gypsies reported by Gillington, _Songs of the Open Road_ (1911)] [see addiitional references in NOTES]
Roud #363
RECORDINGS:
Wiggy Smith, "Hares in the Old Plantation" (on Voice18)
Tom Willett, "While Gamekeepers Lie Sleeping" (on TWillett01, HiddenE)
CROSS_REFERENCES:
cf. "While Gamekeepers Were Sleeping" (lyrics)
ALTERNATE_TITLES:
I Keep My Dogs
Hares in the Old Plantations
The Sleeping Gamekeeper
I Keep My Dogs and Ferrets Too
While Gamekeepers Lie Sleeping
NOTES: See Tim Coughlan, _Now Shoon the Romano Gillie_, (Cardiff,2001), for five texts:
Coughlan #167, pp. 442-446, "I Have a Juk" [Romani-English text reported by Yates]. 
Coughlan #168, p. 446, "I Have a Dog" [Romani-English text from BBC Radio (1987)]. 
Coughlan #169, p. 446, "Mandy Had a Juk" [Romani-English fragment reported by Kennedy (1975)]. 
Coughlan #170, p. 446, "I Have a Juk" [Romani-English fragment reported by Richardson (1976-1977)]. 
Coughlan #171, p. 447, "Mandi Has a Jukkel" [Romani-English text reported by Stanley and Burke (1986)]. 
Jasper Smith is the source for #167, #168 and #171. - BS
File: K249
===
NAME: Gan to the Kye Wi' Me
DESCRIPTION: "Gan to the kye wi' me, my love, Gan to the kye wi' me; Over the moor and thro' the grove, I'll sing ditties to thee." The girl's cattle were stolen after he was killed in battle, but the singer hopes the kine are enough to support them
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: father death courting animal
FOUND_IN: Britain(England(Scotland))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 138-139, "Gan to the Kye Wi' Me" (1 text, 1 tune)
ST StoR138 (Full)
Roud #3162
File: StoR138
===
NAME: Gaol Song (II): see The Prisoner's Song (File: FSC100)
===
NAME: Gaol Song, The
DESCRIPTION: The singer describes the hard life in prison, abused by the guards, granted only the poorest food, and forced to work the treadmill and engage in other backbreaking labour. The singer, once free, vows to leave all such things behind
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: work prison punishment captivity worksong
FOUND_IN: Britain(England(South))
REFERENCES: (3 citations)
Fahey-Eureka, pp. 22-23, "The Gaol Song" (1 text, 1 tune)
Vaughan Williams/Lloyd, p. 39, "Gaol Song" (1 text, 1 tune)
DT, GAOLSONG*
Roud #1077
CROSS_REFERENCES:
cf. ""The County Gaol"
cf. "Durham Gaol"
ALTERNATE_TITLES:
Treadmill Song
NOTES: The treadmill was a rotating cylinder that drove machinery such as a mill or a pump. It was a set of steps on a circular gear, which meant that, once started, the convict had no way to stop it; he had to keep walking the treads until relieved. Prisoners often collapsed in agony on such machines, first installed in Sydney in 1823. - RBW
While Lloyd does not mention [this] as a work song, it certainly has the cadence of one, so I have assigned that keyword. -PJS
File: FaE022
===
NAME: Garbey's Rock: see The Jam on Gerry's Rock [Laws C1] (File: LC01)
===
NAME: Garden Gate, The
DESCRIPTION: Mary and William have planned a secret meeting. She arrives at the garden gate at eight; William is not there. Nine comes; she searches, then vows to forsake him. He finally arrives at ten; he had been shopping for a ring. She forgives him
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: courting nightvisit separation marriage
FOUND_IN: US(MW) Ireland
REFERENCES: (3 citations)
Eddy 78, "The Garden Gate" (1 text, 1 tune)
SHenry H770, p. 485, "The Garden Gate" (1 text, 1 tune)
BrownIII 319, "The Garden Gate" (1 fragment, in which the girl tells her mother she is going to the garden gate; it may be a separate song, but with only four lines, we cannot tell )
ST E078 (Partial)
Roud #418
File: E078
===
NAME: Garden Hymn, The
DESCRIPTION: "The Lord into his garden comes, the flowers yield a rich perfume." The hymn describes how God's presence brings life to the garden. Jesus will "conquer all his foes And make his people one."
AUTHOR: unknown
EARLIEST_DATE: 1800 (published by author)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Chase, pp. 158-159, "The Garden Hymn" (1 text, 1 tune)
Roud #11502
RECORDINGS:
Singers from Stewart's Chapel, Houston, MS, "Nashville" (on Fasola1)
NOTES: The authorship of this piece is somewhat dubious. It's usually credited to Jeremiah Ingalls, but sometimes to William Campbell. In the 1971 Sacred Harp Campbell is given credit as "Translator," whatever that means in the context of an English-language hymn. Sacred Harp gives Alexander Johnson as composer of the tune, but Amelia Ramsey, in her notes to the Stewart's Chapel recording, credits Ingalls for the tune as well. - PJS
Which mostly proves how confused the data in the Sacred Harp can be. John Martin writes to note that many of the Sacred Harp editions lack this piece, and others give different attributions.
Martin adds that he has searched the works of Ingalls, and finds the poem there, in a form rather different from the Sacred Harp version (e.g. it lacks the part about Jesus conquering his foes). Ingalls, Martin writes, "describes the words as 'att. John Stocker, 1777.'"
I finally gave up and decided to eliminate all author references for the piece. In any case, chances are that any version you hear is composite. - RBW
File: Cha158
===
NAME: Garden Where the Praties Grow
DESCRIPTION: ""Have you ever been in love, me boys, Oh! have you felt the pain? I'd rather be in jail, I would, than be in love again.... I'd have you all to know That I met her in the garden where the praties grow." The two marry and live happily ever after
AUTHOR: Johnny Patterson
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love courting marriage
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, p. 463, "I Met Her in the Garden Where the Praties Grow" (1 short text, 1 tune)
DT, PRATIGRO*
Roud #4803
RECORDINGS:
Dr. Smith & his Champion Hoss Hair Pullers, "In the Garden Where the Irish Potatoes Grow" (Victor 21711, 1928)
CROSS_REFERENCES:
cf. "Why Paddy's Not at Work Today" (tune)
File: San463
===
NAME: Gardener, The [Child 219]
DESCRIPTION: A "gardener" comes to a lady, offering many flowers if she will marry him. She is not interested.
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: courting flowers rejection gardening
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (6 citations)
Child 219, "The Gardener' (3 texts)
Bronson 219, "The Gardener" (9 versions+3 in addenda, but #1 at least is "The Gairdner and the Plooman")
Leach, p. 577, "The Gardener" (1 text)
OBB 159, "The Gardener" (1 text)
DBuchan 55, "The Gardener" (1 text)
DT 219, GRDNRCHD*
Roud #339
RECORDINGS:
Ewan MacColl and Peggy Seeger, "The Gairdener Chyld" (on SCMacCollSeeger01) {cf. Bronson's #6}
ALTERNATE_TITLES:
The Gairdener Chylde
NOTES: One can only suspect that this piece was made up to get in as many flower symbols as possible; at least, there seems little point to most of the imagery. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener."
Child prints a text (additions and corrections to "The Gardener", p. 258 in Volume V of the Dover edition) which conflates this with "In My Garden Grew Plenty of Thyme" or something similar. 
The song is also sometimes confused with "The Gairdener and the Plooman" (which see). - RBW
File: C219
===
NAME: Gargal Machree: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Garners Gay (Rue; The Sprig of Thyme)
DESCRIPTION: Of a girl who has lost her thyme and her love. She uses other symbols to describe her sad state: With her thyme gone, her life is "spread all over with rue"; a woman is a "branching tree"; a man, a wind blowing through the branches and taking what he can
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: loneliness seduction virginity
FOUND_IN: Britain(England(North))
REFERENCES: (4 citations)
Silber-FSWB, p. 163, "Rue" (1 text)
Stokoe/Reay, pp.  80-81, "The Willow Tree, or, Rue and Thyme" (1 text, 1 tune)
Ritchie-Southern, p. 56, "Keep Your Garden Clean" (1 text, 1 tune)
DT, THYMSPRG* THYMTHY
Roud #3
RECORDINGS:
Sara Cleveland, "The Maiden's Lament" (on SCleveland01)
BROADSIDES:
Murray, Mu23-y1:104, "The Wheel of Fortune," James Lindsay (Glasgow), 19C [an incredible mixture, with the "Wheel of Fortune" verse, though the rest seems an amalgam of thyme songs -- here spelled "time"; I file it here in desperation]; also Mu23-y1:105, "The Wheel of Fortune," James Lindsay (Glasgow), 19C [even more mixed, with the "Wheel of Fortune" verse, a thyme stanza, a bit of "Fair and Tender Ladies," a "Queen of Heart" verse, and more]
CROSS_REFERENCES:
cf. "The Rue and the Thyme (The Rose and the Thyme)" (theme, symbols, lyrics)
NOTES: In flower symbolism, thyme stood for virginity. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener."
Thyme songs are almost impossible to tell apart, because of course the plot (someone seduces the girl) and the burden (let no man steal your thyme) are always identical. For the same reasons, verses float freely between them. So fragmentary versions are almost impossible to classify.
The Digital Tradition has a version, "Rue and Thyme" (not to be confused with the Ballad Index entry with that title) which seems to have almost all the common elements. Whether it is the ancestor of the various thyme songs, or a gathering together of separate pieces, is not clear to me.
This is one of the more lyric versions of the piece, usually with almost no information about the actual seduction. The mention of multiple herbs, especially rue, seems characteristic.
To show how difficult all this is, Randolph and Ritchie have texts of this called "Keep Your Garden Clean" which are pretty much the same except for the first verse. On the basis of that distinction, I filed Randolph' with "In My Garden Grew Plenty of Thyme" and Ritchie's with "Garners Gay (Rue; The Sprig of Thyme)."
Jean Ritchie calls this a version of "The Seeds of Love," and Randolph calls his a "Seeds of Love" variant also, and Roud's classification seems to agree. I don't, though I rather wish I could, given the difficulty of distinguishing. - RBW
File: FSWB163
===
NAME: Garnish
DESCRIPTION: The singer recalls "the days of my youth [when] I roamed down to the seashore, With my golden-haired Kathleen to Garnish white strand" In all his travels since none can compare with her. He wishes he might return. He knows she is waiting.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: homesickness love emigration separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, p. 57, "Garnish" (1 text, 1 tune)
NOTES: Garnish is an island in Bantry Bay in County Cork. - BS
File: OCan067
===
NAME: Garrawilla (The Shearer's Life)
DESCRIPTION: "I sing of Garrawilla, a station of the glen...." Though the singer says, "A shearer's life is jolly," he also complains of the bad conditions and the demands for fast and accurate work. But he concludes, "Heaven's sheep are shorn by Garrawilla men"
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: Australia sheep work
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 128-129, "Garawilla" (1 text, 1 tune)
NOTES: Meredith and Anderson's informant, Jack Wright, claims that this was made up by a co-worker of his father's at Garrawilla. I find it interesting that only the first and last verses refer to this station. I wonder if the middle is not a generic song about shearing (which should perhaps be titled "The Shearer's Life"), onto which these two verses were tacked. - RBW
File: MA128
===
NAME: Garryowen (I)
DESCRIPTION: "Garryowen's gone to rack, We'll win her olden glories back." Sarsfield "tramp'd the English banner down ... And we will take our father's place And scowl into the Saxon face" "Draw your swords for Garryowen and swear upon the Treaty stone"
AUTHOR: unknown
EARLIEST_DATE: c.1867? (broadside, Johnson Ballads 2111a)
KEYWORDS: rebellion nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, p. 237, "Garryowen" (1 fragment seemingly appended to a text of "Garryowen (II)")
BROADSIDES:
Bodleian, Johnson Ballads 2111a, "Garryowen" ("Oh Garr[y]owen's gone to rack"), P. Brereton (Dublin), c.1867
LOCSinging, as104230, "Garryowen," unknown[?], n.d.
NOTES: Broadsides LOCSinging as104230 and Bodleian Johnson Ballads 2111a are duplicates.
Broadside Bodleian Johnson Ballads 2111a is the basis for the description.
The Treaty of Limerick was signed on October 3, 1691 by Sarsfield for the Irish and Ginkel for the English. Hayes, _The Ballads of Ireland_, Vol I, p. 215 re "The Treaty Stone of Limerick": "The large stone which served Sarsfield for a chair and writing desk, when signing the articles of the treaty of Limerick, is still [1855] shown as an object of historic interest to the stranger visiting that city."
Croker-PopularSongs: "Garryowen, in English, 'Owen's Garden,' is a suburb of Limerick." - BS
For more on Sarsfield, see "After Aughrim's Great Disaster." - RBW
File: CrPS237a
===
NAME: Garryowen (II)
DESCRIPTION: "Let Bacchus's sons be not dismayed"; "booze and sing" ;"take delight in smashing the Limerick lamps" and fighting in the streets. Doctors can fix our bruises. Break windows and doors. Beat bailiffs. "Where'er we go they dread the name Of Garryowen"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: bragging violence drink nonballad doctor
FOUND_IN: 
REFERENCES: (3 citations)
Croker-PopularSongs, pp. 230-237, "Garryowen" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 264, "Garryowen"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 478-479, 511, "Garryowen"
NOTES: Croker-PopularSongs: "Garryowen, in English, 'Owen's Garden,' is a suburb of Limerick."
Digital Tradition: "Official marching tune of Custer's Seventh Cavalry."
Croker-PopularSongs quoting a letter of 1833: Two of the characters in the song [Johnny Connell and Darby O'Brien] "were two squireens in Limerick, and about the time the song was written, between the years 1770 and 1780, devil-may-care sort of fellows, who defied all authority." The Digital Tradition version omits four of the seven verses from Croker, and adds none, and the verses mentioning Connell and O'Brien are among the missing: Connell went to Cork and O'Brien leapt over the dock, apparently at sentencing.
Croker-PopularSongs: "Speaking of the enjoyments of the people of Limerick at fair time or on festival days, Fitzgerald and MacGregor notice in their history, a fondness for music of the fiddle or bagpipe. 'Amongst the airs selected upon these occasions, 'Patrick's Day,' and 'Garryowen,' always hold a distinguished place.'"
The only obvious connection between "Garryowen (I)" and "Garryowen (II)" is the last line of the chorus: "From Garryowen in glory!"/"For Garryowen na glora" - BS
File: CrPS230
===
NAME: Garryowen, The
DESCRIPTION: Fragment: "She was accompanied by two vessels more, When to her misfortune on the Patch she bore. There was calico, check and some velveteen ...The likes of this vessel you never had known: The American trader called the Garryowen"
AUTHOR: unknown
EARLIEST_DATE: 1945 (Ranson)
KEYWORDS: sea ship wreck commerce
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 126, "The Garryowen" (1 fragment)
NOTES: no date: "The 'Garryowen' was wrecked on the Patch, a sandbank off Balinoulart" (source: Ranson may be the source for Bourke in _Shipwrecks of the Irish Coast_ v1, p. 52) - BS
File: Ran126
===
NAME: Garvagh Town
DESCRIPTION: The singer meets the "star of Garvagh town." She refuses his advances because he is a Roman Catholic. She remarks favorably on the "twenty-two religions held up in Garvagh town." They share a drink, discuss their differences further, shake hands and part
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: courting religious rejection drink beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 34, "Garvagh Town" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Protestant Maid" (subject: religious conversion) and references there
NOTES: See "The Banks of Dunmore" for a song in which a Protestant suitor meets and is converted by a Roman Catholic farmer's daughter; after his conversion they marry. - BS
Garvagh is in County Derry, and in 1813 was the site of an incident of religious violence (see the notes to "March of the Men of Garvagh"), so it is a logical site for a meeting of religions. - RBW
File: McB1034
===
NAME: Gas Lights
DESCRIPTION: "Belfast and the new fashioned gas ... can from all darkness deliver." Business men, "jolly commanders," are named. People "from Scotland and England from Holland and Flanders" meet. Tradesmen are busy. Saturday nights are lively, well lit and safe.
AUTHOR: unknown
EARLIEST_DATE: 1823 (according to Leyden)
KEYWORDS: commerce technology nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 6, "Gas Lights" (1 text)
File: Leyd006
===
NAME: Gaspard Tragedy, The: see The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B] (File: LP36)
===
NAME: Gates of Ivory, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Gates of Londonderry, The
DESCRIPTION: King James and all his Host" attack Derry "but vain were all their Popish arts, The Gates were shut by gallant hearts ...The 'Prentice Boys" "Red war, with fiery breath Cast pestilence and death" until "the gallant ship Mountjoy" broke the seige.
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: battle rescue death starvation Ireland patriotic youth
HISTORICAL_REFERENCES: Dec 7, 1688 - The "Apprentice Boys" close the Londonderry gates against Lord Antrim's "Redshanks"
July 28, 1689 - Browning's ships break the 105 day seige of Derry (source: Cecil Kilpatrick, "The Seige of Derry: A City of Refuge" at the Canada-Ulster Heritage site)
FOUND_IN: 
REFERENCES: (1 citation)
Graham, pp. 16-18, "The Gates of Londonderry" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Shutting of the Gates of Derry" (subject) and references and notes there
cf. "The Death of Nelson" (tune) 
File: Grah016
===
NAME: Gatesville Cannonball, The
DESCRIPTION: A boastful youth meets a girl at a dance, takes her to her mother's bedside and seduces her.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy seduction sex
FOUND_IN: US(So)
REFERENCES: (1 citation)
Cray, pp. 79-81, "The Gatesville Cannonball" (1 text, 1 tune)
Roud #10407
CROSS_REFERENCES:
cf. "Rosemary Lane" [Laws K43]
cf. "When I Was Young (Don't Never Trust a Sailor)"
cf. "The Wabash Cannonball" (tune)
File: EM079
===
NAME: Gathering Mushrooms
DESCRIPTION: The singer meets a maid in the fields and asked what she is doing out so early. She is gathering mushrooms to make her mommy catsup. "Her panting breast on mine she pressed ... And her lips on mine did gently join And we both sat down together"
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond02)
KEYWORDS: courting food
FOUND_IN: Ireland
REFERENCES: ()

ST RcTGMus (Full)
Roud #7001
RECORDINGS:
Robert Cinnamond, "The Maid Gathering Mushrooms" (on IRRCinnamond02)
NOTES: I thought "catsup" - however it's spelled - was always made from tomatoes. However, it is "a seasoned sauce of puree consistency the principal ingredient of which is usu. tomatoes but sometimes another foodstuff (as mushrooms or walnuts)" (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976)
The description is based on John Moulden's transcription from IRRCinnamond02 included in the Traditional Ballad Index Supplement. - BS
File: RcTGMus
===
NAME: Gathering Nuts in May
DESCRIPTION: "Here we go gathering nuts in May, nuts in May, nuts in May, Here we go gathering... On a bright and pretty day." "Who will you have for your nuts in May?" "We'll have (a boy) for the nuts in May."  A girl will "pull him across." Repeat for each player
AUTHOR: unknown
EARLIEST_DATE: 1894 (Gomme)
KEYWORDS: playparty courting harvest nonballad
FOUND_IN: US(MW,NE,So)
REFERENCES: (3 citations)
Randolph 561, "Gathering Nuts in May" (2 texts, 1 tune, although the second, fragmentary, text may be unrelated)
Linscott, pp. 16-18, "Here We Go Gathering Nuts in May" (1 text, 1 tune)
DT, NUTSMAY
Roud #6308
RECORDINGS:
Tony Wales, "Four Children's Singing Games (Nuts in May)" (on TWales1)
CROSS_REFERENCES:
cf. "Here We Go Round the Mulberry Bush" (tune)
NOTES: Linscott explains, "This is certainly a dance survival from the May Day destivals of olden days.... The words are a corruption from 'knots of may,' the game is of English origin, and the tune a variant of the country dance melody 'Nancy Dawson.'" - RBW
File: R561
===
NAME: Gathering Rushes in the Month of May (Underneath Her Apron)
DESCRIPTION: Girl gathers rushes and bears a child, wrapping it in her apron. The baby cries; her father asks who the father was and where it was conceived, vowing to burn the place. The father was a sailor; she conceived "by yonder spring, where the small birds sing"
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: pride sex accusation questions childbirth pregnancy baby father lover sailor clothes
FOUND_IN: Britain(England(North,South))
REFERENCES: (1 citation)
DT, UNDRAPRN*
Roud #899
RECORDINGS:
Anne Briggs, "Gathering Rushes in the Month of May" (on BirdBush1, Birdbush2, Briggs3)
Jack Elliott, "Was It In the Kitchen?" (on Elliotts01)
NOTES: The Elliott version has the young man as a miner, not a sailor; it is mixed with "Never Let a Sailor Get an Inch Above Your Knee"; see "Rosemary Lane" for discussion of *that* mess. - PJS
File: DTundrap
===
NAME: Gatineau Girls, The: see The Jolly Shanty Boy (File: Be021)
===
NAME: Gauger, The
DESCRIPTION: "There was a captain of the fleet, A bonnie lassie he did entreat (x2) For to wed wi' him a sailor." She says her mother will not approve, and advises him to dress as a gauger. He fails to find any gin in the house, and says he will take the lass instead
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting trick disguise drink marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 126-127, "The Gauger" (1 text)
DT, NWCGAUG*
Roud #2343
ALTERNATE_TITLES:
The Newcombe Gauger
NOTES: It appears, in this case, that "gauger" is used in its sense of "revenue officer," though the secondary sense of one who is very aware of his own interests also fits. - RBW
File: Ord126
===
NAME: Gauger's Song, The: see The Private Still (The Gauger's Song) (File: HHH103)
===
NAME: Gay Caballero, The
DESCRIPTION: The gay caballero meets a gay senorita who gives him "exceedingly painful clapito" that results in a doctor cutting off the end of his "latraballee" and one of his "latraballeros." (In another version, her husband arrives, with predictable results)
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: bawdy humorous disease
FOUND_IN: Australia Britain(England) US(So,SW)
REFERENCES: (4 citations)
Cray, pp. 231-235, "The Gay Caballero" (2 texts, 1 tune)
Randolph-Legman I, pp. 492-493, "The Gay Caballero" (1 text, 1 tune)
Logsdon 29, pp. 169-172, "The Gay Caballero" (2 texts, 1 tune)
DT, GAYCAB
Roud #10095
RECORDINGS:
Frank Crumit, "The Gay Caballero" (Victor 21735, 1928) [a cleaned-up version, needless to say]
Lazy Larry, "The Gay Caballero" (Cameo 9019, 1929) [presumably a cleaned-up version]
CROSS_REFERENCES:
cf. "The Fire Ship" (plot) and references there
cf. "Root, Hog, or Die (VI -- Cowboy Bawdy variant)" (theme of disease destroying sexual organs)
cf. "Cielito Lindo" (tune) and references there
NOTES: Logsdon's two texts, both from Riley Neal, have no words in common except "gay caballero"; one is a song about acquiring a veneral disease; in the other, the woman's husband shows up. Based solely on the texts, they are different songs. But Neal used the same tune, and both are in limerick form. I thought seriously about splitting them. But the "B" text, about the husband, is relatively clean. I suspect it might be a version for semi-polite company. So I'm lumping them, tentatively, until more data appears. - RBW
File: EM231
===
NAME: Gay Girl Marie [Laws M23]
DESCRIPTION: The singer sends a love letter to his "gay girl Marie." The courier, however, delivers it to her father, who is outraged, and sends her into exile. The singer searches at great length, and is almost in despair when he hears a girl weeping and it is Marie
AUTHOR: unknown
EARLIEST_DATE: before 1841 (broadside, Bodleian Harding B 25(768))
KEYWORDS: courting exile father reunion
FOUND_IN: US(NE,So) Australia Ireland Canada(Mar,Newf)
REFERENCES: (6 citations)
Laws M23, "Gay Girl Marie"
Randolph 124, "Gay Girl Marie" (1 text)
Meredith/Anderson, p. 194, "Gargal Machree" (1 text, 1 tune)
Leach-Labrador 135, "Grogal McCree" (1 text, 1 tune)
Lehr/Best 45, "Gra Geal Mo Chroi" (1 text, 1 tune)
DT 583, GAYGIRLM
Roud #1020
BROADSIDES:
Bodleian, Harding B 25(768)[illegible lines], "Gragerel Macgre" ("I am a fond lover that sorely opprest"), J. Jennings (London), 1790-1840; also Harding B 17(117a), "Grageral Macgree"
NOTES: Samuel P. Bayard conjectures that "Gay Girl Marie" is a corruption of Gaelic "mo gradh geal mo chroidhe," "bright heart's love." Meredith and Anderson make the same conjecture about their title, "Gargal Machree."
Sam Henry's has a title "Gragalmachree" which makes this certain, but it's not certain that it's the same song. Both obviously are built around the same Gaelic phrase, but they may be independent. That other song is indexed as "Gra Geal Mo Chroi (II -- Down by the Fair River)"; see the notes there.  But note also that that song has many floating verses, one could easily confuse short versions. The editors of the Sam Henry collection, e.g., lumped a version of that song with this, and I followed that in early versions of the Index. Credit goes to Ben Schwartz for spotting the distinction.  - RBW
File: LM23
===
NAME: Gay Goshawk, The [Child 96]
DESCRIPTION: An English lass is forbidden to marry the Scot she loves. He sends a message by his goshawk. She asks to be buried in Scotland should she die. This granted, she feigns death. Her coffin is taken to where her lover waits; they are reunited
AUTHOR: unknown
EARLIEST_DATE: 1802
KEYWORDS: love separation death burial trick reunion
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (9 citations)
Child 96, "The Gay Goshawk" (8 texts)
Bronson 96, "The Gay Goshawk" (2 versions, though the second, from Christie, is described by Bronson as "padded out with a second strain.")
Leach, pp. 300-303, "The Gay Goshawk" (1 text)
Flanders-Ancient3, pp. 43-44, "The Gay Goshawk" (1 fragment, with lyrics typical of this piece but too short identify with certainty)
OBB 60, "The Gay Goshawk" (1 text)
PBB 43, "The Gay Goshawk" (1 text)
Gummere, pp. 265-269+358, "The Gay Goshawk" (1 text)
DBuchan 17, "The Gay Goshawk" (1 text, 1 tune in appendix) {Bronson's #1}
HarvClass-EP1, pp. 69-73, "The Gay Goss-hawk" (1 text)
Roud #61
File: C096
===
NAME: Gay Goss-hawk, The: see The Gay Goshawk [Child 96] (File: C096)
===
NAME: Gay Jemmie, the Miller: see The Gray Mare [Laws P8] (File: LP08)
===
NAME: Gay Maid of Australia, The: see Oxeborough Banks (Maids of Australia) (File: FaE044)
===
NAME: Gay Oul' Hag, The
DESCRIPTION: At a house on our street "the red-haired one is mine ... she's a gay old hag." We sat on the bed and with the last kiss I drove her crazy. I have money "from the Newross girl" but I'll not forsake my my "darlin' little wife ... she's a gay old hag"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: nonballad rake whore wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 107-108, "The Gay Oul' Hag" (1 text, 1 tune)
Roud #5167
File: TSF107
===
NAME: Gay Ploughboy, The
DESCRIPTION: A rich farmer's daughter meets and falls in love with her father's ploughboy. He warns that her father will oppose them. She gives him twelve hundred pounds and they elope from Belfast for North America.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: courting elopement emigration farming father
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 38, pp. 126-127,171, "The Gay Ploughboy" (1 text, 1 tune)
Roud #2938
File: MoMa038
===
NAME: Gay Spanish Maid, A [Laws K16]
DESCRIPTION: The girl bids her lover farewell as he prepares to sail. A storm sinks the ship soon after it starts on its way; the entire crew is killed except her lover, who clings to a plank. She hears that the ship is lost and dies before her lover reaches her
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: ship storm death separation love drowning
FOUND_IN: US(Ap,MW,NE,So) Canada(Mar, Newf)
REFERENCES: (10 citations)
Laws K16, "A Gay Spanish Maid"
Randolph 125, "Gay Spanish Mary" (1 text)
Gardner/Chickering 40, "A Spanish Maid" (1 text plus an excerpt, 2 tunes)
Combs/Wilgus 87, pp. 134-135, "The Spanish Maid" (1 text)
JHCox 115, "A Gay Spanish Maid" (1 text)
Leach-Labrador 17, "Gay Spanish Maid" (2 texts, 2 tunes)
Creighton-NovaScotia 35, "The Gay Spanish Maid" (1 text, 1 tune)
Mackenzie 33, "The Gay Spanish Maid" (1 text)
Dibblee/Dibblee, p. 79, "Gay Spanish Maid" (1 text, 1 tune)
DT 560, GAYSPAN
Roud #708
RECORDINGS:
Edmund & Sadie Henneberry, "The Gay Spanish Maid" (on NovaScotia1)
File: LK16
===
NAME: Gay Spanish Mary: see A Gay Spanish Maid [Laws K16] (File: LK16)
===
NAME: Geaftai Bhaile Atha Bui (The Gates of Ballaghbuoy)
DESCRIPTION: Gaelic. Singer leads Mary astray but falls asleep, leaving her a virgin. His heart "is coal-black ... And for nine days I've wrestled with very death itself." Advice: "women are all guile; ... sleep the more soundly without them"
AUTHOR: unknown
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: foreignlanguage seduction sex virginity rejection
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 35-37, "Geaftai Bhaile Atha Bui" (1 text)
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 73-74, "Geaftai Bhaile Ath Bui" ("The Gates of Athboy") [Gaelic and English]
CROSS_REFERENCES:
cf. "The Broomfield Hill" [Child 43] (plot) and references there
NOTES: The translations in Tunney-SongsThunder and Bell/O Conchubhair are very close and are the basis for the description. - BS
File: TST035
===
NAME: Gee, But I Want to Go Home
DESCRIPTION: A soldier complains about the coffee ("It's good for cuts and bruises And it tastes like iodine), food, clothes, work, and girls at the service club. Chorus: "I don't want no more of army life. Gee, but I want to go home"
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: soldier army hardtimes home
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-FSUSA 39, "Gee, But I Want to Go Home" (1 text, 1 tune)
Silber-FSWB, p. 276, "Gee, But I Want To Go Home" (1 text)
DT, GOHOME*
Roud #10053
RECORDINGS:
Pete Seeger, "Gee, But I Want to Go Home" (on PeteSeeger31)
ALTERNATE_TITLES:
Army Life
NOTES: Why do I suspect that Oscar Brand had a hand in this song? - PJS
File: LxU039
===
NAME: Geely Don Mac Kling Go: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Gelvin Burn
DESCRIPTION: The singer bids farewell to his old home, detailing all the historic and beautiful places nearby, "For I must go far from the Roe, my fortune to pursue." He promises to remember, and hopes that he will meet old friends again
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration
HISTORICAL_REFERENCES: 1385 - Death of "Cooey-na-Gal" O'Cahan
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H667, pp. 192-193, "Gelvin Burn" (1 text, 1 tune)
Roud #13549
CROSS_REFERENCES:
cf. "The Banks of the Roe" (for Cooey-na-Gal) and references there
NOTES: For "Cooey-na-Gal" O'Cahan, and the other O'Cahans, see the notes on "The Banks of the Roe"
File: HHH667
===
NAME: General Florido
DESCRIPTION: French: "Oh General Florido! C'est vrai ye pas capab' pren moin!" "Oh, General Florido, It is true, you can't capture me." "There is a ship on the ocean, It is true, you can't capture me."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: foreignlanguage prisoner escape
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 169-170, (no title) (1 text plus translation, 1 tune)
NOTES: Curiously, for a song of (what Courlander reports to be) an escaping Spanish prisoner/slave, the song is in French.
I have not been able to locate a historical "General Florido"; I suspect it may simply be derived from the name "Florida." - RBW
File: CNFM169
===
NAME: General Fox Chase, The
DESCRIPTION: "I am a bold undaunted fox" who has always paid his rent and taxes. The land agent evicts him. "I stole away his ducks and geese, and murdered all his drakes." The "fox" becomes the target of a manhunt across Ireland and escapes to "the land of liberty"
AUTHOR: unknown
EARLIEST_DATE: 1862 (Zimmermann)
KEYWORDS: emigration crime manhunt escape farming Ireland animal
FOUND_IN: Ireland
REFERENCES: (3 citations)
Zimmermann 68A, "The General Fox Chase" (1 text)
Munnelly/Deasy-Lenihan 19, "Farmer Michael Hayes" (1 text, 1 tune)
DT, FARMHAYS
Roud #5226
RECORDINGS:
Tom Lenihan, "Farmer Michael Hayes" (on IRTLenihan01)
BROADSIDES:
Bodleian, 2806 b.10(136), "Gallant Michael Hayes" ("I am a bold undaunted fox, that never was before on tramp"), H. Such (London), 1863-1885; also 2806 c.8(103), 2806 b.10(100), "The General Fox Chase"
CROSS_REFERENCES:
cf. "The Gallant Farmer's Farewell to Ireland" (character of Michael Hayes)
NOTES: Zimmermann: "This ballad shows how a probably hateful character could become a gallant hero in the eyes of the oppressed peasants. Michael Hayes had been for many years the ruthless bailiff of a land agent, for whom he was said to have evicted more than one thousand people in one parish alone.... When he grew too old for this job he was allowed to stay on the land as a farmer, but a notice to quit was finally served on him too. He shot the agent in a hotel in Tipperary, (30th July, 1862)." In spite of a manhunt he was never caught. 
Neither Zimmermann nor the Bodleian "The General Fox Chase" broadsides mention Michael Hayes by name; the slightly longer Bodleian "Gallant Michael Hayes" broadside mentions his name in only one line (I have reformatted the lines to emphasize what weak rhyme scheme there may be):
They searched the cellars underground, 
The lime kilns, and each dwelling house,
And packet steamers there was found 
To cross the raging sea,
But not meeting any chance, 
They took another trip to France,
But still were baulked in their tramp, 
They never met Gallant Michael Hayes.
Once these lines disappeared the remaining lines could be taken to apply to any fugitive. Zimmermann: "In 1865, a ballad singer was arrested in South Great George Street Dublin, for singing 'The General Fox Chase', which was then supposed to refer to the vain pursuit of Fenian fugitives. (_The Nation_, 4th November, 1865.)" - BS
File: Zimm068A
===
NAME: General Guinness
DESCRIPTION: General Guinness "is a soldier strong and 'stout,' Found on every 'bottle-front'" "He always finds a corkscrew far more handy than a sword." He "kept our spirits up in the midst of all the wars." "All over Bonnie Scotland too the General is seen"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: drink humorous nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 47, "General Guinness" (1 text, 1 tune)
Roud #2914
NOTES: Morton-Ulster: "General Guiness has been winning battles for a brave few years now. Arthur Guiness bought the small and ill-equipped brewery at James' Gate, Dublin in 1759." - BS
File: MorU047
===
NAME: General Lee's Wooing
DESCRIPTION: "My Maryland, my Maryland, I bring thee presents fine, A dazzling sword with jewelled hilt...." (The Confederates "woo" the border state, but the end is bloody): "My Maryland, my Maryland, alas the ruthless day... Proud gentlemen... whose bones lie stark"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Civilwar battle death derivative
HISTORICAL_REFERENCES: Sept 17, 1862 - Battle of Antietam (Sharpsburg). Robert E. Lee's invasion of Maryland meets a bloody check at the hands of McClellan
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 233-235, "General Lee's Wooing" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "O Tannenbaum (Oh Christmas Tree)" (tune) and references there
cf. "The Battle of Antietam Creek" (subject)
NOTES: The Confederates always wanted Maryland to join them. Local sentiment probably did not favor them, however, and in any case the federal government could hardly allow the secession of the state in which Washington was located.
The South had to pursue a forceful "wooing." In 1862, having won the Seven Days' Battles and Second Bull Run, Robert E. Lee took the Army of Northern Virginia into Maryland. He didn't do well. Few recruits came in, and many of his own soldiers refused to cross the Potomac. Add the fact that Union General George McClellan captured a copy of Lee's orders, and it was almost a miracle that he was able to assemble his army at Sharpsburg to fight McClellan.
The Battle of Antietam/Sharpsburg was hardly a victory for anyone. It produced the highest casualties of any single day of battle in the war. By the time it was over, every regiment in Lee's army was worn out, and he may have had fewer than 25,000 effective soldiers left. McClellan still had unused troops, but he refused to commit them; his losses had also been immense. ames B. Murfin, _The Gleam of Bayonets: The Battle of Antietam and Robert E. Lee's Maryland Campaign, September 1862_, 1965; I use the 1985 Louisiana State University Press, p. 375, gives McClellan's losses at Antietam as 12,469, with another 2700 lost at South Mountain and Shepherdstown (this apart from some 12,000 captured by the Confederates at Harper's Ferry). Confederate records are never as reliable about such things, and are even worse for Antietam, but Murfin, p. 377, estimates Lee's losses in the Maryland campaign as 10.292 -- out of probably not more than 40,000 who went north into Maryland.
After the battle, Lee headed back across the Potomac. The wooing of Maryland was over. According to Scott, an unknown Union soldier wrote this song to commemorate the fiasco.
The Confederates had learned a lesson. Lee would invade the North again, leading ultimately to the Battle of Gettysburg, but that was not an attempt to bring in recruits or occupy northern territory; he was just trying to take the pressure off Virginia and try to defeat the Federals. Murfin, pp. 302-305, notes how, after Antietam, southerners would curse any band which played "Maryland, My Maryland."
Amazingly, even some of the southern papers got the idea; Murfin, p. 307, cites this from the Petersburg _Express_: "We think that General Lee has very wisely withdrawn his army from Maryland, the co-operation of whose people in his plans and purposes was indispensable for success. They have failed to respond to his noble appeal, and the victories (sic.) of Sharpsburg and Boonsborough, South Mountain, purchased with the torrents of blood, have been rendered improfitable in a material point of view."
As a matter of fact, they may indirectly have lost the south the war, since Lee's retreat ended, at least for the time, the possibility of foreign intervention. The one good result of Antietam was that it was enough of a Union victory -- barely -- to allow Lincoln to issue the preliminary Emancipation Proclamation. And that ended the possibility of intervention for all time. As Murfin writes on p. 311, "In a few strokes of the pen, with this thin thread of 'victory' at Sharpsburg as his guide, Lincoln changed the Civil War from a war of economics and politics to a war for the abolition of slavery, and automatically made Lee's Maryland campaign and the Battle of Antietam one of the most decisive of the war." - RBW
File: SBoA233
===
NAME: General Michael Collins
DESCRIPTION: A memorial to Michael Collins. His part in the Easter rising is recalled as well as other activities before the Treaty. "De Valera and his Die-hards they forced Civil War And Mick Collins was ambushed ... brother on brother they never should turn"
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: Civilwar rebellion murder England Ireland memorial patriotic political
HISTORICAL_REFERENCES: Aug 22, 1922 - The head of the Provisional Government of Ireland, General Michael Collins shot and killed in an ambush by Anti-Treaty republicans (source: _Michael Collins (Irish Leader)_ and _Irish Civil War_ at the Wikipedia site)
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More, pp. 264-265, "General Michael Collins" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "Lovely Willie" [OLochlainn 55] (tune)
NOTES: The song mentions Eamon de Valera. The Anglo-Irish Treaty of December 6, 1921 established the Irish Free State. The Civil War that followed was between the pro-treaty and anti-treaty factions. De Valera led the ant-treaty faction. (source: _Irish Civil War_ at the Wikipedia site) - BS
Michael Collins (1890-1922) and Eamon de Valera (1882-1975) were indeed probably the two most important figures of the Irish Civil War. De Valera came to prominence first; the highest-ranking officer to have been spared the executions following the Easter Rising of 1916, he was regarded as the head of the Irish rebel government. But in the struggle that followed, Collins, the "Big Fellow," had done more to make Irish indepenence real than the slight de Valera, who looked like (and was) a mathematics teacher -- and not even Irish by birth; he was born in the United States (a fact which saved his life in 1916). When it came time to form an actual Irish state, Collins became its de facto leader; de Valera, by his opposition to the Treaty with England which allows the formation of the Irish Free State, was for a time pushed out of government.
Collins was the son of a surprisingly well-educated farmer, Michael John Collins, who died when Collins was six (Collins senior was about sixty when he married Marianne O'Brien, then aged about 23, and Michael junior was the youngest child. His mother too died when he was fairly young).
Collins, ironically,  worked in London from 1906 to 1915, when he returned to Ireland to take part in the struggle for independence. He was involved in the Easter Rising, being imprisoned for his part in the attack on the General Post Office, but he was not at that time a leader. Eventually released, he became an important Irish Republican Army organizer. Elected to parliament in 1918, he joined the other members of Sinn Fein in withdrawing and forming the separatist Dail Eireann.
In the provisional government that the Dail formed, he became first the Minister of Home Affairs, then took the desperately difficult job of Minister of Finance. All the while he was continuing the battle against the British, becoming probably the most renowned fighter in Ireland.
Eventually, he was appointed, against his will, to the committee appointed to negotiate with England.
There were five Irish commissioners, plus a secretary: Collins, Arthur Griffith (the founder of Sinn Fein), and secretary Erskine Childers were the most prominent. De Valera carefully stayed home -- and even from there, did his best not to become involved. After difficult negotiations, Collins, Griffith, and two other commissioners agreed to a treaty which gave Ireland home rule (in effect, dominion status) in return for continued paper allegiance to the King; it also separated Ulster from the rest of Ireland, with a boundary supposedly to be adjusted based on a religious census; this of course never happened; indeed, Kee, p. 160, says that Lloyd George had offered irreconcileable boundary promises to the Irish delegation and to Ulster leader James Craig, and adds on p. 172 that when the time came to appoint the commissioners, Ulster simply refused to take part. (For notes on sources, see the Bibliography at the end of this article.) A vague attempt was finally made at a survey, but no changes came about; in effect, the decision was that the boundary would remain unchanged and Britain would forgive a bunch of financial claims against Ireland; Kee, p. 173.
Collins apparently felt that Ireland had to have peace; the IRA was too close to exhaustion (Fry/Fry, p. 313). Coogan, p. 274, quotes Robert Barton, one of Collins's fellow commissioners. Collins was in anguish: "Collins rose looking as though he were going to shoot himself...." But "[Collins] knew that physical resistance, if resumed, would collapse, and he was not going to be the leader of a forlorn hope."
There were other reasons for signing. Collins had earned most of his successes by having a better intelligence system than the British, and there was evidence that the British were catching up; see Coogan, p. 76, 83, etc. where instances are listed of the British firing the informers in their midst.
In addition, the Irish commissioners had been pressured and bluffed by the much more politically astute Lloyd George (Dangerfield, pp. 334-339). To say they were tricked would be a little strong, but they were certainly manipulated.
On the other hand, rationally speaking, it was a good deal for Ireland; see the notes to "The Irish Free State."
When he signed the agreement in December of 1921, Collins is reported to have said "I have signed my own death warrant" (Wallace, p. 131; Fry/Fry, p. 317; Dangerfield, p. 339; Coogan, p. 276, notes that Lord Birkenhead had commented that in approving the Treaty that he might have signed his political death warrant; to which Collins replied "I may have signed my actual death-warrant").
Collins did not consider the Treaty final; he described it as "not the ultimate freedom that all nations aspire... to, but the freedom to achieve it" (Fry/Fry p. 314; Coogan, p. 301).
Ireland still wasn't satisfied; the Dail barely approved the treaty by a vote of 64-57.
It is ironic to note that when Collins cast his vote in favor of the treaty -- the first vote of the roll call to favor it -- he cast it as member from Armagh, which would not be part of Ireland under the treaty.
De Valera, who had authorized the commission to England without outlining clear terms, proceeded to denounce the treaty and quit his own government. *This* was what ultimately doomed Collins. What followed was civil war.
A provisional government was formed early in 1922, and after de Valera failed to earn re-appointment as head of the Dail, the office went to Griffith. But Collins was the heart and soul of the provisional government, and its provisional president. An election in that year overwhelmingly supported treaty candidates (Golway, p. 276; Fry/Fry, pp. 315-316; Younger, pp. 313-314, states that "pro-Treaty panel candidates gained 239,193 votes of a total of 620,283 votes cast [39%]; anti-treaty panel candidates... polled 133,864 [22%]; and Labour, Independents and Farmers [most of whom would have accepted the Treaty] won between them 247,226 votes [40%]").
De Valera and the hardliners were so dissatisfied that they went to war against their own allies. (This was rather typical of de Valera, whose grip on reality was sometimes rather weak; even Younger, who is sufficiently pro-Irish that he consistently calls terrorists "freedom fighters," says on p. 90 that "odd decisions" "were... almost habitual with de Valera".)
(To be fair, there are many historians who, instead of seeing de Valera as too hardline and inconsistent, see him as brilliant and subtle -- perhaps too subtle for the opposition to understand. E.g, Kee, p. 149, says, "It was indeed because de Valera knew there must be compromise that he remained in Ireland, but not in his own self-interest"; it is Kee's view that he was *allowing* compromise while keeping the hard-liners on his side. The problem with this theory, of course, is that he kept the hard-liners, but didn't support the compromise, and the result was the Civil War.)
In the struggle that followed, Collins ironically had the backing of Britain. But an exhausted Griffith died in early August 1922, and Collins was slain from ambush within a fortnight (Fry/Fry, p. 317; Dangerfield, p. 294). There was already war, of course, but that pretty well guaranteed that the war would continue for generations, at least in Ulster. Collins seemingly hoped for peace with "the North-East corner" (Coogan, p. 301), but few others went along.
The assassination of Collins was in some ways interesting. He travelled with an armed and armored party, but the party had difficulty finding its way in the area of the "Mouth of Flowers." Several ambushes were set up; one managed to catch him despite being outgunned. Collins, hothead that he was, actually left his car to fight the assassins -- and was killed.
Collins was the only member of his party to die, though others were injured.
Other details are fuzzy. According to Coogan (p. 420), Sonny O'Neill, who probably fired the fatal shot, died without telling his side of the story. And De Valera would eventually cause the government to destroy -- not seal, *destroy* -- its records (p. 418).
It will tell you how horrid the situation was at the time of the Civil War that even Younger, who approved of Irish terrorism, admits that the anti-Treaty faction of de Valera "made no effort to rule in any positive way. What they were setting out to do was to prevent the Dail government and its interwoven Provisional Government from ruling either." (p. 268). Nor did they seek to learn the will of the people: "The plain fact was that de Valera and his adherents did not want an election which they knew they could not win'" (p. 269).
"To many of his compatriots, Collins was the real architect of Ireland's freedom, and some said he was the greatest Irish hero since Brian Boru" (Fry/Fry, p. 317). That statement is surely too strong, but it obviously explains such songs as this one.
A good analogy might be to Abraham Lincoln: Both Lincoln and Collins had fought great wars that defined their nations, and with the war ending, were responsible for reconstruction and healing. Both were assassinated before reconstruction really began. Many historians think that Lincoln would have moderated reconstruction had he lived, as they think Collins might have held down the Irish Civil War had he lived. In neither case can we know, and Collins, since he died earlier in the process, probably had even less chance than Lincoln. But he was surely the only man who had any chance.
Apparently there was eventually a movie about Collins, entitled "Michael Collins" (how original), by Neil Jordan, starring Liam Neeson and Julia Roberts. All I know about this is what I read in Michael Padden and Robert Sullivan, _May the Road Rise to Meet You_, pp. 157-161, which is anything but a scholarly account. Apparently this tried to lay the blame for Collins's death at the feet of de Valera -- which caused Coogan, who had been hired as a consultant to the film, to blow up, noting that, if such a thing had been shown to be true, it would have signed de Valera's own death warrant. Whatever the film was like, it proved to be rather a flop.
>>BIBLIOGRAPHY<<:
In writing this summary, in addition to the standard references such as the _Oxford Companion to Irish History_, I have consulted the following works, some obviously more relevant than others:
Coogan: Tim Pat Coogan _Michael Collins_ (1992, 1996; I used the Roberts Rinehart edition), one of several biographies of the subject of this song. Coogan is mildly pro-Collins, but without slipping into hagiography, and the amount of detail he supplies is most useful.
Dangerfield: George Dangerfield, _The Damnable Question: One Hundred and Twenty Years of Anglo-Irish Conflict_ (Atlantic Little Brown, 1976). Despite its title, the book is devoted primarily to the problems of Ireland's Protestant/Catholic relations and the unsolved Ulster question, but this of course means it devotes significant space to the issue of Partition.
Fry/Fry: Peter and Fiona Somerset Fry, _A History of Ireland_ (1988; I used the 1993 Barnes & Noble edition). A general history, not overly long, but it seems fairly reliable and is quite easy to read.
Golway: Terry Golway, _For the Cause of Liberty: A Thousand Years of Ireland's Heroes_. (Simon & Schuster, 2000) This has a strange tendency to skip around, missing some incidents and devoting much ink to character details, but as such it contains some information not in the standard histories.
Kee: Robert Kee, _Ourselves Alone_, being volume III of _The Green Flag_ (combined edition published 1972; I used the 1987 Quartet edition of volume III), is probably the most balanced work on Irish history I have read, and it concentrates heavily on the period leading up to final Irish independence.
Wallace: Martin Wallace, _A Short History of Ireland_ (1973, 1986; I used the 1996 Barnes & Noble edition). The name is accurate: It's very short. But it likes to throw in the occasional detail not found elsewhere.
Younger: Calton Younger, _Ireland's Civil War_ (1968, 1979; I used the 1988 Fontana edition). This is a very difficult book, at least for me, because it considers terrorism justifiable. It is a very detailed reference if you can stomach a guy who thinks murder counts as political leadership. - RBW
File: OLcM264
===
NAME: General Monroe
DESCRIPTION: At Ballynahinch Monro and his men fight until night. Monro pays a woman not to tell where he is hiding. She calls the army. They takes him home to Lisburn. He is hanged, beheaded and his head put on a spear. Monro's sister swears to avenge his death.
AUTHOR: unknown
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: betrayal execution rebellion Ireland
HISTORICAL_REFERENCES: 1798 - Irish rebellion
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (7 citations)
Peacock, pp. 998-999, "General Munro" (1 text, 1 tune)
OLochlainn 65, "General Munroe" (1 text, 1 tune)
Zimmermann 16, "General Munroe" (2 texts, 1 tune)
Moylan 84, "General Munroe" (1 text, 1 tune)
OBoyle 12, "General Monroe" (1 text, 1 tune)
Healy-OISBv2, pp. 60-61, "General Munroe (2)" (1 text); pp. 58-59, "General Munroe (1)" is a come-all-ye which appears to be a different song but which shares some verses
DT, GENMUNRO*
ST Pea998 (Partial)
Roud #1166
BROADSIDES:
Bodleian, Johnson Ballads 614, "General Munroe," E.M.A. Hodges (London), 1846-1854; also 2806 b.10(8), 2806 b.9(267), Firth b.26(204), Harding B 11(3562), Harding B 19(9), Firth b.25(315) [some illegible words], 2806 c.15(185), Harding B 11(1297), Harding B 11(1298), "General Munroe"; 2806 c.14(70) [partly illegible], "General Monro"; 2806 b.10(9), "General Munro"
Murray, Mu23-y1:024, "General Monro," James Lindsay Jr. (Glasgow), 19C
CROSS_REFERENCES:
cf. "Henry Munroe" (subject)
cf. "Betsy Gray" (subject: Battle of Ballynahinch)
NOTES: In the 1798 Irish Rebellion shopkeeper Henry Monro (1768-1798) led a force of the United Irishmen in a losing battle at Ballynahinch -- about 12 miles from Belfast. Monro was captured and was hanged three days later, on June 16, 1798. Source BBC History site _The 1798 Irish Rebellion_ by Professor Thomas Bartlett. - BS
Monroe (also spelled Munroe, Munro, and Monro) was, ironically, not even Irish; he was a draper, an immigrant from Scotland -- and, like Wolfe Tone among others, a Protestant. He was not a member of the United army, and had had no expectations of being appointed a general. But he ended up in command of rebel forces (or, rather, the rebel mob; it hardly qualified as an army) in Down.
Their commander was about as well equipped to be a general as his  troops were to be an army; he had no military training and wasn't even particularly well educated. Nor did he have time to do anything about his troops' inadequacy even had he known what to do; Robert Kee (in _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 129) reports that he took command in the county only one day before the scheduled beginning of the rising; his predecessor had been arrested.
Discipline they certainly did not have; when Monroe pressed for an attack, Catholics in particular held back (one source says they were afraid of Monroe's Presbyterianism). In a sense, they were right to be hesitant, because the troops simply weren't ready to fight. Then the Loyal troops appeared.
The sight of opposing forces caused many of Monroe's troops to desert. Monroe sent most of his best pikemen into Ballynahinch, since only in the town could they avoid the British guns. But a loyal force equipped with two cannon destroyed the rebel camp, and Major General George Nugent, commanding loyal forces in Ulster, then attacked the town. The remaining rebels were quickly routed (see Thomas Pakenham, _The Year of Liberty_, pp. 229-231). It was, for all intents and purposes, the end of the 1798 rebellion in Ulster. - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "General Munro" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: Pea998
===
NAME: General Owen Roe
DESCRIPTION: Battle-weary Owen Roe finds a place to sleep. He pays a woman not to tell where he is hiding. She calls the cavalry. They capture him. He leaves his land to his family and his bridle and saddle to his son. His sister swears to avenge his death.
AUTHOR: Joseph Maguire
EARLIEST_DATE: 1938 (sung by Joseph Maguire on Decca 12137, according to Spottswood)
KEYWORDS: betrayal execution rebellion Ireland
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 35, "General Owen Roe" (1 text, 1 tune)
Roud #5284
NOTES: According to _Ethnic Music on Records: a Discography of Ethnic Recordings Produced in the United States, 1893 to 1942_ by Richard K Spottswood (Urbana, c1990), Joseph Maguire wrote and recorded "General Owen Roe": Decca 12137, recorded January 13, 1938 (matrix number 63147-A). - BS
McBride: "It tells of the bravery of ... Owen Roe O'Neill who returned from the continent to fight for the cause of his country in 1640.... This song tells of his bravery during an incident when he was betrayed while weary and tired from the throes of battle. [The singer] learned this song from a 78 r.p.m. record - he thinks it was a McGettigan record that came from the U.S. in the thirties. It seems possible that McGettigan wrote this version based on a similar song 'General Munroe' ...." The songs are more than similar. Whole verses are lifted, though the names are changed. Even the verse about Roe's/Munroe's sister is the same.
Owen Roe O'Neill was born in Co. Tyrone in either 1595 or 1597. He returned from the continent in 1642 and was appointed commander of the Northern Army of the Confederation of Kilkenny. His death was nothing like what is portrayed in this ballad. He became sick and died, probably of tetanus, on November 6, 1649 (source: "Owen Roe O'Neill - The Cavan Connection" by Jim Hannon at the Cornafean Online site). It had been thought that he was poisoned (see, for example, "Lament for Owen Roe O'Neill" by Thomas Davis: 
"Did they dare, did they dare, to slay Owen Roe O'Neill!"
'Yes they slew with poison him they feared to meet with steel.'
"May God wither up their hearts! May their blood cease to flow!
May they walk in living death, who poisoned Owen Roe!
Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, p. 204.) - BS
Owen Roe O'Neill (Eoghan Rua O'Neill) is one of those slightly ambiguous figures so common in Irish history. The date of his birth is perhaps even more uncertain than the above might imply -- Terry Golway, _For the Cause of Liberty_ (Simon & Schuster, 2000), p. 26, gives the year of his birth as around 1580; Daithi O hOgain, _The Lore of Ireland: An Enclyclopedia of Myth, Legend and Romance_, Boydell Press, 2006, p. 399, says1582, and o R. F. Foster, _Modern Ireland 1600-1972_, Penguin, 1988, p 80 plumps for 1590.
Whenever he was born, Owen was the nephew of Hugh O'Neill, Earl of Tyrone (for whom see "O'Donnell Aboo"); see Golway, p. 26. He left Ireland around the time of the "Flight of the Earls," and had spent thirty-odd years fighting for Spain in the hope that they would rescue Ireland. Finally, during the Civil War of the 1640s, he came home.
Foster, p. 90, says of him, "Subtle, aristocratic, a great figure in the Spanish army, O'Neill was deeply imbued with Continental Catholic zeal... While he was capable of fervent Royalist rhetoric [at a time when Charles I was at war with his own parliament], it as suspected that he harboured the characteristic O'Neill ambitions on his own account." Unfortunately, after so long away, he didn't understand either Irish or English politics.
According to Martin Wallace, _A Short History of Ireland_ (Barnes & Noble, 1986), p. 48, he claimed to be fighting on the order of the embattled Charles I -- which was only partly true; the Irish *thought* Charles would support them, but in fact they fought without his encouragement (Foster, p. 88). Still, their claims helped splinter the Irish. O'Neill became one of the chief leaders of Irish forces, but there was no overall commander to coordinate strategy.
O'Neill won a medium-sized battle against Munroe at Benburb in 1646 (according to Peter and Fiona Somerset Fry, _A History of Ireland_, Barnes & Noble, 1988, p. 153, he left 3000 English and Scots dead on the field); it was the greatest single victory of Irish forces in the period (Foster, p. 80). He could perhaps have marched on Dublin at this point, or moved to clean out the remainder of the Parliamentary army of Scots who occupied Ulster, but did neither, wasting his advantage as he tried to strengthen Catholic control over Ireland rather than win the final battle over the English that would have let the Irish decide things on their own (Foster, p. 98)..
Soon after, the always-fragile unity of the Irish forces crumbled completely -- the moderate leader the Earl of Ormond wanted to make terms; the Papal nuncio, supported by O'Neill, tried to hold out for absolute Catholic supremacy. And then Cromwell came. His dreadful work is described under "The Wexford Massacre." Ireland was left a conquered, ruined country.
O'Neill didn't see much of this; he died in 1649. Golway, p. 27, claims he "died under mysterious circumstances," though Wallace, p. 50, asserts he had been sick for some time; Foster, p. 102, splits the difference and says he died of a "mysterious illness." O hOgain, p. 400, claims it was cancer, and afflicted his knee. But apparently the worst pain came while negotiating with the British, leading to charges of poisoning. O hOgain, in fact, relates a tale a dance was organized in his honor, and he was given poisoned boots! As O hOgain says, "His death was one of the most momentous losses in Irish history, and the people refused to believe it had come from natural causes."
Ultimately, I fear he did Ireland more harm than good; by holding out so long, he made compromise impossible and opened the door for Cromwell. - RBW
File: McB1035
===
NAME: General Rawlinson, The
DESCRIPTION: General Rawlinson leaves Marystown and docks at New Harbour. In a gale "the vessel struck the rocks" and sinks but the crew get to shore. They spend three weeks on meager rations waiting to be taken home.
AUTHOR: Ben Doucey
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: sea ship storm wreck
HISTORICAL_REFERENCES: Jan 7, 1922 - General Rawlinson, docked at Oporto, Portugal, collides with the dock fin anchor and sinks. (Lehr/Best, Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 40, "The General Rawlinson" (1 text, 1 tune)
NOTES: I assume New Harbour, on the return trip, is in Portugal rather than the New Harbour not far from St John's. - BS
I assume the _General Rawlinson_ was named for Henry Seymour Rawlinson (1864-1925), commander of the British Fourth Army in World War I. This presumably makes it a fairly new ship in 1922; perhaps the crew was inexperienced? - RBW
File: LdBe040
===
NAME: General Scott and the Veteran
DESCRIPTION: "An old and crippled veteran to the War Department came" to volunteer his services in the Civil War: "I'm not so weak but I can strike, and I've got a good old gun...." "We will plant our sacred banner in each rebellious town...."
AUTHOR: Bayard Taylor?
EARLIEST_DATE: 1922 (Dean); said to have been written May 13, 1861
KEYWORDS: Civilwar patriotic soldier
HISTORICAL_REFERENCES: July 25, 1814 - Battle of Lundy's Lane (Bridgewater), at which the veteran is alleged to have fought. Winfield Scott was a brigadier at Lundy's Lane
1861-1865 - American Civil War. General Winfield Scott (1786-1866), who had been one of the leading generals in the Mexican war, was brevet Lieutenant General and commander in chief of Union forces until age forced him to retire in November 1861
FOUND_IN: US(MA,MW)
REFERENCES: (2 citations)
Warner 13, "General Scott and the Veteran" (1 text, 1 tune)
Dean, pp.128-129, "Billie Johnson of LundyÕs Lane" (1 text)
ST Wa013 (Full)
Roud #9583
NOTES: For details on the Battle of Lundy's Lane, see "The Battle of Bridgewater."
The reference to "Pickens" is to Fort Pickens, the *other* fort (besides Fort Sumter) in Federal hands when the Confederacy seceded. Fort Pickens was in Pensacola Bay, and a handful of federal troops under Lt. Adam J. Slemmer occupied in on January 10, 1861.
This part of the story is quite similar to that of Fort Sumter -- as is the sequel: The Confederates demanded the surrender of Pickens several times in early April. But the Federals reinforced Pickens as they did not reinforce Sumter. Some 400 reinforcements arrived on April 12, and Colonel Harvey Brown took charge on April 18. The Federals held Pensacola for the entire war, depriving the Confederates of an excellent if rather out-of-the-way harbor.
The veteran's disparagement of the "mini" (minie) ball demonstrates both his crustiness and his uselessness -- the rifle musket and minie ball were the first (relatively) rapid-fire rifle type in the world -- about four times as fast as previous rifles. The veteran had used either smoothbore muskets (which couldn't hit a brick wall at fifty paces) or the older rifles (which took roughly two minutes to load and fire). In neither case was he as effective as he thought.
"Arnold" is, of course, the traitor Benedict Arnold.
It is ironic to note that the song ends with the general (nowhere explicitly mentioned as Winfield Scott, but the description fits) turning down the veteran. By the end of the war, the Federals had formed an Invalid Corps of such tired and crippled old men. They needed every body they could get.
Several other high Union officers had experience in the War of 1812 (most of the information for this comes from the information in Boatner's _Civil War Encyclopedia_). John Wool (1879-1869), who commanded the key Union positio of Fort Monroe in late 1861, had raised a company of New York soldiers in 1812 and fought on the Canadian border. Robert Patterson (1792-1881) had served with the Pennsylvanis militia in 1812-1813, and at the start of the Civil War, he was in charge of forces in the Shenandoah Valley. His performance was poor enough that he was mustered out of the service on July 27, 1861. Neither of these two would have been at the War Department in 1861, however, and -- unlike Winfield Scott -- neither had performed noteworthy service at Lundy's Lane.
There is one fairly well documented instance of a War of 1812 veteran fighting (as opposed to manning a desk) in the Civil War: John Burns of Gettysburg allegedly came out and fought with Union soldiers after Confederates chased off his cows. He is said to have been wounded three times and captured. No one, however, seems to have been able to verify his previous war service -- and, in any case, he was not a proper soldier, just sort of a one-man posse.
I don't know if this song was inspired by an actual incident, but it could have been. According to Steven E. Woodworth, _Nothing But Victory: The Army of the Tennessee 1861-1865_ (Vintage Civil War Library, 2005), p. 6, at the start of the Civil War, a veteran of Lundy's Lane organized a company of men in their forties and fifties, and offered it to the State of Illinois -- only to be turned down because the men were too old. It's easy to imagine a songwriter turning a general incident into one about a particular soldier. - RBW
File: Wa013
===
NAME: General Taylor: see Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny) (File: Hugi078)
===
NAME: General Wolfe
DESCRIPTION: "Oh, General Wolfe to his men did say, 'Come, come my boys, To yon blue mountain that stands so high...." "The very first volley the French fired at us, They wounded our general on his left breast." The dying Wolfe recalls his exploits
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: battle death Canada soldier
HISTORICAL_REFERENCES: Sept 13, 1759 - Battle of Quebec. Wolfe and Montcalm killed.
FOUND_IN: Canada(Ont)
REFERENCES: (2 citations)
Fowke/Mills/Blume, pp. 50-51, "General Wolfe" (1 text, 1 tune)
DT, BRAVWLF3*
Roud #624
RECORDINGS:
Margaret Ralph, "General Wolfe" (on Ontario1)
BROADSIDES:
Bodleian, Harding B 11(2156), "Death of General Wolfe," unknown, n.d.; same broadside as 2806 c.16(156)
CROSS_REFERENCES:
cf. "Brave Wolfe" (subject)
NOTES: This ballad veers curiously between truth and fancy. Wolfe did not lead his men up a mountain -- but he *did* lead them up a high cliff to the Plains of Abraham, where the Battle of Quebec was fought. The bullet which mortally wounded him was not fired in the first volley (since he had already taken two other wounds), but it did hit him in the breast. And he had indeed been in the army for 16 years when he died at the age of 32.
For full historical notes, see "Brave Wolfe."
Spaeth mentions a song, "The Death of General Wolfe" (not the same as "Brave Wolfe") published in 1775 -- but I don't know if that is the same as this song. - RBW
Fowke describes "The Death of the Brave General Wolfe" as an alternate title for "Brave Wolfe" [Laws A1] rather than this song. - PJS
File: FMB050
===
NAME: General Wonder
DESCRIPTION: "General wonder in our land ... As General Hoche appeared; General woe fled through our land ... General gale our fears dispersed ... General joy each heart has swelled, As General Hoche has fled... General of the skies That sent us general gale"
AUTHOR: unknown
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: navy war sea ship storm France Ireland patriotic
HISTORICAL_REFERENCES: December 1796 - A gale disrupts the French Fleet of 43 ships and 15000 men under General Hoche in Bantry Bay; only one ship was sunk and drove several ashore, and the rest returned to Brest. (source: "'Rackets and Tea': The Life and Writings of William Hazlitt (1778-1830)" in _Biographies_ on the Blupete site)
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 29, "General Wonder" (1 text)
ADDITIONAL: Thomas Kinsella, _The New Oxford Book of Irish Verse_ (Oxford, 1989), p. 259, (no title) (1 text)
CROSS_REFERENCES:
cf. "The Shan Van Vogt" (subject)
NOTES: As this song implies, the French invasion commanded by General Hoche was probably the closest Ireland ever came to being liberated by foreign forces. General Hoche was one of the brightest young stars of the French Republic (Napoleon being the other), and he had a sufficient force to cause the British great discomfort at least. (It might have been more than discomfort, given how bad most of the senior British officers were.)
But the wind caused disaster twice. First it scattered and damaged the French fleet. Most ships made it to Bantry Bay, but bad weather made it difficult to land. And the wind had also blown Hoche and naval commander de Galles away from the rest of the fleet. With no assertive officer to force the remaining ships to get something down, the French fleet essentially sat still in Bantry Bay from December 22 to December 25, then sailed for home. The Royal Navy was severely (and rightly) criticized for its complete failure to do anything, but the British had lucked out even so. Hoche would die soon afterward, and no one else in France was willing to devote significant resources to Ireland.
For more context on Hoche's expedition, see the notes to "The Shan Van Voght." - RBW
File: Moyl029
===
NAME: Genette and Genoe: see Jeanette and Jeannot (File: SWMS245)
===
NAME: Gentle Annie
DESCRIPTION: The singer reports that it is harvest time, and soon he will be traveling on. He bids farewell to "gentle Annie," the daughter of the farm. He offers her various warnings
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1856 (sheet music)
KEYWORDS: love separation farewell farming warning
FOUND_IN: US(So) Australia
REFERENCES: (3 citations)
Randolph 701, "Gentle Annie" (1 fragment, 1 tune)
Saunders/Root-Foster 2, pp. 7-10+417, "Gentle Annie" (1 text, 1 tune); pp. 18-21+419, "Gentle Annie for the Guitar" (1 text, 1 tune)
DT, GENTLANN
ST R701 (Full)
Roud #2656
RECORDINGS:
Apollo Quartet of Boston, "Gentle Annie" (CYL: Edison [BA] 3289, n.d.)
Asa Martin, "Gentle Annie" (Champion 16568, 1933; rec. 1931; on KMM)
Ernest V. Stoneman, "When the Springtime Comes Again" (on Stonemans01)
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(060), "Gentle Annie," James Lindsay (Glasgow), 1852-1859
NOTES: Stephen Foster's original version is said to be based on Annie Laurie, and is mostly a lyric (a lament for a dead girl: "Thou wilt come no more, Gentle Annie, Like a flower thy spirit did depart; Though art gone, alas! like the many That have bloomed in the summer of my heart"). I's been said that it was inspired by his grandmother, Annie Pratt McGinnis Hart.
The song, however, has evolved heavily, presumably because the tune is strong but the lyrics banal. The Australian version (the one you may know from the singing of Ed Trickett), in particular, is heavily localized, and has become a near-ballad of a migrant worker bidding farewell to the (young?) daughter of the household.
Properly, the two should be split, but given the limited circulation of each in tradition, I decided not to bother. - RBW
File: R701
===
NAME: Gentle Boy, The (Why Don't Father's Ship Come In)
DESCRIPTION: "As I roved out one evening As I sat down to rest, I saw a boy scarce four years old Sleep on his mother's breast." They tell about his father who sailed away and was lost in a hurricane. "They cast their eyes to heaven and son and mother died."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: grief parting death sea disaster storm wreck baby mother father separation sailor
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 113, "The Gentle Boy" (1 text)
Peacock, pp. 795-796, "The Ship That Never Came" (1 text, 1 tune)
Lehr/Best 120, "Why Don't Father's Ship Come In?" (1 text, 1 tune)
Roud #2973
CROSS_REFERENCES:
cf. "The Rocks of Scilly" [Laws K8] (theme)
File: GrMa113
===
NAME: Gentle Fair Jenny: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Gentle Robin: see A Robin, Jolly Robin (File: Perc1185)
===
NAME: Gentle Shepherdess, The: see The Sailor and the Shepherdess [Laws O8] (File: LO08)
===
NAME: Gentleman Frog, The: see Kemo Kimo (File: R282)
===
NAME: Gentleman Froggie: see Frog Went A-Courting (File: R108)
===
NAME: Gentleman of Exeter, A (The Perjured Maid) [Laws P32]
DESCRIPTION: A girl and a captain fall in love and vow to be true. After he sails away, though, she turns to another man. When the captain returns, she scorns him. He dies on the day of her wedding. That night he appears as a ghost and carries her away with him
AUTHOR: unknown
EARLIEST_DATE: 1896 (A. W. Moore _Manx Ballads and Music_)
KEYWORDS: courting infidelity marriage death ghost
FOUND_IN: US(Ap,NE) Canada(Mar)
REFERENCES: (5 citations)
Laws P32, "A Gentleman of Exeter (A Perjured Maid)"
SharpAp 130, "The Noble Man" (1 text, 1 tune)
Creighton-SNewBrunswick 66, "The Oxfordshire Captain" (1 text, 1 tune)
BBI, ZN2418, "Susan a Merchants Daughter dear"; cf. ZN789, "Disloyal lovers listen now" 
DT 510, GENTEXTR*
Roud #997
CROSS_REFERENCES:
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "The Ghost's Bride" (plot)
cf. "Alonzo the Brave and Fair Imogene" (plot)
File: LP32
===
NAME: Gentleman Soldier, The
DESCRIPTION: Soldier brings woman into his sentry-box. They have sex; he prepares to leave. She asks him to marry her; he says he can't, as he's already married -- and "two wives are allowed in the army, but one's too many for me!" Nine months later she has a child.
AUTHOR: unknown
EARLIEST_DATE: 1907
KEYWORDS: adultery seduction sex abandonment pregnancy bawdy humorous soldier
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Vaughan Williams/Lloyd, pp. 40-41, "The Gentleman Soldier" (1 text, 1 tune)
Roud #178
CROSS_REFERENCES:
cf. "Drumdelgie" (tune)
cf. "One Morning in May (To Hear the Nightingale Sing)" [Laws P14] (plot)
File: VWL040
===
NAME: Gentleman Still, A: see Poor, But a Gentleman Still (File: FSC103)
===
NAME: Gentleman's Meeting, A: see The Foggy Dew (The Bugaboo) [Laws O3]; also "Pretty Little Miss" [LawsP18] (File: LO03)
===
NAME: Gently, Johnny, My Jingalo
DESCRIPTION: The speaker successively places his hands on various portions of his love's anatomy, all of them respectable. She tells him, "Come to me, quietly, do not do me injury/Gently, Johnny, my jingalo". They marry.
AUTHOR: To all intents and purposes, Cecil Sharp
EARLIEST_DATE: 1916
KEYWORDS: courting marriage sex derivative
FOUND_IN: 
REFERENCES: (3 citations)
Sharp-100E 65, "Gently, Johnny, My Jingalo" (1 text, 1 tune)
Silber-FSWB, p. 158, "Gently Johnny, My Jingalo" (1 text)
DT, JJINGLO*
Roud #5586
CROSS_REFERENCES:
cf. "A-Rovin'" (plot, theme)
cf. "Yo Ho, Yo Ho" (theme, floating lyrics)
cf. "Tickle My Toe" (theme)
NOTES: [Sharp writes,] "The words were rather coarse, but I have, I think, managed to re-write the first and third lines of each verse without sacrificing the character of the original song." The second and fourth lines constitute a refrain, of course. With this in mind, I call this essentially a new song, written by CJS. Otherwise, it could well be listed under "A-Rovin'." -PJS
Ed Cray, following Reeves, notes that "Gently" was rewritten from "Yo Ho, Yo Ho," which follows the exact form of "A-Rovin'" although with even more explicit lyrics. Roud lumps the result with "Yo Ho." I say the amount of rewriting is so great to make them separate songs. - RBW
File: ShH65
===
NAME: Geordie [Child 209]
DESCRIPTION: Geordie is taken (for killing a man or the king's deer). When word comes to his lady, she sets out to do all possible to save his life. In most accounts she raises his ransom, though in others Geordie is executed
AUTHOR: unknown
EARLIEST_DATE: 1792 (Scots Musical Museum)
KEYWORDS: execution hunting punishment rescue wife
FOUND_IN: Britain(Scotland(Aber),England(All)) US(Ap,MA,MW,NE,NW,SE,So) Canada(Mar,Newf)
REFERENCES: (33 citations)
Child 209, "Geordie" (15 texts)
Bronson 209, "Geordie" (58 versions)
Greig #75, p. 1, "Gight's Lady" (1 text)
GreigDuncan2 249, "Gightie's Lady" (11 texts, 6 tunes) {A=Bronson's #3, C=#37?, D=#34}
BarryEckstormSmyth p. 475, "Geordie" (notes only)
Flanders-Ancient3, pp. 231-235, "Geordie" (2 texts, 1 tune)
Belden, pp. 76-78, "Geordie" (3 texts)
Randolph 28, "The Life of Georgie" (3 texts plus 1 excerpt, 2 tunes) {Randolph's A=Bronson's #36, D=#40}
Randolph/Cohen, pp. 52-53, "The Life of Georgie" (1 text, 1 tune -- Randolph's 28D) {Bronson's #40}
Davis-Ballads 39, "Geordie" (3 texts plus a fragment, 1 tune entitled "Georgie") {Bronson's #30}
Davis-More 34, pp. 262-266, "Geordie" (1 text, 1 tune)
BrownII 38, "Geordie" (1 text, in which the condemned man is "Georgia"!)
Scarborough-SongCatcher, pp. 213-215, "Geordie" (1 text, with local title "Georgy-O," plus an excerpt from Christie; 1 tune on p.411) {Bronson's #5}
Chappell-FSRA 17, "Johnny Wedlock" (1 text, 1 tune) {Bronson's #49}
Flanders/Brown, pp. 241-242, "Charley's Escape" (1 text from the Green Mountain Songster)
Greenleaf/Mansfield 17, "Lovely Georgie" (1 text)
Creighton-Maritime, p. 27, "Geordie" (1 text, 1 tune)
Creighton/Senior, pp. 73-75, "Geordie" (2 texts plus 1 fragment, 1 tune) {Bronson's #23}
Gardner/Chickering 128, "Georgie" (1 fragment)
Leach, pp. 554-559, "Geordie" (3 texts)
Sharp-100E 9, "Geordie" (1 text, 1 tune)
Niles 53, "Geordie" (1 text, 1 tune)
SharpAp 34, "Geordie" (4 short texts plus 2 fragments, 6 tunes){Bronson's #50, #31, #51, #30, #55, #41}
Sharp/Karpeles-80E 24, "Georgie" (1 text, 1 tune -- a composite version) {Bronson's #30}
Vaughan Williams/Lloyd, pp. 42-43, "Geordie" (1 text, 1 tune) {Bronson's #27}
Hodgart, p. 135, "Geordie" (1 text)
JHCox 23, "Geordie" (1 text)
Ord, pp. 408-410, "Gight's Ladye"; pp. 456-457, "My Geordie, O, My Geordie O" (2 texts, 1 tune) {Bronson's #4}
MacSeegTrav 16, "Geordie" (2 texts, 2 tunes)
Silber-FSWB, p. 220, "Geordie" (1 text)
BBI, ZN279, "As I went over London Bridge"
DT 209, GEORDI GEORDI2* GEORDI4*
ADDITIONAL: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #358, pp. 491-492, "Geordie -- An old Ballad" (1 text, 1 tune, from 1792)
Roud #90
RECORDINGS:
Harry Cox, "Georgie (Geordie)" (on FSB5, FSBBAL2) {Bronson's #24}
Paul Joines, "The Hanging of Georgie" (on Persis1)
Ewan MacColl and Peggy Seeger, "Georgie" (on ENMacCollSeeger02)
Levi Smith, "Georgie" (on Voice11)
BROADSIDES:
Bodleian, Harding B 11(1797), "The Life of Georgey," H. Such (London), 1849-1862; also Harding B 25(488), "Death of Georgy", W. Armstrong (Liverpool), 1820-1824; also Firth c.21(20), Harding B 11(2297), "Maid's Lamentation for her Georgy" 
CROSS_REFERENCES:
cf. "The Prisoner at the Bar (The Judge and Jury)" (plot)
ALTERNATE_TITLES:
The Death of Geordie
The Bog o' Gight
The Braes o' Gight
The Lady o' Gight
NOTES: The historical antecedents of this ballad are disputed. Some suggest that it is based on the life of George Gordon (1512-1562), Fourth Earl of Huntley, the son of Margaret Stewart, she being an illegitimate daughter of James IV. A blackletter ballad cited by Lloyd names Geordie as George Stoole of Northumberland, executed in 1610, but Lloyd suggests the ballad itself predates the 17th century. - PJS, RBW
To the above list of possibilities, I'm going to add one other possibility, though it is later than Lloyd's broadside. But it might have caused the song to be reshaped. According to Susan Maclean Kybett, _Bonnie Prince Charlie_, Dodd Mead, 1988, pp. 16-17, after the 1715 Jacobite rebellion, several peers (including, e.g., Lord Derwentwater) were condemned to death. One of them was William Maxwell of Nithsdale. His wife Winifred begged before George I for his life. Her request was refused, but she was granted a last visit -- and managed to help him escape.
I must admit to sometimes wondering if this is really a single ballad. In most texts, of course, Geordie is charged with murder. But in a few texts, such as Child's "H" and Ord's version "Gight's Ladye," the charge is poaching, and the whole feeling of the song (as well as the lyrics) is different. Coffin's notes in Flanders-Ancient3 observes that there are two endings, one with Geordie ransomed, one with him executed, and that these seem to form distinct family groups. I wouldn't be surprised if two separate songs were mixed. - RBW
File: C209
===
NAME: Geordie Asking Miss Tiptoe in Marriage: see Geordie's Courtship (I Wad Rather a Garret) (File: Ord204B)
===
NAME: Geordie Downie
DESCRIPTION: "Hae ye heard o' a widow in rich attire... She's followed a tinker frae Dee-side, His name was Geordie Downie." She rejoices to follow tinker Geordie rather than her former husband. But he gets drunk, kills her, and falls off his horse and dies
AUTHOR: unknown
EARLIEST_DATE: 1904 (GreigDuncan2)
KEYWORDS: tinker Gypsy courting abandonment murder death horse
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
GreigDuncan2 279, "Geordie Downie" (2 texts, 1 tune)
Ord, p. 461, "Geordie Downie" (1 text)
Roud #3930
NOTES: Ord discusses this in connection with the "glamour" cast by the Gypsy Laddie over women, implying that this is a sort of sequel of that song. This seems unlikely, but it probably does derive from the same sort of anti-Gypsy feeling. - RBW
File: Ord461
===
NAME: Geordie Gill
DESCRIPTION: "Of aw the lads I see or ken, There's yen I like abuin the rest; He's neycer in his warday duds Than others donn'd in aw their best." The singer recalls all the held she has had from Geordie.  She admits that her heart is in his keeping
AUTHOR: Robert Anderson
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: love courting
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 110-111, "Geordie Gill" (1 text, 1 tune)
ST StoR110 (Partial)
Roud #1536
File: StoR110
===
NAME: Geordie Sits In Charlie's Chair
DESCRIPTION: "Geordie sits in Charlie's chair ... Charlie yet shall mount the throne." "Weary fa' the Lawland loon, Whae took frae him the British crown" whom the clans fought at Prestonpans. Cumberland's adventures in hell are recounted.
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2)
KEYWORDS: Hell nonballad political Jacobites
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Hogg2 105, "Geordie Sits In Charlie's Chair" (1 text, 1 tune)
GreigDuncan1 131, "Highland Laddie" (1 text, 1 tune)
Roud #3808
CROSS_REFERENCES:
cf. "Hieland Laddie" (tune and structure)
cf. "The Lovely Lass of Inverness" (tune [Hogg2 pp. 162-164], according to Hogg)
NOTES: The alternate lines are "[My] bonny laddie, Highland laddie."
Hogg2: "I have been told the song was originally composed by an itinerant ballad-singer, a man of great renown in that profession, ycleped 'mussel-mou'ed Charlie'" and that the original had only two verses about Cumberland in hell, viz., "Ken ye the news I hae to tell, Cumberland's awa to hell, The deil sat girnin in the neuk, Riving sticks to roast the Duke," "They pat him neist upon a spit, And roasted him baith head and feet, But a' the whigs maun gang to hell, That sang Charlie made himsel'"
For more about Cumberland see the notes to "The Muir of Culloden." - BS
Mussel-mou'ed Charlie is a fairly well-documented figure of the eighteenth century (dates supposedly 1687-1792), whose real name was Charles Lesly; there is a short biography at the beginning of Kinloch's _Ballad Book_, along with a drawing of the singer. Kinloch, p. iv, says that he resided in Aberdeen in his later years, so it is reasonable to find his songs there.
Kinloch quotes this song on p. vi, though with different verses from those cited above.
Incidentally, at the time this song was presumably written, the throne of England upon which Geordie sat was *not* Charles's even under Jacobite reckoning; the titular James III and VIII, Bonnie Prince Charlie's father, lived until 1766. - RBW
File: GrD1131
===
NAME: Geordie Williamson
DESCRIPTION: At Aikey Fair the singer hires to Geordie Williamson. The cattleman, mistress, Ned the gardner, Jean the cook, and Jim the bailie [cattleman] are described. The food is bread and cheese. The cook is ugly but "she thocht she wis an awful swell"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: farming work moniker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 379, "Geordie Williamson" (1 text)
Roud #5916
CROSS_REFERENCES:
cf. "The Guise o' Tough" (some verses are shared)
NOTES: Ord translates "bailie" as cattleman on p. 261.
This is a short version of "The Guise o' Tough" with all names changed. - BS
File: GrD3379
===
NAME: Geordie's Courtship (I Wad Rather a Garret)
DESCRIPTION: "A maid of vain glory, with grandeur and pride Was asked by a ploughman for to be his bride." She rejects him, saying she would prefer to be hanged. He lists his assets. She still scorns him. He concludes, "I swear you shall  never get me for a man."
AUTHOR: probably John Milne
EARLIEST_DATE: 1871 (Milne's Selection of Songs and Poems)
KEYWORDS: courting rejection curse
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 204-205, "Geordie Asking Miss Tiptoe in Marriage" (1 text)
Roud #5067
CROSS_REFERENCES:
cf. "The Courting Case" (plot)
ALTERNATE_TITLES:
Plooman Geordie
NOTES: That this is a composed song is beyond doubt. My only hesitation in attributing it to Milne is the diversity of the forms found in tradition; nearly every collection has a different title and even some difference in form. It's hard to imagine that much variation arising in the few decades between Milne's publication and the early collections.
I wouldn't be at all surprised if this were inspired by "The Courting Case" or something similar. - RBW
File: Ord204B
===
NAME: Geordie's Lost His Penker
DESCRIPTION: Geordie has lost his penker (largest marble) in a cundy (drain-grate). The singer rams a clothes prop up the cundy, but can't retrieve the penker. He ties on a terrier, but fails; finally he blows up the drain -- as Geordie finds the penker in his pocket
AUTHOR: unknown
EARLIEST_DATE: 1961 (recorded by Len Elliott)
KEYWORDS: game humorous
FOUND_IN: Britain(England(North)) Ireland
REFERENCES: (1 citation)
DR, GORDPENK
Roud #8244
RECORDINGS:
Len Elliott, "Geordie's Lost His Penker" (on Elliotts01)
ALTERNATE_TITLES:
Wee Willie's Lost His Marley
NOTES: Anyone who thinks everything in this song is simple and straightforward hasn't heard Louis Killen sing it, or seen the look in his eye as he sings, "He rammed it up the cundy...." - PJS
File: RcGLHP
===
NAME: Geordie's Wig
DESCRIPTION: "I wad sing a sang to you, Gin ye waur not a whig" about Geordie's burnt wig. "Fan he saw the wig was sung" he "flang't to the fire"
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan1)
KEYWORDS: clothes humorous nonballad political royalty hair
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 122, "Geordie's Wig" (1 text)
Roud #5815
NOTES: GreigDuncan1: "[The singer's] mother used to sing the following -- a sort of nursery-song. She wonders if [it] be a bit of a Jacobite song. Sir Walter Scott makes someone say that Geordie flung his periwig into the fire when he heard of the Porteous Riot." - BS
I might speculate, instead, that it might be about George I's relationship with his wife. She was unfaithful to him, and he divorced and imprisoned her. (For background on this, see the notes to "Came Ye O'er Frae France.") But this is wild speculation. - RBW
File: GrD1122
===
NAME: George Alfred Beckett
DESCRIPTION: Beckett leaves Perlican for the coal fields of Cape Breton. At Glace Bay, he beats a taximan to death with an iron bar, intending to rob him. He escapes back to Newfoundland but is caught and returned to stand trial in Cape Breton
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: execution murder trial gallows-confession
HISTORICAL_REFERENCES: Apr 20, 1931 - George Alfred Beckett, convicted of murdering Nicolas Marthos, hanged in Sydney, Nova Scotia. (Lehr/Best)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 41, "George Alfred Beckett" (1 text, 1 tune)
NOTES: [Lehr/Best's] version starts with the usual references to honest parents who raised him tenderly. Lehr/Best discusses a version collected in Nova Scotia that adds the features expected at the end: don't do what I have done or you'll end on the gallows and, for my part, "may the Lord have mercy on my soul." Cape Breton, Sydney, and Glace Bay are eastern Nova Scotia. Perlican is on the Avalon Peninsula, not far from St John's. - BS
File: LeBe041
===
NAME: George Aloe and the Sweepstake, The: see High Barbaree [Child 285; Laws K33] (File: C285)
===
NAME: George Bunker
DESCRIPTION: George Bunker goes fishing but sees Nellie on the shore. He takes her for a "walk" and promises to marry her. He is already married. He sails away for fish intending to return to Nellie.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: adultery seduction lie promise fishing sea ship infidelity
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 192-193, "George Bunker" (1 text, 1 tune)
File: Pea192
===
NAME: George Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: George Jones [Laws D20]
DESCRIPTION: George Jones, of County Clare, tells the account of the Saladin mutiny. The mutineers kill the Captain and others of the crew, then are shipwrecked. Jones bids farewell and awaits execution
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: ship mutiny execution farewell
HISTORICAL_REFERENCES: 1844 - the former pirate Fielding convinces part of the crew of the "Saladin" to mutiny against the harsh Captain Mackenzie. The conspirators then turn against Fielding; they are taken and executed after the ship is wrecked off Halifax
FOUND_IN: Canada(Mar)
REFERENCES: (6 citations)
Laws D20, "George Jones"
Peacock, pp. 887-888, "The Saladin Mutiny" (1 text, 1 tune)
Creighton-NovaScotia 110, "George Jones" (1 text, 1 tune)
Creighton-SNewBrunswick 113, "George Jones" (1 text, 1 tune)
Mackenzie 112, "George Jones" (1 text)
DT 353, SLDNMTNY*
Roud #1817
CROSS_REFERENCES:
cf. "Charles Augustus (or Gustavus) Anderson" [Laws D19] (subject)
cf. "Saladin's Crew" (subject)
NOTES: For details on the Saladin Mutiny, see the notes to "Charles Augustus (or Gustavus) Anderson" [Laws D19]. - RBW
[Regarding the version in Creighton-SNewBrunswick]: Roud makes this "Charles Augustus (or Gustavus) Anderson" [Laws D19] but only the first verse belongs to that ballad. - BS
File: LD20
===
NAME: George Mann
DESCRIPTION: Charles Mann recalls his quiet youth. He describes murdering John Whatmaugh along with Gustave Ohr (blaming the deed on Ohr). They fly but are captured. He grieves for his father, come to see him die. He warns young men against his crime
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: execution gallows-confession murder
HISTORICAL_REFERENCES: 1879 - George Mann and Gustave Ohr attack, rob, and beat to death John Whatmaugh. They are condemned to death later in the year
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 122, "Story of George Mann" (1 text)
ST E122 (Full)
Roud #4096
CROSS_REFERENCES:
cf. "Charles Guiteau" [Laws E11] (meter)
cf. "Gustave Ohr" (meter, subject)
NOTES: As "The Story of George Mann," this song is item dE38 in Laws's Appendix II. - RBW
File: E122
===
NAME: George Reilly: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN37)
===
NAME: George Riley: see John (George) Riley (I) [Laws N36] AND John (George) Riley II [Laws N37] (File: LN36)
===
NAME: George Washington: see Hallelujah (File: R421)
===
NAME: George Whalen: see James Whalen [Laws C7] (File: LC07)
===
NAME: George's Bank (I): see Fifteen Ships on Georges' Banks [Laws D3] (File: LD03)
===
NAME: George's Bank (II)
DESCRIPTION: A captain's wife and three babes wait for the ship sunk on George's Bank. "Now many's brave fishermen sacrificed yearly Out on the ocean where danger do rise But God is father and lover of these children. Help and pity us poor fisherman's wives"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: grief death fishing sea ship wreck children wife
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 130, "George's Bank" (1 text, 1 tune)
Roud #16964
NOTES: The Northern Shipwrecks Database 2002 lists well over 200 ships by name lost on George's Bank between 1822 and 1995.
A July 2002 note by Wilfred Allan at Nova-Scotia Seafarers-L Archives site states "Georges Bank is at the edge of the Atlantic continental shelf between Cape Cod and Nova Scotia. Thus it straddles both the U.S and Canadian borders... about 250 km by 150 km in area." - BS
File: GrMa130
===
NAME: George's Banks: see The Roving Newfoundlanders (II) (File: GrMa150)
===
NAME: George's Quay
DESCRIPTION: Johnny Doyle sails for China leaving Mary pregnant. Years later Mary's son grows up. She dresses as a sailor and ships aboard a pirate to find Johnny. Their ships meet. Johnny is a captain. They return home, marry and she becomes pregnant again.
AUTHOR: Jimmy Montgomery (source: OLochlainn-More)
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: courting marriage reunion separation cross-dressing pregnancy sea ship baby sailor pirate
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 89, "George's Quay" or "The Forgetful Sailor" (1 text, 1 tune)
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 34-35, "George's Quay (or The Forgetful Sailor)" (1 text, 1 tune)
NOTES: Anyone else think this is an Irish rewrite of _The Odyssey_?
Incidentally, the song says that "In China... they're very wise and drown at birth their surplus daughters." This is historically true (though it's even more common in India), and there is evidence that elimination of baby girls continues in China due to the "one child" policy (though they now use abortion rather than infanticide). Matt Ridley, _The Red Queen: Sex and the Evolution of Human Nature_, Penguin, 1993, p. 122, notes "The Chinese, deprived of the chance to have more than one child, killed more than 250,000 girls after birth between 1979 and 1984. In some age groups in China, there are 122 boys for every 100 girls. In one recent study of clinics in Bombay, of 8,000 abortions, 7,997 were of female fetuses."
Alison Jolly, _Lucy's Legacy: Sex and Intelligence in Human Evolution_, Harvard University Press, 1999, p. 121, has an even more extreme version of this statistic: In Bombay, 7999 out of 8000 aborted fetuses were female, and the parents of the single exception allegedly sued because they had been falsely informed that the fetus was female. Her note claims that this data came from UNICEF. This strikes me as too extreme to be possible. But the very fact that no one seems to question the statistic indicates that the bias against girls is extreme.
However, this is by no means wise if the goal is to leave descendants. The policy obviously produces a surplus of males -- who end up leaving with no descendants because they cannot marry. I have seen reports that the effects of this are already being seen, though I can't recall the source. - RBW
File: OLcM089
===
NAME: Georgia Buck
DESCRIPTION: "Oh, my name is Georgia Buck, and I never had much luck." Various verses about Georgia's troubles and his wife, typically ending "Georgia Buck is dead, the last thing he said Was, 'Don't ever let a woman have her way" (or "Dig me a hole in the ground.")
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: marriage death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 500, "Georgia Buck" (2 short texts plus a fragment)
Roud #3428
RECORDINGS:
Al Hopkins and his Buckle Busters, "Georgia Buck" (Brunswick 183/Vocalion 5182 [as the Hill Billies], 1927)
NOTES: Roud lumps this with "The Southern Soldier Boy (Barbro Buck)," or at least some versions of it. That seems to be based solely on the word "Buck" in the title. - RBW
File: Br3500
===
NAME: Georgia Creek
DESCRIPTION: "Georgia's creek where I forsake, To the red stone hills I came; I fell in love with a pretty little girl...." The two ride together to Charleston, but pray to escape the town. They look forward to returning to the hills where she will keep bees
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, collected from Austin Harmon)
KEYWORDS: courting travel return bug
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 35-36, "Georgia Creek" (1 text)
File: MHAp035
===
NAME: Georgia Lullabye
DESCRIPTION: "De little stars am blinkin', Cuase dey wants to go to sleep, Bye, oh mah baby, hush-a-bye." The stars need to watch, but baby can sleep. Mother is the sheep, baby is the lamb, and the mother loves the baby
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 218-219, "Georgia Lullabye" (1 text)
File: MHAp218
===
NAME: Georgie: see Geordie [Child 209] (File: C209)
===
NAME: Georgie Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: Georgina, The
DESCRIPTION: "On the seventeenth of March, my boys, good people you all may know" Georgina leaves Liverpool "all bound for Pernambuco in South America" [fragment; first verse only]
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
HISTORICAL_REFERENCES: Mar 17, 1844 - Georgina wrecked on Blackwater Bank; twelve of the crew of fourteen are lost (source: Ranson; Bourke in _Shipwrecks of the Irish Coast_ v1, p. 44)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 109, "The Georgina" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pomona (II)" (subject)
SAME_TUNE:
cf. "Thomas Murphy" (tune)
NOTES: Ranson: Tune is "Thomas Murphy" on p. 98. - BS
File: Ran109
===
NAME: German Clockwinder, The
DESCRIPTION: A German (clockwinder/musician) comes to town, offering to "(mend/wind) (clocks/pianos)" by day or night. A lady takes his offer. Her husband finds them at work. He beats the German, who vows never again "to wind up the clock of another man's wife."
AUTHOR: unknown
EARLIEST_DATE: 1954
KEYWORDS: technology bawdy sex foreigner
FOUND_IN: Britain(England(South,Lond)) Ireland
REFERENCES: (2 citations)
Kennedy 201, "The German Musicianer" (1 text, 1 tune)
DT, CLOKWIND*
Roud #241
RECORDINGS:
Harry Cox, "The Old German Musicianer" (on HCox01)
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (alternate tune)
ALTERNATE_TITLES:
The German Clockmaker
The Wonderful German Musician
File: K201
===
NAME: German Musicianeer, The: see The German Clockwinder (File: K201)
===
NAME: Gerry Ryan: see Jerry Ryan (File: Doyl3068)
===
NAME: Gerry's Rocks: see The Jam on Gerry's Rock [Laws C1] (File: LC01)
===
NAME: Gest of Robyn Hode, A [Child 117]
DESCRIPTION: 456 stanzas about Robin Hood, his men, his travels, his robberies, his courtesy, his victims, his relations with the king, his piety, his betrayal and death, etc. Much of the ballad deals with Little John, the Sheriff, and their relations with Robin
AUTHOR: unknown
EARLIEST_DATE: before 1534 (Wynkyn de Worde's edition of A Little Geste of Robyn Hoode was probably printed c. 1495)
LONG_DESCRIPTION: A narrative in eight fits, set after Robin has become an outlaw.
In fit one, Robin sends out his men to seek a guest for dinner. They find a knight, who, however, has gone deeply in debt to ransom his son.
In  the second fit, the knight (who has been given a gift by Robin) appeals to his lenders to have pity on him. They demand payment instead, and hope to have his lands. The knight pays his debts using Robin's money.
In the third fit, Little John takes part in an archery contest, wins, is invited to the Sheriff's house, has a fight with the Sheriff's cook, and induces the cook to join Robin's band.
In the fourth fit, Robin again seeks a dinner guest; they find a steward of those to whom the knight owed money. They take his purse; it amounts to 800 pounds (twice what they lent the knight).
In the fifth fit, Robin and his men join an archery contest, but are discovered and must take shelter in a knight's castle (perhaps their old friend, now called Sir Richard at the Lea)
In the sixth fit, the sheriff goes to London to appeal to the King; Robin and his men escape. The Sheriff captures the knight instead. Robin rescues him and kills the sheriff.
In the seventh fit, the King comes to deal with Robin Hood. He disguises himself and meets Robin's band. He pardons them and takes him into his service.
In the eighth fit, Robin grows tired of servitude and returns to the greenwood. Eventually he is killed by the prioress of Kirklees.
KEYWORDS: Robinhood outlaw
HISTORICAL_REFERENCES: 1272-1307 - Reign of Edward I
1307-1327 - Reign of Edward II
1327-1377 - Reign of Edward III
FOUND_IN: Britain(England) Ireland
REFERENCES: (5 citations)
Child 117, "A Gest of Robyn Hode" (1 text)
Bronson 117,"Robin Hood" (6 versions, though none has a substantial text and only one shows any words at all; Bronson, with reason, questions their validity); cf. Chappell/Wooldridge I, pp. 273, "Robin Hood (2 tunes, partial text) {Bronson's #2a}
OBB 115, "A Little Geste of Robin Hood and his Meiny" (1 text)
Gummere, pp. 1-67+313-320, "A Gest of Robin Hode" (1 text)
HarvClass-EP1, pp. 128-186, "A Gest of Robyn Hode" (1 text)
Roud #70
NOTES: It will probably be evident that, in this case, "gest" means "geste" ("song of deeds"), not "guest."
The "Saint Austin" of stanza 390 is presumably Augustine of Canterbury, who converted Britain to Catholicism, not the more famous Augustine of Hippo.
This song is, of course, much longer than any truly traditional British ballad on record. For all that Child calls it a popular ballad, a large portion of the Robin Hood corpus is actually minstrel work. This piece is an obvious example.
The "Gest" is considered by J. C. Holt, following Child and others, and others to be one of only five fundamental pieces of the Robin Hood corpus (the others being "Robin Hood and Guy of Gisborne" [Child 118],  "Robin Hood and the Monk" [Child 119], "Robin Hood and the Potter" [Child 121], and "Robin Hood's Death" [Child 120]). (See Holt1, pp. 15-34. For references, see the Bibliography at the end of this note).
To this list, however, Chambers,  pp. 132-134, makes various changes; his list, after a nod to "Robyn and Gandeleyn" [Child 115], consists of Guy of Gisborne, the Monk, and the Potter, plus perhaps the Geste, but not the Death; instead he offers "Robin Hood and Friar Tuck," i.e. "Robin Hood and the Curtal Friar" [Child 123]. Child too concedes the "Curtal Friar" to be "popular," but not necessarily early, and I have to say that the evidence supports this conclusion. It is interesting to note that there was a genuine outlaw named Friar Tuck, though he worked in the fifteenth century, far too late to be an inspiration for the Robin Hood legend. He, like Maid Marion, may have come to be associated with Robin via the May Games; see the notes to "Robin Hood and the Curtal Friar.")
Maurice Keen's list (Keen, pp. 116-117) of Robin Hood ballads of "proven early origin" is the "Geste," the "Story of Robin Hood and the Potter," "Robin Hood and Guy of Gisborne," and "Robin Hood and the Monk"; the "Death" is excluded even though its plot is part of the "Geste" and so clearly ancient.
Keen does note that the three shorter ballads have very different "feel": The "Potter" is humorous, with little real violence but a lot of tricks; the "Monk" and "Sir Guy," especially the latter, are very bloody. (The "Death," if it be granted as ancient, is of course more a tale of treachery than anything else.)
On page 123, Keen in effect appends "Robin and Gandelyn" to his list of old ballads (while adding that it is only the skeleton of a ballad, hardly a full-blown story of Robin Hood; in his telling, it becomes a sort of proto-Robin tale), plus noting the much-mentioned connection of the Robin Hood corpus to "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116],
Allowing some doubt about the exact list of early ballads, it is certain that most Robin Hood ballads are considered late imitations or additions to these -- often rather incompetent ones; as Keen notes (pp. 99-100), "Most [of the Robin Hood ballad], at least in the form in which we have them, are compositions of the sixteenth and seventeenth centuries, when Robin Hood's traditional world already belonged to a half-forgotten past. The cruel forest laws have fellen into desuetude; archery was no longer a national exercise; the abbeys whose monks the outlaws had robbed had been dissolved. Robin Hood's legend belonged, in fact, to a world so far away in time that almost anything could be believed of it, and as a result his story was sometimes changed out of recognition."
Keen adds that "we must remember that we are not dealing with a host of different stories, but with a host of versions of the same story, and that what is significant is the similarity of tone, the forest setting, the animus against the law and its officers, the callous indifference to bloodshed, and not the differences of detail. At the same time we must remember that we are not dealing with a series of individual characters, but with a type-hero, the outlaw, who, though he may appear under more than one alias, remains essentially the same, and what is significant about him is not his name or his individual acts, but his conventional attitudes" (pp. 126-127).
But even if Robin is more a spirit of outlawry than an actual outlaw, there must be a history of how that spirit arose. Trying to trace this is as difficult as sorting out the ballads themselves. We must look both at the age of the sources and at their content.
The "Gest" is not, in terms of the age of the manuscript, the oldest Robin Hood ballad (that honour is regarded as belonging to "Robin Hood and the Monk," dated c. 1450). The "Gest" is, however, early and widespread; a partial text seems to have been printed between 1510 and 1515 in Antwerp, and Wynken de Worde (who worked from 1492 to 1534) printed a complete text, now considered the standard. Three other version, with minimal differences, went through the press at about this same time; all are believed to have been derived from a single relatively recent original.
Keen, p. 101, notes that the "Gest" seems to be a combination of elements from four other ballads (though his names do not correspond to Child's; he titles them "Robin Hood and the Knight," "Robin Hood, Little John and the Sheriff," "Robin Hood and the King," and "Robin Hood's Death"). He also notes that, for all its length, the "Gest" opens with Robin already in the greenwood; the outlaw simply appears there, almost like a wood sprite.
This is typical of the early ballads. Holt1, pp. 35-38, observes that much of the popular legend of Robin Hood is absent from these early pieces. Among the missing features: Maid Marian (the link between Robin and Marion/Marian seems to come from French romances, and was cemented by the May Games, where she was queen), Richard the Lion-Hearted (the Gest's king is Edward, though it's not clear which Edward), Robin's birth as Robin of Locksely and/or Earl of Huntingdon (in the early legend, Robin is clearly a yeoman), and the theme of robbing the rich to give to the poor. These and many other features accumulated later.
It should be noted that even the "basic" pieces of the legend date from well after Robin's time, which may explain why the chronology of the Robin Hood corpus is such a mess. Starting with the external evidence (from sources other than the ballads):
The earliest certain reference to Robin Hood is in Langland's _Piers Plowman_. In the "B" text, Passus V, line 396, we read "But I kan [ken] rymes of Robyn Hood and Randolf Erl [Earl] of Chestre" (so Schmidt, p. 82, but there are no major variants in this line). This was written around 1377, implying that by that date the Robin Hood legend had already entered the ballad tradition.
There is no particular reason to think that this means that Robin and Ranulf of Chester were contemporary, but even if they were, it wasn't much help. Several Earls of Chester were named Ranulf, with the second and the sixth being probably the most important. The second Ranulf lived in the time of King Stephen (reigned 1135-1154). Warren, p. 25, describes him this way: 'In the extent of lands he held and the number of his vassals, Earl Ranulf de Gernons eclipsed all the other barons of the realm. The marcher lordship of Cheshire was only one element, and not the most important, in an honor which embraced wide estates throughout the midlands, major holdings in Yorkshire and Lincolnshire, and manors scattered over most of the southerm counties. In addition he held important lordships and hereditary fiefs which made him a dominating influence in western Normandy as far as the confines of Brittany." He was active at the time of Stephen's civil war with the Empress Matilda, and had good reason to dislike Stephen -- but generally stayed neutral -- at least until Stephen made a serious attack on his position. Ranulf called on the forces of the Empress Matilda and her half-brother Robert of Gloucester. The combined armies routed and captured Stephen (Warren, p. 26); had the empresses's behavior been even slightly more reasonable, she might have been able to assume the crown.
It is interesting to note that a later Ranulf of Chester was active at the end of the reign of King John. Powicke, p. 2, observes that when the barons wished to make the Earl Marshal regent over the new King Henry III in 1216, "The marshal was reluctant In any case he felt that they should await the coming of Ranulf de Blundevill, earl of Chester, the greatest baron of the realm." Only when Ranulf arrived did the marshal finally accept the office of protector.
Curiously, from about the same time as Langland comes a mention of a yeoman archer, clad in much the same forest costume we see in most Robin Hood stories: lines 101, 103-105, 108 of the _Canterbury Tales_ read as follows (Riverside edition):
A YEMAN (yeoman) hadde he and servantz namo...
And he was clad in cote and hood of grene.
A sheef of pecok arwes, bright and kene,
Under his belt he bar ful fhriftily....
And in his hand he baar a myghty bowe....
But Chaucer never mentions Robin Hood, though the Miller and several others in the Tales are named Robin.
The earliest Robin Hood ballad manuscript, as noted, is  "Robin Hood and the Monk" [Child 119], which occurs in ms. Cambridge Ff. 5.48 of about 1450. Soon after, we find a dramatic fragment of the story of "Robin Hood and Guy of Gisborne" [Child 118] scribbled on the back of a slip of financial receipts dated 1475/6 C.E. This is not the ballad itself, but it is clearly the same story.
During the Wars of the Roses, a certain Robin of Redesdale raised a rebellion against Edward IV in 1469. The name is patently a disguise (Warkworth's Chronicle declares that Robin was really Sir William Conyers), and Robin was surely commissioned by the Earl of Warwick and other great rebels, but Scott/Duncan-Ivanhoe, p. 531, calls him an "avatar" of Robin Hood, presumably on the grounds that he called himself "Robin Amend-All." On the other hand, another rebel of the period was called Robin of Holderness, and he had few Robin Hood characteristics; it seems much more likely that it was just a common name for "ordinary folks."
Robin occurs in several chronicles, but they place him in very diverse contexts. Andrew de Wynton (c. 1415) dates him to 1283-1285 (reign of Edward I), and places him in "Ynglewode and Bernysdale" ("Inglewood and Barnsdale").
Walter Bower (c. 1445) dates Robin to 1266 (reign of Henry III; Holt speculates that this might make him one of the defeated followers of Simon de Montfort). Perhaps some secondary support for this comes from the fact that Henry III, in his 1251 Assize of Arms, includes bowmen for the first time; men with property of 40 to 100 shillings were to bear a sword, dagger, and bow (Featherstone, p. 26).
By the late fifteenth century, Robin Hood was a character in the May games. But, except that he was a bowman associated with Little John, little can be learned of from these early games (even assuming the recorded forms of the games match the traditional).
In 1521, John Major dated Robin to 1193/4 (reign of Richard I). This latter date was followed by John Leland (fl. 1530) and later by Richard Grafton (fl. 1550), who claims to have found records of Robin in the exchequer rolls -- records which, however, cannot now be found. In this connection I note that Keen, p. 129, compares the tale of Robin with the epic of the historical Fulk FitzWarrene. FitzWarrene (FitzWarin in Keen) was one of the rebels against King John, and became the subject of a romance similar in outline to the tale of Robin's foregiveness by the King; Keen implies a possibility that the tale of Robin, which apparently started as a story of one of the Edwards, might have been attracted to the Richard I/John period by the similarity in plots.
In 1632, Martin Parker published "The True Tale of Robin Hood," which lists Robin's death date as December 4, 1198 (late in the reign of Richard I). This, however, contradicts the reports of Robin's gravestone. The papers of Thomas Gale (d. 1702) report that the inscription dated Robin's death to 24 Kalends of December 1247 (this is not a legitimate Roman date, but may mean December 24; in any case the language of the inscription is far too modern for 1247).
Other sources report his grave at Kirklees, with the inscription "Here lie Roberd Hude, William Goldburgh, Thomas." This was copied by Johnston in 1665, but was no longer legible in the time of Gough (1786), although that author printed Johnson's version. Today the grave slab can no longer be found. Gough, however, transmitted a report that the ground under the slab was undisturbed, meaning that the slab was either a trick or had been moved.
(This is, of course, not the only alleged Robin Hood relic. We know of a "Robin Hood's stone," first attested in 1540, "Robin Hood's Well," mentioned in 1622; etc. But all such relics are either lost or more recent inventions.)
By the sixteenth century we find Robin becoming a nobleman. This was the report of Grafton, and was supported by the Gale inscription, paraphrased by Parker in 1598. Dr. William Stukeley, in 1746, combined inaccurate records of the peerage with a good deal of fiction to convert Robin into "Robert fitz Ooth" (=Fitzhugh?), third earl of Huntingdon, giving his death date as 1274 (just after the accession of Edward I).
In 1601 we have a book, _The Death of Robert, Earl of Huntingdon_, by Monday and Chettle. This alludes to Robin's death, but the portion I've seen has little substantial detail.
In 1795, Joseph Ritson published his "Robin Hood." In one sense this is invaluable, as it contains a vast amount of Robin Hood material not accessible elsewhere (note how many of the Child references are to Ritson) -- but it also retails a vast amount of late rubbish, making very little attempt to separate the earlier sources from later additions. It was Ritson, e.g., who is largely responsible for the notion of "robbing the rich to give to the poor."
Turning to the ballads themselves, note that, in stanza 353, 450, etc., of the "Gest," the king of England is named Edward. At first glance this would appear to be Edward I (reigned 1272-1307). Edward was the great-grandson of Henry II, the grand-nephew of Richard I, and the grandson of John, the three kings most associated in recent myth with Robin -- but though a date in the reign of Edward I does not match the common chronology, it is logical; the longbow was in much wider use in Edward's reign than in Henry's or Richard's (in whose times it was not used at all, at least outside Wales).
In 1852, however, Joseph Hunter showed that the only King Edward who made a progress resembling that of the "Geste" was Edward II, who visited Lancashire, Yorkshire, and Nottingham in 1323. This leads to other problems, though: Could a Robin Hood who was active in 1323 have become a legendary figure as early as the time Langland wrote? In addition, Edward II was deposed and murdered in 1327; is it possible that the legend would take no notice of this?
Much has been built on Hunter's speculations (Hunter also found a Robert Hood, whose wife was Matilda, in Wakefield in 1317, and a Robert/Robyn Hood among Edward's domestic servants in 1324). There is, however, absolutely no basis to believe in the authenticity of any of this. Moreover, as Holt points out, Barnsdale (Robin's base in the earliest legends) was known as a haunt of robbers as early as 1306. This does not preclude dating Robin to 1323 -- but it implies there were outlaws on the scene before his arrival.
Holt1 (pp. 53-61) summarizes attempts to locate the original Robin Hood; as Holt himself admits, none of them are in any way convincing. Although all can be made to fit some part of the legend, they require ignoring other parts.
Keen (pp. 137-138), referring simply to the general notion of the greenwood legend, strenuously argues that it must date from the fourteenth or fifteenth century, because of the many references to  livery and its misuse -- a common issue in that time period.
Later legends regarded Robin as a Saxon opposed to the Norman Conquest. This is patently absurd; the longbow did not exist then (Holt and others think that Robin's weapon could have been a short bow. However, Robin's exploits imply a weapon far superior to that used by the royal officialdom. This clearly requires the longbow). Robin's place as a Saxon rebel seems to be a confusion with the tale of Hereward the Wake (itself mostly legend) -- a suspicion strengthened by the parallels between "Robin Hood and the Potter" and a similar tale of Hereward's disguise.
The legend of Robin Hood is also connected with that of "Adam Bell, Clim of the Clough, and William of Cloudesly" [Child 116], first published in 1536. These three were based in Inglewood in Cumbria, not Barnsdale (though, as noted, Wynton places Robin in Inglewood), and William is married (indeed, it is a visit to his wife that motivates the largest part of the ballad) -- but almost all the incidents are paralleled in the "Gest."  An attempt to combine the two legends produced the monstrosity that is "Robin Hood's Birth, Breeding, Valor, and Marriage" [Child 149].
If the mention of the longbow requires a post-conquest date for Robin, though, it also gives a latest possible date. Keen, p. 138, dates the decline of the longbow to the Battle of Castillon in 1453. This is accurate, in a way, but it is noteworthy that the longbow first won battles for the English at Halidon Hill (1333) and Crecy (1347), when Edward III was king.Featherstone, p. 31, says that archers from Sherwood Forest were given conditional pardon to serve the King at this time. Sadly, he gives no source for this statement, so it may be just a side effect of the Robin Hood legend.
And the longbow had become widespread even earlier. During the reign of Edward I, longbow training was *required* of ordinary folk (see Seward, p. 53). This makes it simply impossible for Robin and his men to have been active as late as the time of Edward III (even if you ignore the mention in _Piers Plowman_). Robin's men survive because of their exceptional skill with the bow -- but, by the reign of Edward III, their collective skill cannot be exceptional; while one or two might be champion archers, it is sure that other archers could compete with the rank and file of his men.
It is interesting to note (Keen, p. 139) that Edward III did command regular competitions with the bow  -- something often seen in the Robin Hood tales. But that again implies that Robin couldn't always win. For the longbow  required skill (contrary to what is implied by Keen, p. 138). Longbows required more pull than short bows, but the strongest muscles could not compete with a crossbow in power. To compete with crossbows, then, longbowmen had to aim in an arc far above their targets. This took a great deal of practice, and was the main reason no one other than the English and Welsh took to the longbow.
Another point on dating, hinted at by Keen, is the fact that peasants -- villeins -- were bound to the land (there are actually cases of them being sold; see Stenton, pp. 142-143). This was a situation most typical of the period from Henry III to Edward II. The Black Death changed that by producing a shortage of workers. The nobility of course tried to halt the exodus of the peasants (Wat Tyler's rebellion of 1381 was largely against these restrictions; see Wilkinson,  pp. 158-164), but more and more peasants were becoming free in the reign of Edward III, and effectively all were free by the early fifteenth century.
Keen, p. 140, thinks that the frequent mentions of Robin as a yeoman implies a late date, but there were always *some* yeomen in England; it seems to mne that his men are villeins, and fled to the greenwood for lack of another choice (a free man could always seek work elsewhere), so this implies an early date. Similarly, Keen, pp. 141-142, argues that the lack of offences against "vert" (the plants of the forest) dates Robin to the time of Edward III or later -- but poaching was always a worse offence than three-cutting, Indeed, tree-cutting was a worse crime in later times, when the great trees were needed for naval vessels.
Adding it all up, I think a date prior to Edward III nearly certain. But how much prior?
It could be argued that the longbow was already common as early as the time of Edward I (reigned 1272-1307), forcing us to a date in the reigns of Henry II (1154-1189), Richard I (1189-1199), John (1199-1216), or Henry III (1216-1272). This is attractive but not absolutely compelling; Edward II (1307-1327) largely turned his back on the use of the bow, which was the major reason he was defeated at Bannockburn in 1314. Thus in many ways the reign of Edward II is a likely date for the shaping of the legends that gave rise to the "Gest" and the other early ballad. But this is far from sure.
Robin's home is also problematic. Although we are accustomed to think of him as haunting Sherwood Forest (and indeed, 17 of the ballads place Robin in Sherwood or Nottingham), early sources usually place him in Barnsdale Forest , which is more than ten leagues to the north, and in Yorkshire. (As of 2004, in fact, this has become an issue in the British parliament, with Nottinghamshire posting signs saying "Robin Hood Country" and Yorkshire wanting them taken down.)
Barnsdale, it should be noted, is outside the "beat" of the Sheriff of Nottingham. Barnsdale and Sherwood are so far apart that an outlaw could not reasonably occupy both. "Guy of Gisborne" suggests still a third locale, in Lancashire (Gisburn is relatively close to the west coast of Britain, in Lancashire; if Guy lived in Robin's locality, Robin might well have lived in Bowland Forest east of the Wyre river. The chances of anyone from Sherwood, or even Barnsdale, showing up in this area are slight; Inglewood is perhaps a bit more likely. This suggests another link to "Adam Bell.")
Prestwich, p. 68, makes the fascinating note that, when Edward I was preparing to campaign against Scotland, his army consisted of knights, men-at-arms, archers -- and *slingers* from Sherwood Forest. This is the only instance I can think of of slingers in an English army. Could this have somehow impressed itself on people's minds?
It is likely that the Sherwood/Nottingham became Robin's home in the later legend because Nottingham is larger and better known; Barnsdale rarely even figures on modern maps.
I have to think the version of the Robin Hood saga most people know  today is from Scott's _Ivanhoe_; it really shows little resemblance to the ballads or earlier legends. - RBW
>> BIBLIOGRAPHY <<
Chambers: E. K. Chambers,  _English Literature at the Close of the Middle Ages_,
Featherstone: Donald Featherstone, _The Bowmen of England_, Clarkson N. Potter, 1968 (I used the 2003 Pen & Sword paperback edition)
Holt1: J. C. Holt, _Robin Hood_, first edition,Thames & Hudson, 1982
Holt2: J. C. Holt, _Robin Hood_, second edition, revised and enlarged, Thames & Hudson, 1989
Keen: Maurice Keen, _The Outlaws of Medieval Legend_, Dorset, 1961, 1977, 1987
Powicke: Sir Maurice Powicke, _The Thirteenth Century: 1216-1307_, second edition, Oxford, 1962 (I used the 1998 paperback edition)
Prestwich: Michael Prestwich, _The Three Edwards: War and State in England 1272-1377_, Weidenfeld, 1980 (I use the 2001 Routledge paperback edition)
Schmidt: A. V. C. Schmidt, edtior, William Langland, _The Vision of Piers Plowman: A Critical Edition of theB-Text  Based on Trinity College Cambridge MS. B.15.17_, 1978; I use the updated Everyman 1995 papaerback edition
Scott/Duncan-Ivanohoe: Sir Walter Scott, _Ivanhoe_, edited with an introduction by Ian Duncan, [Oxford] World Classics, 1996
Seward: Desmond Seward, _The Hundred Years War: The English in France, 1337-1453_, Atheneum, 1978
Stenton: Doris Mary Stenton, _English Society in the Early Middle Ages (1066-1307)_, Pelican, second edition, 1952
Warren: W. L. Warren, _Henry II_, University of California Press, 1973; I use the 1977 paperback edition
Wilkinson: B. Wilkinson, _The Later Middle Ages in England, 1216-1484_, Longmans, 1969 (I use the 1980 paperback edition)
File: C117
===
NAME: Get Along Home, Cindy: see Cindy (File: LxU028)
===
NAME: Get Along, John, the Day's Work's Done: see Hopalong Peter (File: CSW104)
===
NAME: Get Along, Little Dogies
DESCRIPTION: Characterized by the chorus, "Whoopee ti yi yo, get along, little dogies, It's your misfortune and none of my own. Whoopee ti yi yo, get along, little dogies,You know Wyoming will be your new home." Tells of herding cattle down the trail for slaughter
AUTHOR: unknown
EARLIEST_DATE: 1893 (journal of Owen Wister)
KEYWORDS: cowboy animal work
FOUND_IN: US(So)
REFERENCES: (14 citations)
Randolph 178, "Little Doogie" (sic) (1 fragment, 1 tune)
Sandburg, pp. 268-270 "Whoopee, Ti Yi Yo, Git Along, Little Dogies" (1 text, 1 tune)
Fife-Cowboy/West 76, "Git Along Little Dogies" (1 text, 1 tune)
Lomax-FSUSA 58, "Git Along Little Dogies" (1 text plus addenda, 1 tune)
Lomax-ABFS, pp. 385-389, "Git Along, Little Dogies" (1 text, 1 tune)
Lomax-FSNA 189, "Go On, You Little Dogies"; 190, "Run Along, You Little Dogies" (2 texts, 2 tunes, both of which appear to be mixtures of this song with something else; the chorus of 190 derives partly from "Rocking the Cradle (and the Child Not His Own)")
Larkin, pp. 98-104, "Git Along Little Dogies" (2 texts, 2 tunes)
Botkin-AmFolklr, pp. 853-854, "Git Along, Little Dogies" (1 text, 1 tune)
LPound-ABS, 80, pp. 174-175, "Whoopee Ti Yi Yo, Git Along Little Dogies" (1 text)
Arnett, pp. 126-127, "Git Along, Little Dogies" (1 text, 1 tune)
Saffel-CowboyP, pp. 174-175, "Whoopee Ti Yi Yo, Git Along Little Dogies" (1 text)
Silber-FSWB, p. 109, "Git Along, Little Dogies" (1 text)
Fuld-WFM, p. 244, "Git Along Little Dogies (Whoopee Ti Ti Yo)"
DT, GITDOGIE*
Roud #827
RECORDINGS:
Beverly Hill Billies, "Whoopee Ti Yi Yo Get Along" (Brunswick 598. 1932)
Cartwright Brothers, "Get Along Little Doggies" (Columbia 15410-D, 1929; on WhenIWas2)
Edward L. Crain, "Whoopie Ti-Yi-Yo, Git Along Little Doggies" (Crown 3275, 1932)
Girls of the Golden West, "Whoopie Ti-Yi-Yo, Get Along Little Doggies" (Bluebird B05718, 1934)
George Goebel, "Night Herding Song" (Conqueror 8157, 1933)
Woody Guthrie & Cisco Houston, "Whoopie-Ti-Yi-Yo, Get Along Little Dogies" (on Struggle2, CowFolkCD1)
Beverly Hillbillies, "Whoopie Ti Yi Yo" (Brunswick 598, c. 1931)
Kenneth Houchins, "Get Along Little Doggies" (Champion 16584, 1933)
Harry Jackson, "As I Went Walking One Morning for Pleasure" (on HJackson1)
Harry "Mac" McClintock, "Get Along, Little Doggies" (Victor V-40016, 1929, rec. 1928; Montgomery Ward M-4469 [as Harry "Mac" McClintock and his Haywire Orchestra], 1934)
Harry Stephens, "The Night Herding Song" (AFS, 1940s; on LC28)
John I. White, the Lonesome Cowboy, "Whoopee-Ti-Yi-Yo" (Banner 32179/Perfect 12709//Conqueror 7753/Romeo 1629 [as "Little Doggies"], 1931; on BackSaddle)
Marc Williams, "The Night Herding Song" (Brunswick 497/Supertone S-2263, 1931)
ALTERNATE_TITLES:
Night Herding Song
File: R178
===
NAME: Get Away Old Maids Get Away: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Get Away, Old Man, Get Away: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Get Me Down My Petticoat
DESCRIPTION: "Get me down my petticoat, get me down my shawl, Get me down my buttoned boots, for I'm off to Linen Hall." The singer goes to seek her love, who may have enlisted to fight the Boers. She asks the British to hold the Dubliners back
AUTHOR: unknown
EARLIEST_DATE: 1960 (MacColl & Seeger, _Singing Island_)
KEYWORDS: soldier separation love clothes
HISTORICAL_REFERENCES: 1899-1902 - Boer War
FOUND_IN: Ireland
REFERENCES: (2 citations)
DT, PETICOAT*
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 64-65, Get Me Down My Petticoat"" (1 text, 1 tune)
Roud #2565
ALTERNATE_TITLES:
Hand Me Down My Petticoat
NOTES: For background on the Boer War and the Irish soldiers there, see "John McBride's Brigade"; also "Marching to Pretoria." - RBW
File: Hart065
===
NAME: Get Off the Track: see Clear the Track (File: SCW48)
===
NAME: Get On Board, Little Children
DESCRIPTION: "The gospel train is coming, I hear it just at hand... Get on board, little children (x3), There's room for many a more." The train will carry all who wish to board, and "the fare is cheap."
AUTHOR: possibly John Chamberlain
EARLIEST_DATE: 1872 (Seward, _Jubilee Songs_)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (5 citations)
Cohen-LSRail, pp. 619-624, "The Gospel Train Is Coming" (2 text plus a text of "The Gospel Train (IV)"; 1 tune for each of the two songs)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; the "C" fragment is this piece; "A" and "B" are "The Gospel Train (II) and (III)")
Chappell-FSRA 82, "Get On Board, Little Children" (1 text, 1 tune)
Scarborough-NegroFS, pp. 254-255, "De Gospel Train Am Leabin'" (1 short text, 1 tune)
Silber-FSWB, p. 361, "Get On Board, Little Children" (1 text)
Roud #13948
RECORDINGS:
Alphabetical Four, "Get On Board Little Children" (Decca 7594, 1939; rec. 1938; on AlphabFour01)
Harry C. Brown, "De Gospel Train Am Comin'" (Columbia A-2255, 1917; rec. 1916)
Rev. Clayborn, Guitar Evangelist, "The Gospel Trains Coming" (Vocalion 1082, 1927; rec. 1926)
Rev. Mose Doolittle, "Get On Board" (Victor 20295, 1926)
Dunham Jubilee Singers, "Get On Board" (Columbia 14676-D, 1933; rec. 1931)
Kanawha Singers, "The Gospel Train" (Brunswick 365, 1929)
Moore Spiritual Singers, "Get On Board" (Bluebird B-8095, 1939)
Norfolk Jubilee Quartette, "Get On Board, Little Children, Get On Board" (Paramount Oriole Male Quartette, "Get On Board Little Children" (Oriole 893, 1927)
Clara Smith, "Get On Board" (Columbia 14183-D, 1927; rec. 1926; also issued as E8938, n.d.)
Sons of Israel, "Gospel Train" (Kingsport 901, n.d.)
Southern Plantation Singers, "Get On Board Little Children" (Vocalion 1414, 1929; rec. 1928)
Tuskegee Institute Singers, "Get On Board" (Victor 18446, 1918; rec. 1916)
12268, 1925; Herwin 92009 [as Southland Jubilee Singers], 1926)
T-Bone Walker, "Get On Board, Little Children" (Capitol 133, 1943; rec. 1942)
Williams Jubilee Singers, "Gospel Train is Coming" (Columbia 14457-D, 1929)
CROSS_REFERENCES:
cf. "Cindy" (tune)
cf. "I Want To See Jesus" (lyrics)
NOTES: Gail Greenwood points out that a number of sources credit this (as "The Gospel Train") to John Chamberlain (1821-1893). This includes an old (but undated) printed "ballet." It is not clear whether he was responsible for the music. Cohen mentions this attribution but without comment on its value.
The title in the ballet is "Rail Road Hymn." - RBW
File: FSWB361A
===
NAME: Get Out, Yellowskins, Get Out
DESCRIPTION: "The Yellowskins here in these hills Now know how it appears To have their gold by others stole As we have suffered for years. Get out, Yellowskins, get out (x2), We'll do it again if you don't go. Get out, Yellowskins, get out!"
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: China gold murder
FOUND_IN: US
REFERENCES: (1 citation)
Burt, p. 157, (no title) (1 short text, 1 tune)
NOTES: Reportedly based on an incident of July 1885, in which eight white men shot up a camp where 32 Chinese were digging for gold. None of the murderers were ever punished. I must say, though, that Burt's finding a song about the incident seems awfully convenient. The flip side being, of course, that the song seems to accurately reflect the vicious and irrational anti-Chinese prejudice of the era. - RBW
File: Burt157
===
NAME: Get Up and Bar the Door [Child 275]
DESCRIPTION: Old man and old wife must bar the door; neither wants to. They agree that whoever speaks first shall bar the door. Thieves enter the house, and play tricks on the couple. At last the old (man) cries out; the (wife) orders him orders him to bar the door
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
KEYWORDS: humorous robbery bargaining contest
FOUND_IN: Britain(England(South),Scotland(Aber)) US(Ap,MW,NE,So) Canada(Mar,Newf)
REFERENCES: (24 citations)
Child 275, "Get Up and Bar the Door" (3 texts)
Bronson 275, "Get Up and Bar the Door" (20 versions)
GreigDuncan2 321, "The Barrin' o' the Door" (4 texts, 3 tunes) {A=Bronson's #16, B=#11, C=#12}
BarryEckstormSmyth pp. 318-321, "Get Up and Bar the Door" (2 texts, 2 tunes) {Bronson's #17, #10}
Flanders-Ancient4, pp. 72-75, "Get Up and Bar the Door" (1 text, 1 tune)
Ford-Vagabond, pp. 148-150, "The Barrin' o' the Door" (1 text, 1 tune)
Randolph 34, "Get Up and Shut the Door" (2 fragments, 1 tune) {Bronson's #20}
Gardner/Chickering 153, "Arise and Bar the Door" (1 text, 1 tune) {Bronson's #5}
BrownII 43, "Get Up and Bar the Door" (2 texts)
Davis-Ballads 44, "Get Up and Bar the Door" (1 fragment, possibly this song)
Creighton/Senior, pp. 92-93, "Get Up and Bar the Door" (1 text, 1 tune) {Bronson's #4}
Greenleaf/Mansfield 18, "Joan and John Blount" (1 text)
Peacock, pp. 239-240, "Bar the Door O" (1 text, 1 tune)
Leach, pp. 657-658, "Get Up and Bar the Door" (1 text)
OBB 172, "Get Up and Bar the Door" (1 text)
Niles 58, "Get Up and Bar the Door" (1 text, 1 tune)
Combs/Wilgus 38, pp. 128-129, "Get Up and Bar the Door" (1 text)
JHCox 185, "Get Up and Bar the Door" (1 text)
Hodgart, p. 77, "Get up and Bar the Door" (1 text)
DBuchan 62, "Get Up and Bar the Door" (1 text)
TBB 40, "Get Up and Bar the Door" (1 text)
HarvClass-EP1, pp. 87-88, "Get Up and Bar the Door" (1 text)
DT 275, BARDOOR* BARDOOR2 JHNBLNT BARDOOR4*
ADDITIONAL: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #368, pp. 503-504, "Johnie Blunt" (1 text, 1 tune, from 1792)
Roud #115
ALTERNATE_TITLES:
The Old Man and the Door
Johnny Blunt
NOTES: Louis Untermeyer, in _The Golden Treasury of Poetry_, calls this "an old joke with its origins in the Orient." I am guessing that this is a reference to what Child calls "The Arabian tale of Sulayman Bay and the Three STory-Tellers," which is not really Oriental as most of us would mean the term. In any case, there is much dispute over whether this is truly the original of this piece. - RBW
File: C275
===
NAME: Get Up Gudewife
DESCRIPTION: "Get up gudewife and shak' your feathers, Dinna think that we are beggars; We're only bairns come out to play: Rise up and gie's oor Hogmanay"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: request begging ritual nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig 5, p. 1, ("Get up gudewife and shak' your feathers") (1 fragment)
GreigDuncan3 639, "Get Up Gudewife" (1 text)
Roud #5887
CROSS_REFERENCES:
cf. "Ye Gae But to Your Beef-Stan'" (subject)
NOTES: The current description is all of the Greig/GreigDuncan3 entry.
"Hogmanay" is the Scottish New Year's Eve celebration.
Greig: ." .. on the last day of the year we used to sally forth to serenade the neighboring houses with [this song]." - BS
File: GrD3639
===
NAME: Get up gudewife and shak' your feathers: see Get up Gudewife (File: GrD3639)
===
NAME: Get Up, Jack! John, Sit Down!
DESCRIPTION: A song of the eternal tasks of the sailor, repeated from generation to generation. The sailors all enjoy their rum, find girls in the towns, get drunk, spend their money, and have to return to sea, as their fathers did before him.
AUTHOR: Words: Edward Harrigan / Music: David Braham
EARLIEST_DATE: 1885 ("Old Lavender")
KEYWORDS: sailor work drink
FOUND_IN: US(MA,NE)
REFERENCES: (5 citations)
Warner 71, "The Jolly Roving Tar" (1 text, 1 tune)
Lomax-FSNA 33, "Get Up, Jack" (1 text, 1 tune)
Lomax-ABFS, pp. 493-494, "Get Up, Jack! John, Sit Down!" (1 text)
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "We're Homeward Bound" is in Part 4, 8/4/1917.
DT, GETUPJCK JACKJOHN
Roud #2807
RECORDINGS:
Stanley Baby, "Homeward Bound" (on GreatLakes1)
Lena Bourne Fish, "Jolly Rocing Tar" (on USWarnerColl01)
CROSS_REFERENCES:
cf. "Outward and Homeward Bound"
ALTERNATE_TITLES:
Outward Bound
NOTES: Reportedly written by Edward Harrigan and his father-in-law David Braham for the play "Old Lavender," which is listed as premiering September 1, 1885. (Information supplied by Philip Harrigan Sheedy.) The song has since entered oral tradition, as known versions exhibit significant variations. - DGE, RBW
The song has cross-fertilized with "Outward and Homeward Bound"; it may be that that was the inspiration for this song.
For background on Harrigan and Braham, see the notes to "Babies on Our Block." - RBW
File: Wa071
===
NAME: Ghaist o' Fernden, The
DESCRIPTION: A farmer's wife needs a midwife but the men won't fetch one for fear of meeting "the ghaist o' Fern-den." The ghost himself fetches the midwife and, leaving her at the farmer's door, reveals his identity and promises to take her home at midnight.
AUTHOR: unknown
EARLIEST_DATE: 1853 (Jervise, _The History and Traditions of the Land of the Lindsays in Angus and Mearns_, according to GreigDuncan2)
KEYWORDS: childbirth ghost
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 342, "The Ghaist o' Fernden" (2 texts)
Roud #5872
ALTERNATE_TITLES:
The Brownie of Fernden
NOTES: The sense of "ghost" here seems to be spirit but not of a particular person. One text in GreigDuncan2 refers to a "brownie." - BS
File: GrD2342
===
NAME: Ghost of the Peanut Stand, The
DESCRIPTION: Biddie Magee owns a Jersey City peanut stand. She loves Connie O'Ryan who joins the army. Biddy takes to bed and dies, "the peanut-stand went up the spout," Connie is drummed out. Her house is haunted by the ghosts of Biddy, Connie, and the peanut stand
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30417a)
KEYWORDS: courting army Civilwar separation death humorous ghost
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 70, "The Ghost of the Peanut Stand" (2 fragments, 1 tune)
Roud #2762
BROADSIDES:
LOCSinging, sb30417a, "The Peanut Stand," H. De Marsan (New York), 1864-1878 
CROSS_REFERENCES:
cf. "Joe Bowers" (tune, per broadside Bodleian Harding B 26(690))
NOTES: The De Marsan text is more complete than the Creighton-SNewBrunswick fragment, and is the basis for the description. If nothing else, the De Marsan text dates itself to the Civil War: Connie "got in with a parcel of Jersey roughs; they led him around like a toy; So, he joined the New-York Fire-Zoo-Zoos, and he went for a soger-boy."
The Union 11th [New York] Regiment Infantry "1st New York Fire Zouaves" were mustered in May 7, 1861 and mustered out June 2, 1862. (source: The Civil War Archive site); see also "Abraham's Daughter" for a reference to "the fire Zou-Zous." - BS
As the dates above show, the 11th New York was not long in service (a lucky bunch; they enlisted for two years but served only one); its only real battle was First Bull Run, though it was also involved in the early part of the Peninsular campaign. It was called the "Fire Zouaves" because many of the members were New York firemen -- skills which they put to good use in fighting a fire that threatened to consume part of Washington, D.C. Otherwise, its service was noteworthy mostly for the rowdy conduct of the troops.
The regiment was also famous for its first colonel, E. Elmer Ellsworth (1837-1861), who in 1862 led the regiment into Alexandria, Virginia, and proceeded to tear down the Confederate flag flying over the Marshall House hotel. The owner, James T. Jackson, proceeded to murder Ellsworth (and was killed in return by one of Ellsworth's soldiers), making the young soldier an instant martyr.
It will be observed that the odds of an Irish peanut vendor joining that particular regiment were pretty small -- but, of course, the unit was unusually well-known and hence a likely subject for songs. - RBW
Broadside LOCSinging sb30417a: H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: CrSNB070
===
NAME: Ghost of Willie-O: see Willy O! (File: CrMa113)
===
NAME: Ghost So Grim, The: see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Ghost's Bride, The
DESCRIPTION: John Gordon comes to court Mary, saying her lover, his brother, is long dead. She agrees to marry him. She hears the dead brother speak, saying John stole his land, wife, and life. When John Gordon awakes, Mary is gone, her bones by the brother's grave
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love courting brother death murder betrayal marriage abandonment reunion
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 58, "The Ghost's Bride" (1 text)
ST BrII058 (Full)
Roud #6567
CROSS_REFERENCES:
cf. "A Gentleman of Exeter (The Perjured Maid)" [Laws P32] (plot)
cf. "Susannah Clargy" [Laws P33] (plot)
cf. "Alonzo the Brave and Fair Imogene" (plot)
cf. "An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman)" (theme)
NOTES: This song, "A Gentleman of Exeter," and "Susannah Clargy" are all essentially the same story, and looking at the titles in the Broadside Index, I wonder if they haven't cross-fertilized -- or aren't retellings of some epic original. (Note that the story is almost "Hamlet.")
The notes in Brown describe this as the best of the lot, and it is certainly vividly told. If there is any complaint against it, it is that it is a little *too* perfect, and the Brown copy seems to be the only collection. Perhaps it was composed in the family of the informant? - RBW
File: BrII058
===
NAME: Ghostly Crew, The [Laws D16]
DESCRIPTION: A sailor has endured much without fear -- until the night twelve ghosts board his ship and take stations "as if [they] had a right." They disappear as the ship passes a lighthouse. The singer is sure they are sailors drowned in a collision with his ship
AUTHOR: Harry L. Marcy
EARLIEST_DATE: 1874 ("Fisherman's Ballads and Songs of the Sea")
KEYWORDS: sea ship ghost
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (10 citations)
Laws D16, "The Ghostly Crew"
Doerflinger, pp. 180-182, "The Ghostly Crew" (2 texts, 1 tune)
Greenleaf/Mansfield 115, "The Spirit Song of George's Bank" (1 text, 1 tune)
Peacock, pp. 873-874, "The Ghostly Sailors" (1 text, 2 tunes)
Leach-Labrador 96, "Ghostly Fishermen" (1 text, 1 tune)
Creighton-NovaScotia 117, "The Ghostly Sailors" (1 text, 1 tune)
Creighton-SNewBrunswick 114, "The Ghostly Sailors" (1 text, 1 tune)
Smith/Hatt, pp. 96-99, "The Ghostly Sailors" (1 text)
Ives-DullCare, pp. 79-80, 245-246, "The Ghostly Fishermen" (1 text, 1 tune)
DT 701, GHOSCREW GHOSCRE2
Roud #1822
RECORDINGS:
Morris Houlihan, "The Ghostly Fisherman" (on NFMLeach)
CROSS_REFERENCES:
cf. "The Glen Alone" (theme)
ALTERNATE_TITLES:
The Ghostly Seamen
NOTES: Gordon Bok reports, "The story I heard was that the schooner _Haskell_, out of Gloucester, was anchored near George's [Bank] when a sudden gale parted her ground tackle and she went charging, bare-poled, down through the fleet. She cut the schooner _Johnston_ almost in two, killing all her men. On every voyage thereafter, a crew would appear on her deck at night and go through the motions of fishing. After a few trips, no crew would even sign on her, and she rotted at the wharf."
Creighton-SNewBrunswick adds more details: On March 7, 1866, the new _Charles Haskell_ rammed the _Andrew Jackson_, inspiring this song; the _Haskell_ later became known as "the ghost ship."
Some of this may be folklore; after all, we hear a lot of ghost stories about ships sunk by ramming. For example, a story very much like this took place twenty years *after* Marcy's text was published: On June 22, 1893, HMS _Camperdown_, in a confused practice maneuver involving an admiral showing off, rammed HMS _Victoria_, causing the latter to sink with the loss of 358 men including the admiral. _Camperdown_ survived, but was put into reserve roles not long after, and was broken up in 1911 although she was only 22 years old.
And there is a ghost associated with the story: According to Peter Underwood's _Gazetteer of British, Scottish & Irish Ghosts_, p. 135,  shortly after the _Victoria_ sank, the ghost of the admiral aboard, George Tryon, was seen at the home of Lady Tryon in London. - RBW
File: LD16
===
NAME: Ghostly Fisherman, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Ghostly Lover, The: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Ghostly Sailors, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Ghostly Seamen, The: see The Ghostly Crew [Laws D16] (File: LD16)
===
NAME: Gideon's Band: see Old Uncle Noah (File: E075)
===
NAME: Giein' the Nowte Their Fother
DESCRIPTION: "As I rode in by yon bonnie waterside... there I spied a weel-faur'd maid, She was gien the nowte their fodder." He asks her to fancy him; she replies that she has no dowry. Next summer, he returns and asks again, and makes her a rich lady
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting marriage money
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 228-229, "Gien the Nowte Their Fodder" (1 text)
Roud #3934
File: Ord228
===
NAME: Gien the Nowte Their Fodder: see Giein' the Nowte Their Fother (File: Ord228)
===
NAME: Gigantic, The
DESCRIPTION: The schooner Gigantic, with a crew of six, leaves Newfoundland for Portugal and has a difficult crossing from October 22 until November 13. They land their cargo of fish and take on salt for the trip home.
AUTHOR: William Best (written 1917)
EARLIEST_DATE: 1978 (Lehr/Best)
KEYWORDS: commerce sea ship ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 42, "The Gigantic" (1 text, 1 tune)
File: LeBe042
===
NAME: Gight's Ladye: see Geordie [Child 209] (File: C209)
===
NAME: Gil Brenton [Child 5]
DESCRIPTION: A lord is preparing to wed. His bride seeks to conceal the fact that she is not a virgin, but the truth -- that she had once slept with a lord in a wood -- comes out. It is then revealed that the man she slept with was her husband-to-be.
AUTHOR: unknown
EARLIEST_DATE: 1882 (Child)
KEYWORDS: marriage seduction trick disguise
FOUND_IN: Britain(Scotland)
REFERENCES: (8 citations)
Child 5, "Gil Brenton" (8 texts)
Bronson 5, Gil Brenton" (3 versions)
Randolph 13, "The Little Page Boy" (1 fragmentary text, 1 tune, which Randolph places with "Child Waters"  though it also has lines from the "Cospatrick" version of "Gil Brenton" and is so short it might go with something else)
Leach, pp. 59-63, "Gil Brenton" (1 text)
OBB 5, "Cospatrick" (1 text)
PBB 42, "Gil Brenton" (1 text)
DBuchan 1, "Gil Brenton" (1 text, 1 tune in appendix) {Bronson's #1}
DT, GILBRENT*
Roud #22
CROSS_REFERENCES:
cf. "Willie's Lady" [Child 6] (lyrics)
NOTES: Sir Walter Scott's version of this (Child's B) names the hero "Cospatrick," which Scott lists as the name of the Earl of Dunbar around the time of Edward I of England. The name was still used in Child's time for members of the Dunbar line.
The name, however, is older; Rosalind Mitchison, _A History of Scotland_ (second edition,1983, p. 16) mentions a Cospatrick who was apparently a Saxon claimant to one or another northern English earldom in 1069, and whose son held Cumberland until William II of England conquered it in 1092. It seems unlikely that any of this has a genuine connection to the ballad.
Again, several instances of the ballad mention violence by the groom against the bride on their wedding night; this sounds much like the Thousand and One Nights, but there is unlikely to be a direct connection. - RBW
File: C005
===
NAME: Gil Morissy: see Child Maurice [Child 83] (File: C083)
===
NAME: Gila Monster Route, The
DESCRIPTION: A hobo is left behind by the train. The poem recalls his history: He and his pal, given a handout, used it for wine rather than food, got drunk, and were arrested. Set free, the hobo wanders until he catches another train
AUTHOR: L. F. Post and Glenn Norton
EARLIEST_DATE: 1934
KEYWORDS: hobo travel prison drink
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 24-26, "The Gila Monster Route" (1 text)
Roud #9924
NOTES: This is not even a song (let alone a traditional song); it is a poem published in _Railroad Man's Magazine_. I cannot for the life of me tell why the Lomaxes reprinted it; apart from a liberal use of railroad slang, it has very little to commend it. - RBW
File: LxA024
===
NAME: Gilderoy
DESCRIPTION: "Gilderoy was as bonny a boy as e'er cam tae the glen." The singer describes his charms and how lovingly he once cared for her. He taken as an outlaw. He is convicted (falsely, in her mind) and hanged because the laws were so strict
AUTHOR: unknown
EARLIEST_DATE: 1725 (an isolated stanza appears in "Westminster Drollery," 1671)
KEYWORDS: love outlaw trial execution
HISTORICAL_REFERENCES: 1636? - execution of "Gilderoy," aka Patrick McGregour, in Edinburgh
FOUND_IN: US(So) Britain(Scotland) Canada(Newf)
REFERENCES: (7 citations)
Percy/Wheatley I, pp. 318-323, "Gilderoy" (1 text)
Ford-Vagabond, pp. 27-31, "Gilderoy" (1 text, 1 tune)
Greenleaf/Mansfield 63, "Gilderoy" (1 fragment, 1 tune)
Randolph-Legman I, pp. 40-41, "Gilderoy" (1 fragmentary text, 1 tune, connected with the Scottish ballad more by the tune than the text)
BBI, ZN955, "Gilderoy was a bonny boy"; ZN1821, "My love he was as brave a man"
DT, GILDROY
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #87, "My Handsome Gilderoy" (1 text)
Roud #1486
BROADSIDES:
NLScotland, S.302b.2(020), "Gilderoy," unknown, after 1700
CROSS_REFERENCES:
cf. "Salisbury Plain" (theme)
ALTERNATE_TITLES:
I Blowed Her with My Horn
NOTES: Claude Simpson, _The British Broadside Ballad and Its Music,_ pp. 252 ff., [notes that  Gilderoy] seems to have been so glorified that he appears in historical legends not long after [his execution]. Simpson cites a broadside ballad printed "in the 1690s..."  "probably written much earlier," entitled "The Scotch Lover's Lamentation: or, Gilderoy's Last Farewell... To an excellent new Tune, much in request."  That ballad begins, "Gilderoy was a bonny boy."  It is to be found in Pepys, Craford, Bagford and _A Collection of Old Ballads,_ 1723-1725. - EC
William Rose Benet's _Reader's Encyclopedia_ has this to say:
"Gilderoy. A famous cattle-stealer and highwayman of Perthshire, who is said to have robbed Cardinal Richelieu [died 1642] in the presence of the King, picked Oliver Cromwell's pocket [Cromwell, however, was not of any note in 1636, and had not yet led his armies into Scotland], and hanged a judge. He was hanged in 1636.... Some authorities say there were two robbers by this name."
David Brandon's _Stand and Deliver: A History of Highway Robbery_ (p. 76) gives another version of this, but with a twist: the robber is named "Gilders Roy." Brandon reports that "when he stopped a judge... his gang stripped his two footmen, tied them up and threw them into a pond, whereupon they drowned. Roy himself smashed the judge's carriage, shot the horses, and then hanged his hapless victim." Right. Shoot valuable horses?
Much of this seems to be derived from Percy, but Wheatley adds a much less flattering commentary: "The subject of this ballad was a ruffian totally unworthy of the poetic honours given him.... [H]e was betrayed by his mistress Peg Cunningham, and captured after killing eight of the men sent against him, and stabbing the woman...
"He was one of the proscribed Clan Gregor, and a notorious lifter of cattle in the Highlands of Pethshire for some time before 1636. In February of that year seven of his accomplices were taken, tried, condemned, and executed at Edinburgh.... [I]n July, 1636, [he] was hanged with five accomplices at the Gallowlee."
The National Library of Scotland site, however, lists his death year as 1638.
Ford lists certain others of his exploits; he too is cautious about their veracity.
Sam Hinton notes the most likely source for the robber's name (cf. Ford): "Gilderoy" could be a corruption of Gaelic "Giolla Ruadh" ("Gillie Roy") -- "red-haired boy."
There is another piece called "Gilderoy" in the _Scots Musical Museum_ (#66); this is probably a rewrite based on the traditional tune. I strongly doubt it ever went into tradition itself; it begins "Ah! Chloris, cou'd I now but sit As unconcern'd as when Your infant beauty could beget No happiness, nor pain!" - RBW
File: RL040
===
NAME: Giles Collins: see Lady Alice [Child 85] (File: C085)
===
NAME: Giles Corey
DESCRIPTION: "Come all New England men And hearken unto me And I will tell what did befalle Upon the Gallows tree." "In Salem village was the place." "This Goody Corey was a witch." Wife and husband are accused; he is pressed to death and she is hung
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: witch execution
HISTORICAL_REFERENCES: 1692 - Salem Witch Trials
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 105-108, "Giles Corey and Goodwyfe Corey -- a Ballad of 1692" (1 text)
NOTES: Salem did not invent accusations of witchcraft; Samuel Elliot Morrison reports that there had been 44 witchcraft trials, and three executions, prior to 1692.
But in that year, 14 women and five men were hanged, with Giles Corey, as the broadside states, being pressed to death (i.e. having weights placed on him until he suffocated). Four others died in prison, and hundreds more were awaiting trial when sanity prevailed. - RBW
File: Burt105
===
NAME: Giles Scroggins
DESCRIPTION: "Giles Scroggins courted Molly Brown... If you love me as I love you, No knife can cut our love in two." "But scissors cut as well as knives... For just as they were going to wed, Fate's scissors cut poor Giles's thread." She refuses his ghost in a dream
AUTHOR: unknown
EARLIEST_DATE: 1848 (Davidson's Universal Melodist)
KEYWORDS: love courting death ghost humorous
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Davis-Ballads 25, "[Appendix to] Lady Alice" (1 text)
Roud #1620
NOTES: Davis thinks this piece "evidently a burlesque of 'Giles Collins,'" and this is certainly possible. But it is so broad, and the plot so commonplace, that it could easily have arisen independently.
Davis also has notes on the authorship and various places it has appeared, mostly in broadside or songster form. He admits that the attributions are all uncertain. It's not clear if the song ever really went into tradition, but it certainly was printed frequently. - RBW
File: DavB025
===
NAME: Gilgarrah Mountain: see Whisky in the Jar (The Irish Robber A) [Laws L13A]/The Irish Robber B (McCollister) [Laws L13B] (File: LL13)
===
NAME: Gill Morice: see Child Maurice [Child 83] (File: C083)
===
NAME: Gill Morrice: see Child Maurice [Child 83] (File: C083)
===
NAME: Gill Stoup, The
DESCRIPTION: "What a mischief whisky's done ... Brings muckle grief at hame." Jake gets drunk and sets out "owre the ragin' main." Soldier Tam draws his pay but he and Soldier John drink it all. A husband buys meal at the mill but sells the sack to buy whisky.
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: drink nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 597, GreigDuncan8 Addenda, "Weary on the Gill Stoup" (3 texts, 2 tunes)
Roud #6047
BROADSIDES:
Bodleian, Harding B 17(109a), "The Gill Stoup" ("O weary on the gill stoup"), Sanderson (Edinburgh), 1830-1910
ALTERNATE_TITLES:
What a Mischief Whisky's Done
NOTES: Broadside Bodleian Harding B 17(109a) is the basis for the description. - BS
File: GrD3597
===
NAME: Gimme de Banjo
DESCRIPTION: Shanty. Characteristic line: "Dance, gal, gimme de banjo!" The singer "was sent to school fer to be a scholar," but had no success and left his books to others. (Now he is at sea picking the banjo)
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: shanty sailor music
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Doerflinger, p. 45, "Gimme de Banjo" (1 text, 1 tune)
Hugill, p. 341, "Gimme de Banjo" (2 texts, 1 tune) [AbEd, pp. 256-257]
ST Doe045 (Partial)
Roud #9437
File: Doe045
===
NAME: Ginger Blue
DESCRIPTION: Walky, talky, Ginger Blue, White man run, but the nigger he flew."  "Wakin' talkin' Jinger Blue, I can tell you might true, I'm just from the Tennessee mountains. Take a drink of beer as sweet as water That flows from the Tennessee fountains."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 298, "Ginger Blue" (1 fragmentary text)
BrownIII 496, "Jinger Blue" (1 fragmentary text)
Roud #11762
RECORDINGS:
Charlie Oaks, "Ginger Blue" (Vocalion 15344, 1926)
Arthur Tanner, "Dr. Ginger Blue" (Columbia 15479-D, 1929)
NOTES: The notes in Brown suggest that his text (the "Jinger Blue" version) might be derived from "Walkin' in the Parlor"  as well as the nineteenth century pop song "Ginger Blue." Possible -- but with only a fragment, it's beyond proof. - RBW
File: R298
===
NAME: Gipsies: see The Lost Lady Found [Laws Q31] (File: LQ31)
===
NAME: Girl and the Oysters, The: see The Oyster Girl [Laws Q13] (File: LQ13)
===
NAME: Girl from Clahandine
DESCRIPTION: Before the singer leaves for America he bids his friends adieu and tearfully leaves his girl. He finds no one in America as true or kind as the girl he left behind. When he has enough gold he'll return to marry her and settle in a cottage in Clahandine.
AUTHOR: Tom Flanagan (source: notes to IRClare01)
EARLIEST_DATE: 1974 (IRClare01)
KEYWORDS: poverty love parting America Ireland emigration
FOUND_IN: Ireland
REFERENCES: ()

Roud #18474
RECORDINGS:
Michael Flanagan, "Girl from Clahandine" (on IRClare01)
NOTES: Notes to IRClare01: ."..it has obviously been re-written from the popular 'The Girl I Left Behind' to place its location around North Clare. Saint Bridget's Well [he was born near there] is at Liscannor a few miles south of Luogh."
The verse structure, final line of two verses, and a few other lines follow Laws P1A but the story line does not follow any "The Girl I Left Behind" that I know. - BS
File: RcGiFCla
===
NAME: Girl from Turfahun, The
DESCRIPTION: "Ye bards may sing your sweetest lays In praise of beauty's grace...." The singer went to Ballycastle fair, where he sees a beautiful girl. They meet again at a dance, and during a pause, he asks her name. He learns she is married. He laments
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: love courting beauty husband wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H521, p. 372, "The Girl from Turfahun" (1 text, 1 tune)
Roud #6887
File: HHH521
===
NAME: Girl I Left Behind (I), The [Laws P1A/B]
DESCRIPTION: Two lovers promise to be faithful. He then sets out on a voyage. Before they can be reunited, one or the other proves unfaithful. (In Laws's "A" texts, the man marries a Scottish girl and his love dies of a broken heart; in "B" texts, the girl is untrue)
AUTHOR: unknown
EARLIEST_DATE: before 1852 (broadside, Bodleian Firth b.26(187))
KEYWORDS: courting promise infidelity separation
FOUND_IN: US(Ap,MA,MW,Ro,SE,So) Canada(Mar,Newf) Britain(Scotland) Ireland Australia
REFERENCES: (36 citations)
Laws P1A/B "The Girl I Left Behind"
Belden, pp. 198-200, "Peggy Walker" (3 texts)
Randolph 283, "The Girl I Left Behind" (4 texts, 1 tune. Laws assigns Randolph's A text to P1A and B, C, and D to P1B)
Randolph/Cohen, pp. 101-104, "The Girl I Left Behind" (1 text, 1 tune -- Randolph's 64A)
Randolph-Legman I, pp. 434-440, "The Girl I Left Behind" (5 texts, 1 tune)
BrownII 145, "The Girl I Left Behind Me" (5 texts plus 1 excerpt and mention of 1 more. Laws lists the "A" and B" texts as P1A and "C," "D," "F," and "G" as P1B)
Chappell-FSRA 79, "My Parents Reared Me Tenderly" (1 text)
Doerflinger, pp. 305-206, "The Maid I Left Behind" (1 text, 1 tune)
Wyman-Brockway I, p. 76, "Peggy Walker" (1 text, 1 tune)
FSCatskills 39, "The Girl I Left Behind" (1 text, 1 tune)
SharpAp 96, "My Parents Treated Me Tenderly" (6 texts, 6 tunes)
Cambiaire, pp. 47-49, "The Girl I Left on New River" (1 text)
SHenry H188, p. 401, "The Girl I Left Behind" (1 text, 1 tune)
Warner 148, "My Parents Raised Me Tenderly" (1 text, 1 tune)
Gardner/Chickering 28, "The Girl I Left Behind" (1 text plus mention of 1 more, 1 tune)
Dean, p. 10, "The Girl I Left Behind" (1 text)
Peacock, pp. 449-452, "The Girl I Left Behind" (2 texts, 2 tunes)
Creighton-Maritime, pp. 76-77, "The Girl I Left Behind" (1 text, 1 tune)
Creighton-SNewBrunswick 47, "Peggy Walker" (1 text, 1 tune)
Leach-Labrador 134, "Jennie Ferguson" (1 text, 1 tune); 138, "The Girl I Left Behind" (1 text, 1 tune)
Manny/Wilson 70, "the Girl I Left Behind (Janey Ferguson)" (1 text, 1 tune)
Ryan/Small, p. 134, "The Girl I Left Behind Me" (1 text, a single stanza probably of a version rewritten for seal-hunting, but with only four lines, it can hardly be separated from the main song)
McNeil-SFB1, pp. 106-109, "The Broken-hearted Boy" (1 text, 1 tune)
Meredith/Anderson, p. 50, "The Rich Old Farmer" (1 text, 1 tune)
Lomax-FSNA 165, "The Girl I Left Behind" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 38, "The Girl I Left Behind" (1 text, 1 tune)
Fife-Cowboy/West 62, "The Girl I Left Behind Me" (2 texts, 1 tune, with the "A" text, although mixed and westernized, probably belonging here and the "B" text being the lyric piece); 63, "My Parents Raised Me Tenderly" (1 text, 1 tune)
Ohrlin-HBT 84, "The Girl I Left in Missouri" (1 text, 1 tune)
JHCox 85, "My Parents Reared Me Tenderly" (1 text)
SHenry H188, pp. 401-402, "The Girl I Left Behind" (1 text, 1 tune)
Ord, pp. 45-47, "I'll Ne'er Forget the Parting" (1 text, 1 tune)
MacSeegTrav 65, "The Girl I Left Behind" (1 text, 1 tune)
Shay-SeaSongs, pp. 202-203, "The Girl I Left Behind Me" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 16-17, "The Girl I Left Behind Me" (1 text, 1 tune)
Silber-FSWB, p. 114, "The Girl I Left Behind Me" (1 text)
DT 338, GIRLEFT (GIRLEFT2* -- perhaps a mixed version, with the text of Laws P1 and the tune of the playparty?) GIRLLFT6*
Roud #262
RECORDINGS:
Jules [Verne] Allen, "The Gal I Left Behind" (Victor V-40022, 1929; on WhenIWas2)
Clint Howard et al, "Maggie Walker Blues" (on Ashley02, WatsonAshley01)
Dock Boggs, "Peggy Walker" (on Boggs3, BoggsCD1)
[G. B.] Grayson & [Henry] Whitter, "I've Always Been a Rambler" (Gennett, unissued, 1928) (Victor V-40324, 1928; on GraysonWhitter01, LostProv1, ConstSor1)
Harry Jackson, "The Gal I Left Behind" (on HJackson1)
Billie Maxwell, "The Arizona Girl I Left Behind" (Victor V-40188, 1930; on MakeMe)
Pleaz Mobley, "My Parents Raised Me Tenderly" (AFS; on LC12)
Spencer Moore, "The Girl I Left Behind" (on LomaxCD1700, LomaxCD1702)
New Lost City Ramblers, "I've Always Been a Rambler" (on NLCR13, NLCRCD2)
BROADSIDES:
Bodleian, Firth b.26(187), "Margaret Walker" ("My parents raised me tenderly having no child but me"), S. Russell (Birmingham), 1840-1851; also Firth b.25(478), "Margaret Walker"; Firth c.26(280), "Girl I Left Behind"; Harding B 11(2237), Firth c.14(210), "The Lover's Lament" or "The Girl I Left Behind Me"
Murray, Mu23-y1:050, "The Girl I Left Behind Me," James Lindsay (Glasgow), 19C, with the unhappy ending left off
NLScotland, L.C.1270(015), "The Girl I Left Behind Me" ("Now for America I am bound, Against my inclination"), unknown, c. 1880, with the unhappy ending left off
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me (III)" (tune)
SAME_TUNE:
The Girl I Left Behind Me (by Thomas Davis) (Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 471-472)
NOTES: In addition to this ballad form, there is a song with this title (indexed as "The Girl I Left Behind Me (lyric)"). As the two have cross-fertilized (often, e.g., sharing the latter's tune "Brighton Camp"), the reader is advised to check both songs for completeness. - RBW
File: LP01
===
NAME: Girl I Left Behind Me (II), The
DESCRIPTION: Singer bids farewell to his beloved and departs for the war. He shares "the glory of that fight." He swears that if he does not return, "Dishonor's breath shall never stain/The name I leave behind me." The girl may tell how she will miss him if he dies
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Lloyd & Howard Massey)
LONG_DESCRIPTION: Singer bids farewell to his beloved -- "I breathed the vows that bind me" -- and departs for the war. He shares "the glory of that fight." He looks forward to the day of victory and to being reunited with his love, but swears that if he does not return, "Dishonor's breath shall never stain/The name I leave behind me." In one version the voice then shifts to the girl: "He don't come it'll break my heart/And a-almost run me crazy"
KEYWORDS: virtue love marriage promise army battle Civilwar war farewell parting return reunion separation lover wife soldier
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, GIRLLFT7
RECORDINGS:
Dr. Lloyd & Howard Maxey [Massey], "The Girl I Left Behind Me" (OKeh 45150, 1927)
NOTES: The Digital Tradition entry assigns a keyword of "Irish" to this, but they also state that it's from "Songs of the Seventh Cavalry" (published by the Bismarck Tribune); it certainly has the ring of an American Civil War piece to my ears. As the DT entry is undated, I use the Masseys' recording for Earliest Date. - PJS
There are of course two other famous girls left behind: the lyric based on the tune "Brighton Camp," and the Laws P1, which he confusingly gives this title ("I've Always Been a Rambler" might have been a better title). The simple presence of this key line seems to cause some interchange of lyrics; best to check them all if you're looking for all instances.  - RBW
File: DtGLFT7
===
NAME: Girl I Left Behind Me (II), The (lyric)
DESCRIPTION: The singer recalls the girl he left behind, and now plans to return to her, even if it involves losing his job. He reminisces: "Oh, that girl, that sweet little girl, The girl I left behind me, With rosy cheeks and curly hair, The girl I left behind me."
AUTHOR: unknown
EARLIEST_DATE: 1855 (tune "Brighton Camp" dated by Chappell to 1758)
KEYWORDS: separation love return nonballad playparty
FOUND_IN: US(NE,So)
REFERENCES: (10 citations)
Randolph 546, "The Girl I Left Behind Me" (3 texts, 1 tune)
Hudson 98, pp. 229-230, "The Gal I Left Behind Me" (1 text)
Lomax-ABFS, pp. 280-282, "The Gal I Left Behind Me," "That Pretty Little Gal" (3 texts, 1 tune)
Fife-Cowboy/West 62, "The Girl I Left Behind Me" (2 texts, 1 tune, with the "B" text belonging here and the "A" text being a Westernized form of Laws P1)
Chappell/Wooldridge II, pp. 187-189, "Brighton Camp, or, The Girl I've Left Behind Me" (1 tune, partial text)
Linscott, pp. 79-80, "The Girl I Left Behind Me" (1 tune plus dance instructions)
Hill-CivWar, pp. 226-227, "The Girl I Left Behind Me" (1 text, a Civil War adaption)
Silber-FSWB, p. 281, "The Girl I Left Behind Me" (1 text)
Fuld-WFM, pp. 242-244, "The Girl I Left Behind Me"
DT, GIRLLFT4* GIRLLFT5* GRLBHNDZ
Roud #4497
RECORDINGS:
Anonymous singer, "The Girl I Left Behind Me" (on Unexp1)
Bull Mountain Moonshiners, "Johnny Goodwin" (Victor 21141, 1927; on TimesAint05)
Vernon Dalhart, "The Girl I Left Behind Me" (Columbia 437-D, 1925)
Uncle Dave Macon, "The Girl I Left Behind Me" (Vocalion 15034, 1925)
Pete Seeger, "Girl I Left Behind" (on PeteSeeger24) (on PeteSeeger40)
Gid Tanner & his Skillet Lickers, "The Girl I Left Behind Me" (Columbia 15170-D, 1927)
CROSS_REFERENCES:
cf. "Brighton Camp" (tune)
cf. "The Wayward Boy" (tune)
cf. "The Battle of the Windmill" (tune)
cf. "The Waxies' Dargle" (tune)
NOTES: The tune "Brighton Camp," suitable for playparties, dances, and all sorts of fun occasions, seems to have sustained a variety of texts which then became intermixed. Some may even have cross-fertilized with the ballad "The Girl I Left Behind" [Laws P1]. The reader is advised to check all these sources to get a complete cross-section.
W. Bruce Olson contributed extensive notes to the Digital Tradition regarding the origin of the tune, arguing against Chappell's date.
The Folksinger's Wordbook credits this piece to Samuel Lover, who did indeed publish a set of lyrics in 1855. But it seems likely he just touched up an existing piece, as the tune and the title are older. - RBW
File: R546
===
NAME: Girl I Left Behind Me (III), The
DESCRIPTION: The singer is bound for Baltimore but still thinks about "the girl I left behind me. My friends they sent me off for fear I'd wed a steam-loom weaver ... Sweet Helen, dear, tho' far from thee,Our hearts will ne'er be parted." He returns to Glasgow.
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Murray Mu23-y1:050)
KEYWORDS: love emigration separation America
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Bodleian, Harding 2806 c.15(254), "Girl I Left Behind Me" ("Now for America I'm bound")," unknown, n.d.; also Harding B 26(215), "Girl I Left Behind Me"
Murray, Mu23-y1:050, "The Girl I Left Behind Me" ("Now for America I'm bound"), James Lindsay (Glasgow), 19C 
NLScotland, L.C.1270(015), "The Girl I Left Behind Me" ("Now for America I'm bound"), unknown, c.1880 
CROSS_REFERENCES:
cf. "The Girl I Left Behind Me" (tune, per broadside Bodleian Harding B 26(215))
NOTES: Broadside NLScotland L.C.1270(015) lacks the happy ending. - BS
File: BrTGILB3
===
NAME: Girl I Left Behind Me (IV), The: see The Wicklow Rangers (File: OLoc018)
===
NAME: Girl I Left in Missouri, The: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Girl I Left in Sunny Tennessee, The
DESCRIPTION: The singer is happily returning home to see the girl he left behind. He recalls the joyful times in Tennessee. Finally the train pulls into his hometown, and he sees his relatives but not Mary. His mother tells him that Mary is dead and in her grave
AUTHOR: Harry Braisted and Stanley Carter
EARLIEST_DATE: 1899 (copyright; first recording by Byron Harlan)
KEYWORDS: love separation return death
FOUND_IN: US(MW,So)
REFERENCES: (3 citations)
Dean, pp. 86-86. "The Girl I Loved in Sunny Tennessee" (1 text)
Randolph 810, "The Girl I Loved in Sunny Tennessee" (1 text)
Rorrer, p. 69, "The Girl I Left in Sunny Tennessee" (1 text)
Roud #4290
RECORDINGS:
Morgan Denmon, "Girl I Loved in Sunny Tennessee" (OKeh 45105, 1927)
[Byron] Harlan & [Frank] Stanley, "The Girl I Loved in Sunny Tennessee" (Columbia 257, 1901)
Byron G. Harlan, "The Girl I Loved in Sunny Tennessee" (CYL: Edison 5716, c. 1899)
Wade Mainer, "The Girl I Left In Sunny Tennessee" (King 1093, 1952)
Asa Martin & James Roberts, "Sunny Tennessee" (Banner 32306, 1931; Conqueror 7935, 1932; rec. 1931)
Peerless Quartet, "The Girl I Loved in Sunny Tennessee" (Victor 19390, 1924)
Charlie Poole and the North Carolina Ramblers, "The Girl I Left in Sunny Tennessee" (Columbia 15043-D, 1925; on CPoole04)
Red Fox Chasers, "The Girl I Loved in Sunny Tennessee" (Gennett 6930/Supertone 9497, 1929)
Walter Scanlan, "The Girl I Loved in Sunny Tennessee" (Edison 51893, 1927)
Ernest V. Stoneman "The Girl I Left in Sunny Tennessee" (Challenge 151, 1927); "The Girl I Left Behind in Sunny Tennessee" (Challenge 151/Gennett 3368/Herwin 75529, 1926)
Sweet & Zimmerman, "The Girl I Loved in Sunny Tennessee" (CYL: Edison 7414, 1900)
CROSS_REFERENCES:
cf. "Bull Dog Down in Tennessee" (tune, subject of parody)
cf. "Down on the Farm (II)" (theme)
cf. "I'll Be There, Mary Dear" (theme)
SAME_TUNE:
Bull Dog Down in Tennessee (File: RcBDDITe)
File: R810
===
NAME: Girl I Left on New River, The: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Girl I Loved in Sunny Tennessee, The: see The Girl I Left in Sunny Tennessee (File: R810)
===
NAME: Girl in Portland Street, The
DESCRIPTION: Sailor meets a girl and they go about courting/seducing each other. Refrain of "Fal-de-lol-day" throughout. This has some of the anatomical progression verses of "Yo Ho, Yo Ho." Harlow's version ends with the sailor discovering the girl has a cork leg.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy humorous
FOUND_IN: US Britain
REFERENCES: (2 citations)
Harlow, pp. 70-71, "A Fal-De-Lal-Day" (1 text, 1 tune)
Hugill, pp. 54-55, "The Girl In Portland Street" (1 text, 1 tune) [AbEd, pp. 50-51]
Roud #9162
ALTERNATE_TITLES:
Fol-de-lol-day
NOTES: Harlow says that the first refrain of this was often whistled rather than sung. - SL
File: Hugi054
===
NAME: Girl in the Army, A: see Bonnie Jean O' Aberdeen, She Lang'd for a Baby (File: OOx2183)
===
NAME: Girl in the Blue Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl of Constant Sorrow
DESCRIPTION: Singer tells of leaving her mother (now dead) and her home in Kentucky so that her children could be fed. She then describes the coal miners' poor food, homes and clothing; she is sure "if there's a heaven/That the miners will be there"
AUTHOR: Words: Sara Ogan Gunning / tune "Man of Constant Sorrow" (Emry Arthur?)
EARLIEST_DATE: before 1950 (recording by author)
KEYWORDS: separation mining hardtimes poverty family worker derivative
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Greenway-AFP, pp. 1168-169, "I Am a Girl of Constant Sorrow" (1 text, 1 tune)
Silber-FSWB, p. 128, "Girl of Constant Sorrow" (1 text)
DT, CONSTSR2*
Roud #499
CROSS_REFERENCES:
cf. "Man of Constant Sorrow" (structure, tune)
NOTES: Although the source lists a copyright date of 1965, I'm certain [this] was recorded on a Library of Congress field recording in the 1930s or 1940s. - PJS
File: FSWB128B
===
NAME: Girl on the Greenbriar Shore, The
DESCRIPTION: Singer leaves his home, despite his brokenhearted mother's warnings, for the girl on the greenbriar shore. The girl leaves him, and he remembers his mother's words -- "Never trust a girl on the greenbriar shore."
AUTHOR: unknown
EARLIEST_DATE: 1941 (recording, Carter Family)
KEYWORDS: love warning abandonment 
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, pp. 54-55, "The Girl on the Greenbriar Shore" (1 text, 1 tune)
Silber-FSWB, p. 165, "The Girl On The Greenbriar Shore" (1 text)
DT, GRNBRIR3*
RECORDINGS:
The Carter Family, "The Girl On The Greenbriar Shore" (Bluebird B-8947, 1941)
NOTES: For the (fragile) relationship between this piece and "The New River Shore (The Green Brier Shore; The Red River Shore)" [Laws M26], see the notes on that piece. - RBW
File: CSW054
===
NAME: Girl that Wore a Waterfall, The [Laws H26]
DESCRIPTION: The singer sees a pretty girl who "wore a waterfall." Eventually he walks her home, where he encounters her husband. The singer is beaten black and blue and relieved of watch and money. He says he will no longer approach girls with waterfalls!
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: courting hair punishment fight
FOUND_IN: US(Ap,SE,So)
REFERENCES: (5 citations)
Laws H26, "The Girl That Wore a Waterfall"
Randolph 389, "The Girl with the Waterfall" (1 text, 1 tune)
McNeil-SFB2, pp. 44-46, "The Girl That Wore a Waterfall" (1 text, 1 tune)
Fife-Cowboy/West 64, "The Girl That Wore a Waterfall" (1 text, 1 tune)
DT, WATERFL2
Roud #2189
NOTES: The "waterfall" as a hair style came into vogue in 1845, and continued to be used until shortly after the Civil War. Randolph describes it as "a mass of artificially curled hair, worn at the back of the head, arranged about a nucleus of false hair known as a 'rat.'" The word can also refer to a neck scarf.
The popularity of the song is evidenced by a reference to it in the Canadian song "Hogan's Lake." - RBW
File: LH26
===
NAME: Girl Volunteer, The (The Cruel War Is Raging) [Laws O33]
DESCRIPTION: (Johnny) has been ordered off to war. His sweetheart begs to go with him. He refuses her; military service would fade her beauty. She offers to buy his release; this too fails. (In some versions Johnny relents and allows her to come.)
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: war soldier separation love cross-dressing
FOUND_IN: US(Ap,SE,So)
REFERENCES: (11 citations)
Laws O33, "The Girl Volunteer"
Belden, pp. 177-180, "Lisbon" (3 texts, of which this is the third, to which Belden does not assign a letter; the first two are "William and Nancy (I) (Lisbon; Men's Clothing I'll Put On I)" [Laws N8])
Randolph 44, "Johnny Must Fight" (2 texts, 2 tunes)
Randolph/Cohen, pp. 94-95, "Johnny Must Fight" (1 text, 1 tune -- Randolph's 44B)
BrownII 100, "The Girl Volunteer" (1 text)
SharpAp 113, "The Warfare is Raging" (2 texts, 2 tunes)
Combs/Wilgus 109, pp. 178-179, "I'm Going to Join the Army" (1 text)
Fuson, p. 104, "Johnny" (1 text)
Silber-FSWB, p. 272, "The Cruel War Is Raging" (1 text)
Darling-NAS, pp. 131-132, "May I Go With You, Johnny?" (1 text)
DT 487, CRUELWAR* CRUELWR2*
Roud #401
RECORDINGS:
Louise Foreacre, "The War Is A-Raging" (on Stonemans01)
 Aunt Polly Joines, "The Warfare is A-Raging" (on Persis1)
Pete Steele, "The War Is A-Ragin' For Johnny" (on PSteele01)
CROSS_REFERENCES:
cf. "The Manchester Angel"
cf. "Jack Monroe" [Laws N7]
cf. "William and Nancy (I) (Lisbon; Men's Clothing I'll Put On I)" [Laws N8]
cf. "The Banks of the Nile (Men's Clothing I'll Put On II)" [Laws N9]
cf. "High Germany"
ALTERNATE_TITLES:
The Cruel War
NOTES: The Combs version of this song contains a reference to Pensacola -- the port from which many American troops set out for Cuba during the Spanish-American war (1898). The song is clearly much older than that, however. - RBW
File: LO33
===
NAME: Girl Who Never Would Wed, The: see The Courting Case (File: R361)
===
NAME: Girl Who Was Drowned at Onslow, The
DESCRIPTION: What mournful news that we did hear." A girl is drowned in an icy stream. After a three day search her body is found. Her true love and parents mourn.
AUTHOR: unknown
EARLIEST_DATE: 1928 (Mackenzie)
KEYWORDS: drowning mourning family river
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Mackenzie 154, "The Girl Who Was Drowned at Onslow" (1 text)
Roud #3287
NOTES: Mackenzie says this "true song" is about an accident in the farming community of Onslow "at the head of Cobequid Bay in Colchester County" Nova Scotia.
This song is item dG42 in Laws's Appendix II. - BS
File: Mack154
===
NAME: Girl with the Black Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl with the Blue Velvet Band, The: see The Black Velvet Band (I) (File: R672)
===
NAME: Girl with the Flowing Hair, The
DESCRIPTION: "My heart went pitty pitty patty As she passed me by so beautiful and fair. Oh, she winked at me with her soft blue eye, The girl with the flowing hair."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: hair beauty
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 175-176, "The Girl with the Flowing Hair" (1 tune, fragment of text)
File: MA175
===
NAME: Girl with the Waterfall, The: see The Girl that Wore a Waterfall [Laws H26] (File: LH26)
===
NAME: Girls o' Aiberdeen, The
DESCRIPTION: "I'll sing the flowers o' Don and Dee, The charming girls o' Aiberdeen." The Scottish lasses are better than the fair girls of England, but the girls of Aiberdeen are "far aboon them a'." "I loe the lasses ane and a'," but Aiberdeen girls best of all.
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: beauty nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #70, p. 1, "The Girls o' Aiberdeen" (1 text) 
GreigDuncan3 519, "The Girls o' Aiberdeen" (1 text)
Roud #6003
NOTES: The Dee and Don are rivers that flow into the North Sea at Aberdeen.
Greig #68 has the contributor say "he used to sing ["The Girls o' Aiberdeen"] in New Zealand in early days." - BS
File: GrD3519
===
NAME: Girls of Coleraine, The
DESCRIPTION: The singer talks of "a sweet little spot in the county of Derry." He says there is no such town in all Ireland. He warns against girls of the city, or places like Killarney. But girls and boys of Coleraine never change. He blesses the town
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H64, pp. 161-162, "The Girls from [of] Coleraine" (1 text, 1 tune)
ADDITIONAL: Richard Hayward, Ireland Calling (Glasgow,n.d.), p. 20, "The Girls of Coleraine" (text, music and reference to Decca F-2603 recorded Oct 4, 1931)
Roud #13460
CROSS_REFERENCES:
cf. "Teddy O'Neill" (tune)
NOTES: The date and master id (GB-3357-1) for Hayward's record is provided by Bill Dean-Myatt, MPhil. compiler of the Scottish National Discography. - BS
File: HHH064
===
NAME: Girls of Newfoundland, The
DESCRIPTION: The singer sailed from "a hot and sunny clime" for Harbour Grace thinking about "those girls from Newfoundland." Now the crew are home and "drink a health to all seamen bold" and enjoy the girls.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: homesickness sex sea ship drink sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 875-876, "The Girls of Newfoundland" (1 text, 1 tune)
Roud #9804
File: Pea875
===
NAME: Girls of the Shamrock Shore
DESCRIPTION: "It being in the spring when the small birds sing And the lambs do sport and play, I entered as a passenger To New South Wales sailed o'er...." Sentenced to transportation for fourteen years, the singer bids farewell to the girls of the Shamrock Shore
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: transportation separation parting
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, p. 171, "The Girls of the Shamrock Shore" (1 text, 1 tune)
Fahey-Eureka, pp. 40-41, "The Girls of the Shamrock Shore" (1 text, 1 tune)
DT, GIRLSHAM*
Roud #3365
CROSS_REFERENCES:
cf. "Van Dieman's Land (II -- Young Henry's Downfall)" (floating lyrics)
cf. cf. "Scarborough Settler's Lament" (theme) and references there
cf. "The Shamrock Shore (The Maid of Mullaghmore)" (theme of separation -- not transportation -- and one verse)
File: MA171
===
NAME: Girls of Ulan, The
DESCRIPTION: "The girls from Ulan need no schoolin' For blucher boots are all the go. And how their hobnail boots they rattle On that hard and slippery floor, Like a mob of Queensland cattle On the rush at four...."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: clothes
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 213-214, "The Girls of Ulan" (1 text)
Meredith/Covell/Brown, p. 291, "Ulan Girls" (1 text, 1 tune)
NOTES: It's not entirely clear whether these two songs are the same -- particularly since both are fragmentary. The first insults the Ulan girls, and has no tune; the second praises them. One may be a parody, or they may be complimentary fragments. For the moment, pending fuller versions, I'm lumping them together on the principle that they're about the same subject. - RBW
File: MA213
===
NAME: Girls of Valparaiso, The: see Rounding the Horn (File: VWL090)
===
NAME: Girls Won't Do to Trust, The: see The Boys Won't Do to Trust (File: R461)
===
NAME: Git Along, Josie: see Jim Along Josie (File: R575)
===
NAME: Git Along, Little Dogies: see Get Along, Little Dogies (File: R178)
===
NAME: Git Away, Old Man: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Git Back Blues: see Black, Brown, and White (File: SBoA350)
===
NAME: Give Me a Hut
DESCRIPTION: "Oh, give me a hut in my own native land... I don't care how far in the bush it may be, If there's one faithful heart that will share it with me." The singer praises Australia and the life there, and hopes that someone will be willing to share said life
AUTHOR: unknown
EARLIEST_DATE: 1924 (Paterson's _Old Bush Songs_)
KEYWORDS: Australia marriage loneliness
FOUND_IN: Australia
REFERENCES: (5 citations)
Meredith/Anderson, p. 137, "Native Mate" (1 text, 1 tune)
Fahey-Eureka, pp. 118-119, "Oh, Give Me a Hut" (1 text, 1 tune)
Manifold-PASB, p. 103, "Oh, Give Me a Hut" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 255-256, "Australia for Me" (1 text, probably deliberately modified, 1 tune)
Paterson/Fahey/Seal, pp. 155-157, "Oh, Give Me a Hut in My Own Native Land" (1 text)
CROSS_REFERENCES:
cf. "My Gumtree Canoe" (tune)
File: MA137
===
NAME: Give Me That Old Time Religion: see That Old Time Religion (File: R628)
===
NAME: Give Me the Roses While I Live
DESCRIPTION: "Wonderful things of men are said, When they have passed away, Roses adorn the narrow bed, Over the sleeping clay. Give me the roses while I live... Useless are flowers that you give After the soul is gone." Encouraging companionship while still alive
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sacred Harp, Denson Revision)
KEYWORDS: friend flowers religious nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
DT, GIVEROSE*
RECORDINGS:
The Carter Family, "Give Me Roses While I Live" (Victor Vi-23821)
CROSS_REFERENCES:
cf. "When I Leave These Earthly Shores" (theme of giving roses)
NOTES: In the Sacred Harp, this is given the tune-name Odem, after a friend of editor Thomas Denson. - RBW
File: RcGMTRWL
===
NAME: Give Me Three Grains of Corn, Mother: see Three Grains of Corn (File: San041)
===
NAME: Give the Dutch Room
DESCRIPTION: "Stand back, boys, and give the Dutch room." The singer describes how the Dutch fight hard in the campaign which culminates in the capture of Fort Smith.
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: Civilwar
HISTORICAL_REFERENCES: December 1862 - first campaign against Fort Smith, including the battles of Cane Hill (Nov. 28) and Prairie Grove (Dec. 7). The Union troops, though they occupied Fort Smith, could not hold it; they gained control of the town "for keeps" on Sept. 1, 1863
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 373-374, "Give the Dutch Room" (1 text)
Roud #7762
CROSS_REFERENCES:
cf. "Prairie Grove" (subject)
NOTES: This is a strange, and perhaps confused, little song. The first verse refers to a battle at "Cahound." Belden suggests that this is the Battle of Cane Hill (which he misdates to Dec. 5), and I have no better suggestion.
Belden's notes also suggest that the "Lane" of the song was James H. Lane. This seems a little dubious. There were two James H. Lanes in the war: A Unionist Sernator from Kansas (1814-1866) and a Confederate brigadier (1833-1907). The latter served only in the east, however, and the former, although he had fought for "bleeding Kansas," is not listed as a Civil War general.
My own guess is that Lane is Walter P. Lane (1817-1892), a Confederate officer who served in the west throughout the war, though he didn't earn his brigadier's star until March 1865.
The other curiosity is the use of the word "Dutch." The "Dutch" were actually Germans, and the name was used in a derogatory way by non-Germans. But here they are praised. So who wrote the piece?
The purpose may have been somewhat political, to encourage the German soldiers. Their record in the war was not particularly good overall, though through no fault of their own.
At Wilson's Creek, Sigel's "Dutch" brigade had been routed. Troops under Sigel had suffered badly at the hands of Stonewall Jackson in the Shenandoah Valley. And those same troops, now the XI Corps, had been outflanked and routed at Chancellorsville and Gettysburg. At no point had the soldiers done wrong; it was the officers' fault. But they had a terrible reputation. This might have been an attempt to perk them up. - RBW
File: Beld373
===
NAME: Give Up the World
DESCRIPTION: "The sun give a light in the heaven all round (x3), Why don't you give up the world?" "My brother, don't you give up the world? (x3) We must leave the world behind."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 27-28, "Give Up the World" (1 short text, 1 tune)
Roud #11981
File: AWG027B
===
NAME: Give Us a Flag
DESCRIPTION: "Oh, Fremont he told them when the war it first begun How to save the Union and the way it should be done, But... Old Abe he had his fears Till ev'ry hope was lost but the colored volunteers." The war went badly until Black troops were used
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: Civilwar Black(s) battle soldier
FOUND_IN: 
REFERENCES: (1 citation)
Silber-CivWar, p. 64-65, "Give Us a Flag" (1 text, 1 tune)
Roud #11631
NOTES: The Union first began enlisting black troops (informally) in 1862. By the end of that year, four regiments were raised, only to have Lincoln shut them down. After the issuance of the Emancipation Proclamation, however, Lincoln allowed the formation of (segregated) "colored" regiments.
In the end, over a hundred and fifty such regiments were raised. Their performance was mixed -- but this was probably the fault of the (white) officers rather than the black troops. A large fraction of the officers in the "colored" regiments were soldiers who had given up on promotion in the white army, and shifted to the "Colored" troops to get ahead.
The "colored" troops had other reasons for bad morale; their pay was much lower than their white counterparts, and their equipment less good. And soldiers from both sides looked down on them.
Among the references in this song are:
"Fremont he told them when the war was just begun" -- General John C. Fremont was the first theatre commander west of the Mississippi. He was a bad general but a good Free Soiler, and proposed the raising of Black regiments.
"McClellan went to Richmond with two hundred thousand brave" -- refers to McClellan's Peninsular Campaign of 1862. McClellan was a conservative Democrat, and did not want the war to interfere with slavery. The song exaggerates his forces (he had about 120,000 men in the Peninsula), but correctly notes that his campaign failed.
"The 54th" presumably refers to the 54th Massachusetts, perhaps the most distinguished of the "colored" regiments. It fought in the unsuccessful assault on Fort Wagner (outside Charleston; July 18, 1863), and suffered roughly 40% casualties.
The phrase "Give Us a Flag" is a request for a regimental standard. - RBW
File: SCW064
===
NAME: Give Us a Song
DESCRIPTION: "'Give us a song,' the soldier cried, the outer trenches guarding." On the eve of an attack against the Russian forts the soldiers sing 'Annie Laurie' and think about Irish Norah or English Mary. The soldier is killed by mortar fire.
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan1)
KEYWORDS: love battle death music Russia
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 108, "Give Us a Song" (1 text)
Roud #5786
NOTES: GreigDuncan1: "The song seems most likely to refer to the unsuccessful assault of 18 June 1855 but it could apply to the attack later that year on 8 September immediately before the Russians abandoned Sebastopol." - BS
I would hesitate to attribute it to any particular event; there were so many small clashes in the siege of Sebastopol that the "candidate" attacks must number in the dozens. But it is patently a Crimean War song: Even if you ignore the mentions of the Russians, the description of fortifications and mortars assures that. - RBW
File: GrD1108
===
NAME: Gladys Kincaid (I)
DESCRIPTION: "Little Gladys Kincaid" is talking with a friend. Her brother finds he rbody, and instantly concludes that Brodus Miller killed her. A reward is offered. The community is outraged that a "Negro beast" could do such a thing causes him to be hunted down
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry, collected from Hazel Winters)
KEYWORDS: abduction rape murder death punishment
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 57-58, "Gladys Kincaid" (1 text)
NOTES: To tell this song from Gladys Kincaid (II), consider this opening stanza:
Little Gladys Kincaird,
A girl we all knew well,
She started back to her home
To where her mother dwell
And on on her way she met a girl
And stopped her for a talk
And while they was a-standing there
Up Brodus Miller walked.
It sounds to me as if this version is based on "The Knoxville Girl" or something like it. Henry's version -- the only one extant -- seems to have lost at least one crucial verse describing her abduction, and presumably her rape. The racism of the text is palpable; in the song, it appears that the only evidence against Brodus Miller was that he was Black.
Although this murder inspired two ballads (this one and one in Brown, neither widespread), the editors of Brown were unable to determine anything about the story behind the ballad.
A correspondent who signs herself "Amanda" tells me the murder took place in Morganton, North Carolina. Her grandmother apparently knew Gladys Kincaid, and sang one of the songs (probably Gladys Kincaid II).
This is item dF41 in Laws's Appendix II (Gladys Kinkaid II is dF42). - RBW
File: MHAp057
===
NAME: Gladys Kincaid (II)
DESCRIPTION: Gladys is on her way gome from work in the hosiery mill when "the negro... did this awful deed Too horrible to tell" (i.e. rape and murder). Miller, the alleged perpetrator, is hunted down and shot; his body is displayed
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: abduction rape murder death punishment
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 297, "Gladys Kincaid" (1 text)
ST BrII297 (Full)
Roud #4114
CROSS_REFERENCES:
cf. "Gladys Kincaid (I)" (subject)
NOTES: To tell this song from Gladys Kincaid (I), consider this opening stanza:
Come all of you good people
And listen if you will
Of the fate of Gladys Kincaid
Who worked in the hosiery mill.
Although this murder inspired two ballads (this one and one in Henry, neither widespread), the editors of Brown were unable to determine anything about the story behind the ballad.
A correspondent who signs herself "Amanda" tells me the murder took place in Morganton, North Carolina. Her grandmother apparently knew Gladys Kincaid, and sang one of the songs (probably this one).
This is item dF42 in Laws's Appendix II (Gladys Kinkaid I is dF41). - RBW
File: BrII297
===
NAME: Glasgerion [Child 67]
DESCRIPTION: The king's daughter declares her love for Glasgerion and invites him to her bed. He tells his servant of the tryst. The boy sneaks in in his stead. When the lady learns this, she kills herself. Glasgerion kills the lad, (then himself)
AUTHOR: unknown
EARLIEST_DATE: c. 1640
KEYWORDS: nightvisit love sex betrayal death suicide murder trick
FOUND_IN: Britain(Scotland,Wales)
REFERENCES: (10 citations)
Child 67, "Glasgerion" (3 texts)
Bronson 67, "Glenkindie" (1 version)
Percy/Wheatley III, pp. 45-49, "Glasgerion" (1 text)
Leach, pp. 222-229, "Glasgerion" (2 texts plus one "analogy")
OBB 40, "Glasgerion" (1 text)
Friedman, p. 71, "Glasgerion" (1 text, 1 fragment)
PBB 41, "Glasgerion" (1 text)
Gummere, pp. 340-342, "Glasgerion" (1 text, printed in the notes to "Lord Randal")
TBB 16, "Glasgerion" (1 text)
DT 67, GLENKIND
Roud #145
RECORDINGS:
A. L. Lloyd, "Jack Orion" (on Lloyd2, Lloyd3, ESFB2)
CROSS_REFERENCES:
cf. "Jack the Jolly Tar (I) (Tarry Sailor)" [Laws K40] (theme)
ALTERNATE_TITLES:
Jack O'Ryan
Jack Orion
Jack O'Rion
Glenkindie
NOTES: "Glasgerion" is believed to be an anglicisation of "Glas Keraint," a legendary Welsh harper said to be able to harp "a fish out o' saut water Or water out o' a stane." - RBW
File: C067
===
NAME: Glasgow Barber, The
DESCRIPTION: Pat from Belfast stops at a Glasgow barbershop for a Mayo haircut but is given a Scottish haircut instead. When Pat refuses to pay the barber calls two bobbies. Pat takes down bobbies and barbers with his stick. Enough of Scottish barbers and haircuts.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: fight Ireland Scotland humorous police hair
FOUND_IN: Ireland
REFERENCES: (2 citations)
Morton-Ulster 30, "The Glasgow Barber" (1 text, 1 tune)
Morton-Maguire 29, pp. 71-72,116,168, "The Glasgow Barber" (1 text, 1 tune)
Roud #2908
File: MorU030
===
NAME: Glasgow Peggy [Child 228]
DESCRIPTION: A Highland man comes to Glasgow and falls in love with Peggy. Her parents declare themselves against his suit; they will guard her more than all their other property. But she chooses to go with him, and he reveals that he is a rich nobleman
AUTHOR: unknown
EARLIEST_DATE: 1827 (Kinloch)
KEYWORDS: courting disguise
FOUND_IN: Britain(Scotland(Aber,Bord))
REFERENCES: (5 citations)
Child 228, "Glasgow Peggy" (7 texts, 1 tune)
Bronson 228, "Glasgow Peggy" (14 versions+1 in addenda)
Leach, pp. 588-589, "Glasgow Peggy" (1 text)
Montgomerie-ScottishNR 160, "(Oh Sandy is a Highland lad)" (1 short text)
DT 228, GLASGPEG*
Roud #95
RECORDINGS:
Ewan MacColl and Peggy Seeger, "Glasgow Peggy" (on SCMacCollSeeger01) {cf. Bronson's #2, taken from a different recording and with a few lyric variations but mostly the same}
CROSS_REFERENCES:
cf. "Bonny Lizie Baillie" [Child 227] (theme)
cf. "The Blaeberry Courtship" [Laws N19] (plot)
File: C228
===
NAME: Glasgow, The
DESCRIPTION: John Williams is banished from Coot-hill. "They tore me from the arms of my charming Sally Greer." His friends take him to Liverpool and pay his passage to New York on Glasgow. The mate lets the ship run aground. Twenty-five men are lost.
AUTHOR: unknown
EARLIEST_DATE: 1937 (Ranson)
KEYWORDS: drowning sea ship wreck sailor emigration separation lover
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 110-111, "The Glasgow" (1 text, 1 tune)
Roud #7346
CROSS_REFERENCES:
cf. "Sally Greer" (theme, plus the girl's name)
NOTES: February 14, 1837: "... sunk after striking the Barrells .... lost her rudder and drove over the rocks.... Altogether 82 were rescued by the Alacia [under Captain Walsh] at considerable risk" (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 44)
Is this "Coot-hill" or Courtown? From Last Name Meanings site re "Coote: (origin: Local) Welsh ,Coed, a wood; Cor. Br., Coit and Cut. Coot-hill or Coit-hayle, the wood on the river." For more on "coot-hill" see notes for "The Champion of Coute Hill."- BS
An even more interesting question is the relationship of this song to "Sally Greer." Both are songs involving an emigrant who is aboard a wrecked ship, and both involve a girl named Sally Greer who is left behind.
On the other hand, the ship is different (_Glasgow_ versus _Monatch of Aberdeen_), the motivations are slightly different, "Sally Greer" never mentions Liverpool, and this song describes a lesser disaster (in "Sally Greer," over 90% of the people on the ship are lost).
My best guess is that one is a rework of the other, with "Sally Greer" perhaps slightly more likely to be the original, since it's more widespread. - RBW
File: Ran110
===
NAME: Glashen-Glora
DESCRIPTION: The singer describes the mountain stream and thinks of happier days. Wherever he travels he will think about this stream. "Thy course and mine alike have been Both restless, rocky, seldom green"
AUTHOR: unknown
EARLIEST_DATE: 1824 (_Cork Constitution_, according to Croker-PopularSongs)
KEYWORDS: lyric river
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 189-191, "Glashen-Glora" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 51-52, "Glashen-Glora"
NOTES: Croker-PopularSongs: "This lyric originally appeared with the signature W.___ .... 'Glashen-glora,' adds the author, 'is a mountain torrent, which finds its way into the Atlantic Ocean through Glengariff, in the west of this count (Cork).' The Editor may add that the name, literally translated, signifies 'the noisy green water:' glas, green; en, water; glorach, noisy." - BS
File: CrPS189
===
NAME: Glass Market, The
DESCRIPTION: "There's been mony a feein' [hiring] market On this side o' the Dee But the like o' the last Glass Market I never chanced to see."
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: farming work
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 369, "The Glass Market" (1 fragment, 1 tune)
Roud #5912
NOTES: The current description is all of the GreigDuncan3 fragment excluding the chorus.
GreigDuncan3: "Markethill to the north of Haugh of Glass (see map [see following note]) was 'for centuries the site of Glass market' [quoting Godsman, _Glass, Aberdeenshire, The Story of a Parish_]." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Haugh of Glass (369) is at coordinate (h4,v4) on that map [roughly 40 miles WNW of Aberdeen]. - BS
File: GrD3369
===
NAME: Glass of Whisky, The
DESCRIPTION: Murrough O'Monaghan, home from the wars minus a leg, begs along a road. He wishes he had been a marine that had retired with a full pay pension. Good whisky gives him strength to face illness and weather. He wishes Merry Christmas and whisky for all.
AUTHOR: William Paulet Carey (source: Croker-PopularSongs)
EARLIEST_DATE: 1793 (_The Sentimental and Masonic Magazine_, according to Croker-PopularSongs)
KEYWORDS: drink begging injury disability soldier
FOUND_IN: Ireland
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 80-82, "The Glass of Whisky" (1 text)
CROSS_REFERENCES:
cf. "When I Was a Young Man in Sweet Tipperary" (tune, according to Croker-PopularSongs)
NOTES: Croker-PopularSongs details Carey's background, including his turn as witness for the Crown. "Considering the political apostasy of the author -- a crime seldom forgotten or forgiven in Ireland -- it is singular that any song known to have been of his writing should have become popular, which Murrough O'Monaghan's aspiration respecting a glass of whisky certainly did; and it has continued to be so to the present time -- upwards of forty years. This, however, has been accounted for to the Editor by the statement that the character of Murrough O'Monaghan was a sketch from life" of a well known character said "to have been a faithful emissary of the United Irishmen." - BS
File: CrPS080
===
NAME: Glaw, Keser, Ergh Ow-cul Yma: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: Glead, The
DESCRIPTION: A young glead is abandoned but rescued and well raised by a man. In his greed he ignores the tenth commandment, drives poor women from their farms, and tries to buy the town of Mains. The singer wishes "muckle toil and pains For a' your gread and pains"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: greed farming bird
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 679, "The Glead" (1 text)
Roud #6102
CROSS_REFERENCES:
cf. "The Greedy Gled o' Mains" (subject?)
NOTES: GreigDuncan3 glossary p. xlii: "gled,glead" is translated as "kite,hawk."
"The Greedy Gled o' Mains" begins "There lives a farmer in this place His name ye nead na speire." GreigDuncan3 says nothing to solve the mystery for that song or for "The Glead." It seems likely to me that both songs are about the same person.
Exodus 20.17: the tenth commandment is "thou shalt not covet ... anything that is thy neighbor's." - BS
File: GrD3679
===
NAME: Gleanntan Araglain Aobhinn (Happy Glen of Araglin)
DESCRIPTION: Gaelic. The singer bids farewell, across the waves, to the Glen of Araglin. He recalls the wine and beer, baying hounds, magic music, plough-teams, horses, cattle, birds, deer, "and the beautiful fair-breasted maiden"
AUTHOR: unknown
EARLIEST_DATE: 1971 (OCanainn)
KEYWORDS: foreignlanguage farewell lyric nonballad  animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 82-83, "Gleanntan Araglain Aobhinn" (1 text, 1 tune)
NOTES: The description is from O Canainn's translation.
OCanainn: "The Araglin is a river in County Cork." - BS
File: OCan082
===
NAME: Glen Alone, The
DESCRIPTION: The crew lowers a boat to investigate "an ugly form" in the moonlit. It's the Glen Alone, "rugged yards and splintered spars, her mainmast and mizzen gone," six skeletons and a note that food is gone. We row away: "her deck seemed swarmed with shadows"
AUTHOR: unknown
EARLIEST_DATE: 1983 (Lehr/Best)
KEYWORDS: death sea ship sailor ghost food starvation wreck
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 43, "The Glen Alone" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Ghostly Crew" [Laws D16] (theme)
NOTES: See "The Ghostly Crew" [Laws D16] for another Newfoundland ballad of haunting at sea. - BS
File: LeBe043
===
NAME: Glen O'Lee
DESCRIPTION: The exile recalls leaving Donegal. He tells of leaving his friends. He mentions all the things he can no longer do: Play the fiddle at balls, dance the jig with the girls, etc. From ten thousand miles away, he wishes peace and contentment to his old home
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: homesickness emigration
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H672, p. 212, "Glen O'Lee" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH672
===
NAME: Glenariffe
DESCRIPTION: The singer praises his home in Glenariffe, saying, "The beauty of our lovely glen is straight from God's own hand." He describes the local waterfall, the heights, the hallowed ground at Kilmore. He blesses his home
AUTHOR: unknown
EARLIEST_DATE: 1939 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H801, pp. 164-165, "Glenariffe" (1 text, 1 tune)
Roud #13474
File: HHH801
===
NAME: Glenarm Bay
DESCRIPTION: The singer sees a pretty girl along Glenarm Bay. He asks what she is doing. She answers, in effect, "Looking for boys. What else would I be doing up so early." He asks her if she will marry. Being assured he is serious and will be faithful, she consents
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting marriage beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H102, p. 464, "Glenarm Bay" (1 text, 1 tune)
Roud #3575
File: HHH102
===
NAME: Glencoe: see MacDonald's Return to Glencoe (The Pride of Glencoe) [Laws N39] (File: LN39)
===
NAME: Glendronach
DESCRIPTION: "O potent ally Glendronach, Thou Prince of the barley bree."
AUTHOR: Rev. James Simmie (source: Greig)
EARLIEST_DATE: 1909 (GreigDuncan3)
KEYWORDS: drink nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #62, pp. 2-3, ("O potent ally Glendronach") (1 fragment) 
GreigDuncan3 570, "Glendronach" (1 fragment)
Roud #5896
NOTES: The current description is all of the GreigDuncan3/Greig fragment.
Greig: The correspondent says this is written by Rv James Simmie, "minister of Rothiemay in the early part of last century, composed on the Glendronach Distillery. She can recall only a part of the refrain." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Glendronach (570) is at coordinate (h4-5,v6) on that map [roughly 31 miles NW of Aberdeen]. - BS
File: GrD3570
===
NAME: Glendy Burk, The
DESCRIPTION: The singer complains, "I can't stay here 'cause they work too hard; I'm bound to leave this town; I'll take my duds and tote 'em on my back when the Glendy Burk comes down." He describes the "funny" boat and promises to take his girl to Louisiana
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1860 (sheet music)
KEYWORDS: ship work hardtimes travel
FOUND_IN: US Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 109-110, "When the New York Boat Comes Down" (1 text, 1 tune -- a heavily localized version sung to the tune of "Year of Jubilo"; also fragments of another version)
Saunders/Root-Foster 2, pp. 93-96+427, "The Glendy Burk" (1 text, 1 tune)
DT, GLNDYBRK*
ST MA109 (Full)
NOTES: This song, for some reason, seems to have done particularly well in Australia, with several localized versions ("The New York Boat," "The Bundaberg") known. These versions on their faces often bear little resemblance to Foster's song -- but in almost all cases (as the titles show), the errors are simple errors of hearing.
It's also worth noting that the tune I learned for this song (from Debby McClatchy) is not the same as Foster's sheet music. Thus this text has acquired at least two new tunes over the years. Highly unusual, given that Foster is credited with more tunes than texts, and that very many of his texts are in fact quite poor.
I have to suspect, in fact, that this song sat on a shelf somewhere for several years. Note that Saunders/Root firmly date the sheet music to 1860. And yet, there was a real ship, the _Glendy Burk_ which went into service on the Ohio and the lower Mississippi in 1851 (according to scattered Internet sources). But Bruce D. Berman's _Encyclopedia of American Shipwrecks_, p. 245, says that this _Glendy Burk_ was snagged and sunk at Cairo, Illinois in 1855. I find no record of a replacement built in the period after that. The logical conclusion -- though it is obviously not certain -- is that Foster wrote this song prior to the boat's sinking, or at least five years before the song was published. - RBW
File: MA109
===
NAME: Glendy Burke, The: see The Glendy Burk (File: MA109)
===
NAME: Glenelly
DESCRIPTION: "There is no other spot in the land of the Gael Where my young heart the full strains of pleasure could feel." The singer recalls his poor but happy home, his friends, his dreams. He prays that he may return to Glenelly before he dies
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: home rambling
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H720, p. 165, "Glenelly" (1 text, 1 tune)
Roud #13475
File: HHH720
===
NAME: Glenkindie: see Glasgerion [Child 67] (File: C067)
===
NAME: Glenlogie, or, Jean o Bethelnie [Child 238]
DESCRIPTION: Jean o Bethelnie is enraptured with handsome Glenlogie; he wants someone richer. Jean takes to her bed; her father's chaplain appeals to Glenlogie. Glenlogie changes his mind and marries Jean
AUTHOR: unknown
EARLIEST_DATE: 1768 (Percy collection)
KEYWORDS: love rejection marriage
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (5 citations)
Child 238, "Glenlogie, or, Jean o Bethelnie" (9 texts)
Bronson 238, "Glenlogie, or, Jean o Bethelnie" (21 versions+1 in addenda)
Ord, pp. 412-415, "Bonnie Jean o' Bethelnie" (1 text)
OBB 85, "Glenlogie" (1 text)
DT 238, GLENLOG GLENLOG2*
Roud #101
RECORDINGS:
John Strachan, "Glenlogie" [fragment] (on Lomax43, LomaxCD1743); "Glenlogie (Jean o' Bethelnie)" (on FSB5, FSBBAL2)
CROSS_REFERENCES:
cf. "A Rich Irish Lady (The Fair Damsel from London; Sally and Billy; The Sailor from Dover; Pretty Sally; etc.)" [Laws P9] (lyrics in some texts)
ALTERNATE_TITLES:
Bonnie Jeannie o Bethelnie
NOTES: Reported to be the story of Jean Meldrum and Sir George Gordon of Glenlogie. Meldrum became a servant of Mary Stewart in 1562. Some versions of the song follow the details of the story very closely, implying either that the song is of broadside origin or that the alleged history is just that: Alleged.
(For details, see the notes in Ord, which quote an article by Dr. Shearer in the _Huntly Express_ of January 24, 1882). - RBW
File: C238
===
NAME: Glenora, The
DESCRIPTION: Tom Warren is captain of Glenora out of Burgeo. This day Warren stays on shore and Glenora runs into a gale which the crew rides out. After the wind dies Warren came out in a motor boat and gives loud and obvious orders before going to sleep.
AUTHOR: unknown
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 44, "The Glenora" (1 text, 1 tune)
NOTES: Burgeo is on the south coast of Newfoundland, about 70 miles east of Port-aux-Basques by sea. - BS
File: LeBe044
===
NAME: Glenorchy Maid, The
DESCRIPTION: "When spring spread her green velvet claes on the common, When summer wi' flow'rs decks the heather braes," even then, there is nothing "more inviting, to me more delighting" than the Glenorchy maid. The singer expects to live with her in bliss
AUTHOR: unknown
EARLIEST_DATE: 1899 (Ford)
KEYWORDS: love beauty nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 135-137, "The Glenorchy Maid" (1 text, 1 tune)
Roud #13115
File: FVS135
===
NAME: Glenrannel's Plains: see Owenreagh's Banks (File: HHH100b)
===
NAME: Glenshesk Waterside, The
DESCRIPTION: The singer recalls wandering along the Glenshesk water, but now he must sadly depart. He wishes he were still there, "But fate proposes I must go, in foreign lands abide."  He describes all the things he won't see again
AUTHOR: P. C. J. McAuley (?)
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: emigration homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H19a, p. 194, "The Glenshesk Waterside" (1 text,  2 tunes, one a corrected version of the other)
Roud #9510
CROSS_REFERENCES:
cf. "Scarborough Settler's Lament" (theme) and references there
File: HHH019a
===
NAME: Glenswilly: see The Hills of Glensuili (File: TST097)
===
NAME: Gloamin' Star at E'en, The
DESCRIPTION: The singer tells of his hard work all day, but is happy when it's through: "But I maun haste awa' Where the tryst was set yestreen To meet my bonnie lassie Neath the gloamin' star at e'en." He blesses the star, and cares not for riches when he has her.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting work
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ord, pp. 66-67, "'Neath the Gloamin' Star at E'en" (1 text)
DT, GLOAMSTR
Roud #5569
NOTES: Quite a few versions of this open with a reference to Phoebus (Apollo); I have to think it started as a broadside somewhere. - RBW
File: Ord066
===
NAME: Glorious Exertion of Man, The
DESCRIPTION: "Gallia burst her vile shackles on this glorious day, And we dare to applaud the great deed." "Columbia ... was cleared ... Chains disappeared." "'Mong our neighbors, now, Liberty dwells ... On the rock of Man's Rights she a fortress has planned."
AUTHOR: unknown
EARLIEST_DATE: 1796 (_Paddy's Resource_(Philadelphia), according to Moylan)
KEYWORDS: America France nonballad patriotic freedom
HISTORICAL_REFERENCES: July 14, 1789 - The Bastille is taken, marking the beginning of the French Revolution
1791-1792 - Thomas Paine publishes _The Rights of Man_
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 15, "The Glorious Exertion of Man" (1 text)
CROSS_REFERENCES:
cf. "Man is Free by Nature" (subject of the French Revolution)
File: Moyl015
===
NAME: Glorious Meeting of Dublin, The
DESCRIPTION: October 10, 1869 many thousands gather, without disturbance, "to use all legal means to set these brave men free." Butt and Moor speak. "Five hundred thousand did stand" across Ireland in support. "No separation do we want we only seek our rights"
AUTHOR: unknown
EARLIEST_DATE: c.1867 [after October 1869] (broadside, Bodleian Harding B 26(219))
KEYWORDS: prisoner Ireland political
HISTORICAL_REFERENCES: Oct 10, 1869 - Peaceful demonstration in Dublin of about 40000 people in support of amnesty for Fenian prisoners (source: _The Times_ Oct 11, 1869, pg. 5, col. D, Issue 26565. Copyright 2002 The Gale Group)
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Harding B 26(219), "The Glorious Meeting of Dublin Held in Cabra ," P. Brereton (Dublin), c.1867
NOTES: October 2, 1869 at Youghall a petition for amnesty for Fenian prisoners held for sedition was presented by the Town Commissioners to John-Poyntz Earl Spencer, Lord Lieutenant General and General Governor of Ireland, without response. The meeting at Dublin followed and drew up a petition to Gladstone. Mr Butt presided and other speakers included Mr Moore M.P., Rev Mr Leverett, Mr Russell and Mr O'Donnell President of the Trade Association. (sources: The Times Oct 4, 1869, pg. 9, col. C, Issue 26559. The Times Oct 11, 1869, pg. 5, col. D, Issue 26565. Copyright 2002 The Gale Group)
The following year Isaac Butt founded the Home Government Association, which was soon replaced by the more agressive Home Rule League. (source: "Home Rule" on the Irelandseye site).
January 5, 1871 - "33 Fenian prisoners, including Devoy, Rossa, O'Leary and Luby, are released by the British in a general amnesty" (source: Irish Culture and Customs site)
See "Rossa's Farewell to Erin" for another example about the Amnesty Movement; Rossa is one of the prisoners mentioned in the Bodleian broadside and freed January 5, 1871. Others are General Thomas F Burke (as "Burk"; see "Thomas F Burke" in _Speeches from the Dock, Part I_ at the FullBooks site [also 
Burke's Dream" [Laws J16] - RBW]), McSweeney (who also appears in Brereton's broadside "Exile's Return" in Hugh Anderson, _Farewell to Judges & Juries_, pp. 396-397) and a difficult to read name beginning "O'Ne." - BS
File: BrdTGMoD
===
NAME: Glorious Repeal Meeting Held at Tara Hill
DESCRIPTION: Dan and Steele at the Tara meeting say they won't yield without repeal of the Union. "God bless our Queen ... But in spite of all the tory clan We will repeal the Union." "In spite of Wellington and Peel We'll gain our liberation"
AUTHOR: unknown
EARLIEST_DATE: 1843 (Zimmermann)
KEYWORDS: 
HISTORICAL_REFERENCES: Aug 15, 1843 - Repeal meeting at Tara (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 50A, "Glorious Repeal Meeting Held at Tara Hill" (1 text)
CROSS_REFERENCES:
cf. "The Meeting of Tara" (subject)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Daniel O'Connell founded National Association of Ireland for full and prompt Justice and Repeal April 1840 (In January the Association was renamed the Loyal National Repeal Association). O'Connell argued that the Union Act of 1801 was invalid. In October Young Ireland established The Nation which supported Repeal. In 1843 O'Connell spoke to "monster" meetings attended by 100,000 or more supporters in favor of Repeal. The June meeting at Mallow was followed in August by the meeting at Tara and, in September, by a meeting at Mullaghmast. Finally, on October 7 [my sources all say October 4 - RBW], the government prohibited the meeting scheduled at Clontarf the following day. O'Connell issued a notice that the meeting was "abandoned." That ended the Repeal meetings. (source: The Princess Grace Irish Library (Monaco) site entry for Daniel O'Connell; O'Connell's notice for the Clontarff meeting can be read at 1169 and Counting site)
Zimmermann 50: "Thomas Steele, although a protestant landlord, was one of O'Connell's lieutenants."
The commentary for broadside NLScotland L.C.Fol.178.A.2(065) states "The meeting at Tara, Co. Meath in the summer of 1843, is now estimated to have been attended by 750,000 people." - BS
A number which should inspire some skepticism -- 750,000 people was a tenth of the population of Ireland! Robert Kee (p. 208 of _The Most Distressful Country_, which is volume I of _The Green Flag_) mentions this estimate, but notes that it was from _The Nation_, which was pro-Irish. O'Connell's estimate was an even more absurd million and a half.  A more realistic estimate is a quarter of a million (from Cecil Woodham-Smith, _The Great Hunger_, p. 11).
For additional information on the context, see the notes on "The Meeting of Tara." - RBW
File: Zimm050A
===
NAME: Glorious Thing of Thee are Spoken
DESCRIPTION: "Glorious thing of thee are spoken, Zion, city of our God. He whose word cannot be broken, Formed thee for his own abode." Hearers are reminded that God is an unshakable foundation. the source of living water, seen in cloud and fire
AUTHOR: Words; John Newton (1732-1809) / Music: Franz Joseph Hadyn
EARLIEST_DATE: 
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p, 51, "Glorious Things of Thee Are Spoken" (1 text, 1 tune)
Roud #7112
NOTES: For background on JohN Newton, see the notes to "Amazing Grace." - RBW
File: BdGTOTAS
===
NAME: Glorious Wedding, A
DESCRIPTION: "I will sing you a song of a comical style... It's all about a wedding, a glorious affair; As I was the bridegroom, I happened to be there." The singer reports all the wild events at the wedding, and all the peculiar guests who were present
AUTHOR: unknown
EARLIEST_DATE: 1925 (Cox)
KEYWORDS: marriage humorous wedding drink
FOUND_IN: 
REFERENCES: (1 citation)
JHCox 182, "A Glorious Wedding" (1 text)
ST JHCox182 (Full)
Roud #5158
CROSS_REFERENCES:
cf. "The Blythesome Bridal" (theme)
NOTES: This seems to be sort of an American version of "The Blythesome Bridal" -- not the same song, but the same idea, of a wild party. The wedding is not really part of the plot; it's just the occasion for the party. - RBW
File: JHCox182
===
NAME: Glory Trail, The (High Chin Bob)
DESCRIPTION: 'Way high up the Mogollons... A lion cleaned a yearlin's bones." High-Chin Bob, who wants to ride the "glory trail," ropes the lion. But the lion is healthy, and keeps fighting. Even today, Bob's ghost(?) and the lion continue their struggle
AUTHOR: Words: Charles Badger Clark
EARLIEST_DATE: 1919
KEYWORDS: cowboy talltale fight animal
FOUND_IN: US(SW)
REFERENCES: (4 citations)
Fife-Cowboy/West 124, "The Glory Trail" (1 text, 1 tune)
Ohrlin-HBT 49, "High Chin Bob" (1 text, 1 tune)
Saffel-CowboyP, p. 155-157, "The Glory Trail" (1 text)
DT, HIGHCHIN*
Roud #12499
RECORDINGS:
Glenn Ohrlin, "High Chin Bob" (on Ohrlin01)
File: FCW124
===
NAME: Gloucestershire Wassailers' Song
DESCRIPTION: "Wassail! wassail! all over the town, Our (pledge/toast) it is white, our ale it is brown." Health to the master's (animal's) body parts that he be sent a good present. Butler, "bring us a bowl of the best" else "down fall butler, and bowl and all"
AUTHOR: unknown
EARLIEST_DATE: 1857 (Bell)
KEYWORDS: request drink nonballad wassail animal horse sheep
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #92, "Wassail, Wassail, All Over the Town [The Gloucester Wassail]" (1 composite text)
Roud #209
RECORDINGS:
Billy Buckingham, "The Waysailing Bowl" (on Voice16)
CROSS_REFERENCES:
cf. "Somerset Wassail" (subject, one verse) and references there
NOTES: The opening verse seems common to "Somerset Wassail" and "Gloucestershire Wassailers' Song." The rest of the text seems distinct enough to warrant splitting the two.
The Billy Buckingham version on Voice16 includes verses of which this is a typical example:
Now here's a health to my master and to his right eye.
Pray God send our master a good Xmas pies,
And a good Xmas pie that we may all see.
To my wassailing bowl I'll bring unto thee.
The "right eye" is replaced by "right ear," "right arm," "right hip" and "right leg" with gifts of "happy New Year," "good crop of corn," "good flock of sheep" and "a good fatted pig." 
Bell's "Gloucestershire Wassailers' Song" ("Wassail! wassail! all over the town") is like Buckingham's except that the body parts belong to named animals rather than "master." For example, "Here's to our mare, and to her right eye, God send our mistress a good Christmas pie." Bell's footnote 46: "the name of the horse is generally inserted by the singer [for 'our mare']; and 'Filpail' is often substituted for 'the cow' in a subsequent verse." (source: Robert Bell, editor, [The Project Gutenberg EBook (1996) of] _Ancient Poems, Ballads and Songs of the Peasantry of England_ (1857)). - BS
File: RcGlWasS
===
NAME: Glove and the Lions, The: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: Glove, The: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: Glow-Worm (Gluhwurrmchen)
DESCRIPTION: Obnoxious little piece beginning, in English, "Glow little glow-worm, glimmer, glimmer." The rest is equally pointless.
AUTHOR: Music: Paul Linke (German words by Bolten-Backers0
EARLIEST_DATE: 1902
KEYWORDS: animal nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Fuld-WFM, p. 246, "Glow-Worm"
SAME_TUNE:
Down by the Seashore (I) (Pankake-PHCFSB, p. 149)
Down by the Seashore (II) (Pankake-PHCFSB, p. 149)
Grow Little Boobies (Pankake-PHCFSB, p. 149)
We Are the Girls from Concordia College (Pankake-PHCFSB, p. 150)
We Are the Smurthwaite Kewpie Dolls (Pankake-PHCFSB, p. 150)
Glow Li'l Glow-Worm (DT, GLOWRM2)
NOTES: Emphatically not a folk-song, but the number of parodies caused me to list it here. - RBW
File: xxGluhw
===
NAME: Glowerowerum: see Bonnie Buchairn (File: KinBB20)
===
NAME: Go 'Way From Mah Window
DESCRIPTION: Woodchopping song: "Go 'way from mah window, Go 'way from mah door, Go 'way from mah bedside, Don't you tease me no mo'." "Go 'way in de springtime, Come back in de fall, Bring you back mo' money Dan we bofe can haul."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work separation
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
BrownIII 439, "Go 'Way from My Window" (1 text)
Sandburg, p. 377, "Go 'Way F'om Mah Window" (1 short text, 1 tune)
Lomax-ABFS, p. 198, "Go Way f'om Mah Window" (1 text, 1 tune)
Roud #11017
File: San377
===
NAME: Go 'Way from My Window: see Go 'Way From Mah Window (File: San377)
===
NAME: Go And Dig My Grave
DESCRIPTION: "Go and dig my grave both long and narrow, Make my coffin neat and strong... Two, two to my head, two, two to my feet, Two to carry me, Lord,when I die." "My soul's gonna shine lie a star... I'm bound for heaven when I die."
AUTHOR: unknown
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: religious nonballad
FOUND_IN: Bahamas
REFERENCES: (2 citations)
Silber-FSWB, p. 350, "Dig My Grave" (1 text)
DT, GO&DIG
Roud #15633
RECORDINGS:
Unidentified men from Andros Island, "Dig My Grave" (AAFS 502 B1, 1935; on LomaxCD1822-2)
David Pryor, Henry Lundy et al, "Dig My Grave" (AFS, 1935; on LC05)
John Roberts & group, "Dig My Grave Both Long and Narrow" (on MuBahamas2)
Pete Seeger, "Dig My Grave" (on PeteSeeger04)
CROSS_REFERENCES:
cf. "The Little Beggar Boy" (floating verses)
NOTES: Fred W. Allsopp, in _Folklore of Romantic Arkansas_, Volume II, p. 159, reports an item in _Harper's Magazine_ in 1878 with the chorus
Soul shall shine lak a star in de mornin',
Soul shall shine lak a star in de mornin';
Oh, my little soul's gwine to rise an' shine,
Oh, my little soul's gwine to rise an' shine.
Whether that is related to this I do not know. - RBW
File: FSWB350B
===
NAME: Go and Leave Me If You Wish To: see Dear Companion (The Broken Heart; Go and Leave Me If You Wish To, Fond Affection) (File: R755)
===
NAME: Go Away Sister Nancy
DESCRIPTION: "Go 'way! Sister Nancy, go 'way! I don't want you to hold me. Got sugar and 'lasses in my soul, And I want brother Honeycutt to hold me!"
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 74, "(Go Away Sister Nancy)" (1 short text; tune on p. 386)
Roud #8811
NOTES: Reportedly the cry of an ecstatic in church. In Pentecostal sorts of denominations, shouting during a service is common, and in this denomination, it was usual for a neighbor to hold onto the shouter. Reportedly this woman wanted the handsome Brother Honeycutt to assume that duty rather than the female Sister Nancy. - RBW
File: ScSC074A
===
NAME: Go Bring Me Back My Blue-Eyed Boy: see The Butcher Boy [Laws P24]; also My Blue-Eyed Boy (File: LP24)
===
NAME: Go Down, Moses
DESCRIPTION: Moses is commissioned to free the Israelites: "Go down, Moses, Way down in Egypt's land. Tell old Pharaoh to let my people go." The firstborn of Egypt are specifically threatened; the rest is more general
AUTHOR: unknown
EARLIEST_DATE: 1861 (sheet music published under title "The Song of the Contrabands 'O Let My People Go'")
KEYWORDS: religious Bible freedom escape death
FOUND_IN: US(SE)
REFERENCES: (8 citations)
BrownIII 570, "Go Down, Moses" (1 text)
Silber-CivWar, pp. 26-27, "Go Down, Moses" (1 text, 1 tune)
Lomax-FSUSA 109, "Go Down, Moses" (1 text, 1 tune)
Courlander-NFM, p. 42, "Go Down, Moses" (partial text)
Darling-NAS, pp. 354-355, "O! Let My People Go" (1 text -- an excerpt)
Silber-FSWB, p. 294, "Go Down Moses" (1 text)
Fuld-WFM, p. 247, "Go Down, Moses"
DT, GOMOSES* GOMOSES2*
Roud #5434
RECORDINGS:
Marian Anderson, "Go Down Moses" (Victor 19370, 1924) (Victor 1799, 1937)
Bentley Ball, "Go Down Moses" (Columbia A3085, 1920)
Big Bethel Choir, "Go Down Moses" (Victor 20498, 1927)
Charioteers, "Go Down Moses" (Columbia 35718, 1940; rec. 1939)
Cotton Belt Quartet, "Go Down Moses" (Vocalion 1024, 1926)
Ebony Three, "Go Down Moses" (Decca 7527, 1938)
Rev. Fullbosom, "Moses Go Down into Pharoahland" (Paramount 13078, 1931 -- possibly a recorded song/sermon)
Hampton Institute Quartette, "Go Down Moses" (RCA 27472, 1941)
Harmonizing Four, "Go Down Moses" (Vee Jay 864, rec. 1958)
Roland Hayes, "Go Down Moses" (Vocalion 1073, 1927; Vocalion 21002, n.d.; Supertone S-2238, 1931)
Rev. H. B. Jackson, "Go Down Moses" (OKeh 8804, 1930; rec. 1929)
Reed Miller, "Go Down, Moses" (CYL: Edison [BA] 3574, n.d.)
Pete Seeger, "Go Down Moses" (on PeteSeeger31)
Noble Sissle & his Southland Singers, "Go Down Moses" (Pathe 20488, 1921)
Southern Sons, "Go Down Moses" (Bluebird B-8808, 1941)
Edna Thomas, "Go Down, Moses" (Columbia 1606-D, 1928)
Tuskegee Institute Singers, "Go Down Moses" (Victor 17688, 1915; rec. 1914)
Tuskegee Quartet, "Go Down Moses" (Victor 20518, 1927; rec. 1926)
University of North Carolina Club, "Go Down, Moses" (Brunswick 3161, 1926)
University Singers, "Go Down Moses" (Cameo 530, 1924)
Virginia Female [Jubilee] Singers, "Go Down Moses in Egyptland" (OKeh 4437, 1921)
Wheat Street Female Quartet, "Go Down Moses" (Columbia 14067-D, 1925)
ALTERNATE_TITLES:
The Song of the Contrabands
NOTES: Rev. L. C. Lockwood, described as "Chaplain of the 'Contrabands' at Fortress Munroe," [sic. -- the fort's name was Fort Monroe - RBW] collected the song, reporting that "This Song has been sung for about nine years by the Slaves of Virginia." The original has 11 verses, only a few of which seem to have made it into tradition. - PJS
Moses's specific threat against the firstborn of Egypt is made in Exodus 11:4f. and is carried out in 12:29f. The rest of this song is based loosely on the background in Exodus. - RBW
File: LxU109
===
NAME: Go Down, Old Hannah
DESCRIPTION: "Go down, old Hannah, well, well, well! Don't you rise no mo'. If you rise in the mornin', Bring Judgment Day." The singer describes the dreadful conditions in the Brazos River prisons, and hopes for release in any form
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, unknown artists, AFS CYL-7-1)
KEYWORDS: prison hardtimes work worksong
FOUND_IN: US(So)
REFERENCES: (6 citations)
Lomax-FSNA 286, "Go Down, Old Hannah" (1 text, 1 tune)
Botkin-SoFolklr, p. 745, "Go Down, Old Hannah" (1 text, 1 tune)
Courlander-NFM, p. 142, "Go Down Old Hannah" (1 text, 1 tune)
Jackson-DeadMan, pp. 77-75, "Should A Been on the River in 1910" (1 text, 1 tune; the first verse, about driving women and men alive, is from this song or "Ain't No More Cane on this Brazos", but the remainder is a separate piece); pp. 111-118, "Go Down Old Hannah" (4 texts, 2 tunes)
Silber-FSWB, p. 71, "Old Hannah" (1 text)
DT, OLDHANN2*
Roud #6710
RECORDINGS:
James "Iron Head" Baker, Will Crosby, R. D. Allen & Mose "Clear Rock" Platt, "Go Down Old Hannah" (AFS 195 A2, 1933; on LC08) [note: the AFS reissue identified this as 196 A2; this listing comes from Dixon/Godrich/Rye] (AFS 617 A3, 685 A2, 696 A1, 717 B, all 1936)
Mose "Clear Rock" Platt, "Go Down Old Hannah" (AFS 2643 A1, 1939)
Dock Reese, "Go Down, Old Hannah" (on AschRec2)
Texas state farm prisoners, "Go Down, Old Hannah" (on NPCWork)
Unknown artists, "Go Down Old Hannah" (AFS CYL-7-1, 1933)
CROSS_REFERENCES:
cf. "Ain't No More Cane on this Brazos"
NOTES: The amount of common material in this song and "Ain't No More Cane on this Brazos" makes it certain they have cross-fertilized. They may be descendants of a common ancestor. But the stanzaic forms are different, so I list them separately.
The name "Hannah" refers to the sun. Jackson notes that, in some prisons, if a prisoner died or fainted in his row, he would be given no help, so the prisoners literally had to work until they dropped. On a day when it was particularly bright and hot, death in the fields was a real possibility -- hence the appeal, in some versions, "Wake up, dead man, Help me carry my row." - RBW
File: LoF286
===
NAME: Go From My Window (I)
DESCRIPTION: Characterized by the line "Go (away) from my window, my love, (go/do)." Rain or other difficulties may trouble the swain, but he usually gains admittance in the end: "Come up to my window, love... The wind nor rain shall not trouble thee again...."
AUTHOR: unknown
EARLIEST_DATE: 1611 (The Knight of the Burning Pestle)
KEYWORDS: courting rejection nightvisit nightvisit
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
Chappell/Wooldridge I, pp. 146-147, "Go From My Window" (3 fragments of text, 1 tune)
DT, GOWINDOW*
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4]
cf. "One Night As I Lay on My Bed"
NOTES: This piece was obviously very popular in the sixteenth and early seventeenth centuries (Chappell reports eight sources from that period, though presumably most of these are the tune). The earliest dated text (partial, of course) appears to be that in John Fletcher and Francis Beaumont's 1611 play "The Knight of the Burning Pestle," Act III, scene v:
Go from my window, love, go;
Go from my wimdow, my dear;
The wind and rain
Will drive you back again:
You cannot be lodged here. - RBW
File: ChWI146
===
NAME: Go From My Window (II): see One Night As I Lay On My Bed (File: VWL079)
===
NAME: Go Get the Ax
DESCRIPTION: "Peepin' through the knot-hole Of grandpa's wooden leg, Who'll wind the clock when I am gone? Go get the ax, There's a fly in Lizzie's ear, For a boy's best friend is his mother." The remainder of the song is equally farfetched
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, p. 332, "Go Get the Ax" (1 text, 1 tune)
NOTES: According to Sandburg, this was collected from a girl who was forced to sing it to be initiated into a sorority. One hopes it was nothing worse than that. - RBW
File: San332
===
NAME: Go In and Out the Window
DESCRIPTION: "Go in and out the window (x3) As we have done before (or: "For we have gained the day")." "Go round and round the levee..." "Go forth and face your lover..." "I kneel because I love you..." "One kiss before I leave you..."
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(All)) Ireland
REFERENCES: (9 citations)
Randolph 538, "Round and Round the Levee" (3 texts plus an excerpt, 1 tune)
BrownIII 76, "In and Out the Window" (1 text)
Hudson 140, pp. 287-288, "Marching Round the Levee" (1 text)
Cambiaire, p. 136, "Susie Brown" (1 text, a mixed text which has two verses typical of "Cuckoo Waltz" or something like it and two from "Go In and Out the Window"); p. 131, "I Measure My Love to Show You" (1 text, with unusual verses but the "For we have gained the day" chorus")
MHenry-Appalachians, p. 243, (no title) (1 fragment, probably this)
Linscott, pp. 9-10, "Go In and Out the Windows" (1 text, 1 tune)
Fuson, p. 175, "Go Out and Meet Your Lover" (1 text)
Chase, pp. 191-193, "We're Marchin' 'Round the Levee" (1 text, 1 tune)
Leyden 22, "Round About the Ladies" (1 text, 1 tune)
ST R538 (Full)
Roud #4320
RECORDINGS:
Kelly Harrell, "Cave Love Has Gained the Day" (Victor 23649, 1929; on KHarrell02)
Louise Massey & the Westerners, "Go In and Out the Window" (Vocalion 05361, 1939)
Pete Seeger, "Go In and Out the Window" (on PeteSeeger21)
ALTERNATE_TITLES:
Go Round and Round the Valley
Round and Round the Village
Marching Round the Valley
NOTES: Chase explains, "'Levee' here has no connection with flood control! It must mean a morning party or reception. (See Webster.) Such levees were held during the War Between the States to celebrate victories... 'For we have gained the day.'"
Maybe this explains why I've never heard the "levee" verses in the north. But the notes in Brown claim "Levee" is an error for "Valley."
Harrell's recording gained its odd name by studio incompetence. He sang the chorus as "Caze [='Cause] love has gained the day." The studio people couldn't figure out "Caze," and interpreted it as "Cave"!
It appears that the "Go In and Out the Window" title is rare in tradition. But that's the first verse of the song as I learned it in my youth, so there. - RBW
File: R538
===
NAME: Go in the Wilderness
DESCRIPTION: "If you want to go to heaven/go in the wilderness (3x)/...and wait upon the Lord." "If you want to see Jesus..." "Lord, my feet looked new when I come out the wilderness..." [secular playparty version:] "First little lady go in the wilderness..."
AUTHOR: unknown
EARLIEST_DATE: 1867 (W. F. Allen, Slave Songs of the United States)
KEYWORDS: nonballad religious playparty Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 14, "Go in the Wilderness" (1 text, 1 tune)
Roud #11846
RECORDINGS:
Famous Blue Jay Singers, "I'm Leaning on the Lord" (Paramount 13119/Crown 3329, 1932; Champion 50056, c. 1935; Decca 7446, 1938; on Babylon)
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" (tune, structure)
ALTERNATE_TITLES:
I Wait Upon the Lord
How Did You Feel When You Came Out of the Wilderness?
Ain't I Glad I Got Out of the Wilderness
NOTES: This is the song which is ancestral to "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" and its kin. - PJS
Or. at least. an early member of the family. The earliest version known, that of Allen/Ware/Garrison, think it might be descended from "Ain't I Glad I Got Out of the Wilderness," which they call a Methodist hymn (though it seems to have long since gone out of their hymnals). - RBW
File: RcGITW
===
NAME: Go On, You Little Dogies: see Get Along, Little Dogies (File: R178)
===
NAME: Go Out and Meet  Your Lover: see Go In and Out the Window (File: R538)
===
NAME: Go Round and Round the Valley: see Go In and Out the Window (File: R538)
===
NAME: Go Slow, Boys (Banjo Pickin')
DESCRIPTION: "Go slow, boys, don't make no noise, For old Massa's sleepin'. Go down to the barnyard an' wake up the boys, An' let's have a little banjo pickin'. For oh, it's almost mornin', Don't you hear the old cock crowin'?" The slaves (?) sneak off to a dance
AUTHOR: unknown
EARLIEST_DATE: 1928
KEYWORDS: music slavery
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 278, "Go Slow, Boys" (1 text, 1 tune)
BrownIII 427, "Have a Little Banjo Beating" (1 text); also probably  118, "Hush, Honey, Hush" (1 fragment)
Roud #7783
ALTERNATE_TITLES:
The Banjo Picking
File: R278
===
NAME: Go Tell Aunt Patsy: see Go Tell Aunt Rhody (File: R270)
===
NAME: Go Tell Aunt Rhody
DESCRIPTION: "Go tell Aunt (Rhody) (x3) The old gray goose is dead. The one she'd been saving (x3) to make a feather bed." The cause of death varies; "a pain in the head"; "somebody... knocked it on the head"; "from standing on its head"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection); +1913 (JAFL26)
KEYWORDS: bird death mourning
FOUND_IN: US(MW,NE,SE,So)
REFERENCES: (16 citations)
Randolph 270, "Go Tell Aunt Rhody" (2 texts plus 2 excerpts, 1 tune)
Randolph/Cohen, pp. 230-231, "Go Tell Aunt Rhody" (1 text, 1 tune -- Randolph's 270A)
BrownIII 128, "Go Tell Aunt Patsy" (1 text)
Scarborough-NegroFS, p. 8, (no title, but the goose's owner is Aunt Patsy) (1 text); pp. 195-196, "Go Tell Aunt Tabby" (1 text, 1 tune)
SharpAp 236, "The Old Grey Goose" (1 text, 1 tune)
Gardner/Chickering 193, "Aunt Tabbie" (1 text plus an excerpt)
Creighton/Senior, pp. 257, "The Old Grey Goose" (1 text, 1 tune)
Linscott, p. 207, "Go Tell Aunt Rhody" (1 text, 1 tune)
Lomax-FSUSA 3, "Go Tell Aunt Nancy" (1 text, 1 tune)
Lomax-ABFS, pp. 305-306, "The Old Gray Goose" (1 text, 1 tune)
Arnett, p. 39, "Go Tell Aunt Rhody" (1 text, 1 tune)
Chase, pp. 176-177, "The Old Gray Goose is Dead" (1 text, 2 tunes)
PSeeger-AFB, p. 45, "Go Tell Aunt Rhody" (1 text, 1 tune)
Pankake-PHCFSB, p. 275, "Go Tell Aunt Rhody" (1 text)
Silber-FSWB, p. 404, "Aunt Rhody" (1 text)
DT, AUNTRODY
Roud #3346
RECORDINGS:
Perry Bechtel's Colonels, "Go Tell Aunt Tabby" (Brunswick 498, c. 1930)
Pickard Family, "The Old Gray Goose is Dead" (Conqueror 7517, 1930; Melotone M-12129, 1931; on CrowTold01)
Edna & Jean Ritchie, "Go Tell Aunt Rhodie" (on Ritchie03)
Pete Seeger, "Go Tell Aunt Rhody" (on GrowOn2) (on PeteSeeger47); "Aunt Rhody" (on PeteSeeger18)
CROSS_REFERENCES:
cf. "Come Ye Sinners Poor and Needy" (tune)
SAME_TUNE:
Go Tell Young Henry [Ford] (Greenway-AFP, p. 229)
NOTES: Randolph quotes Chase to the effect that this tune was used in an opera by Jean Jacques Rousseau in 1750. The situation is rather more complex than this would imply. The most recent, and most significant, work on this subject is Murl Sickbert, Jr.'s "Go Tell Aunt Rhody She's Rousseau's Dream" (published 2000). Norm Cohen reports the following:
"In 1752, Rousseau composed 'Le Devin du village,' a pastoral opera bouffe....  [The Aunt Rhody tune appears] as a gavotte in the pantomime no. 8 (divertissement or ballet).  It is danced by 'la villageoise,' a shepherdess or country girl, to music without words."
Sickbert observes that the Rousseau composition is more elaborate than the folk tune, with "two addditional parts or reprises, not one as Lomax gives it."
The tune came to be called "Rousseau's Dream," apparently by confusion: Another Rousseau score allegedly came to him while he was suffering from delirium. The title, according to Percy A. Scholes in _The Oxford Companion to Music_, was given by J. B. Cramer. - RBW
File: R270
===
NAME: Go Tell Aunt Tabbie: see Go Tell Aunt Rhody (File: R270)
===
NAME: Go Tell It on the Mountain (I -- Christmas)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain That Jesus Christ is born." The singer describes the revelation of Jesus's birth to the shepherds and notes how God "made me a watchman"
AUTHOR: unknown
EARLIEST_DATE: 1907 (Fisk Jubilee Singers repertoire)
KEYWORDS: religious Christmas Jesus
FOUND_IN: US
REFERENCES: (3 citations)
Silber-FSWB, p. 381, "Go Tell It On The Mountain" (1 text)
DT, GOTELLMT*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #25, "Go, Tell It on the Mountain" (1 text)
RECORDINGS:
Elizabeth Bivens, "Go Tell It On the Mountain" (on HandMeDown2)
CROSS_REFERENCES:
cf. "Go Tell It on the Mountain (II -- Freedom)"
cf. "Jesus Setta Me Free" (lyrics)
File: FSWB381A
===
NAME: Go Tell It on the Mountain (II -- Freedom)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain To let my people go." The singer describes the people, clothed in various colors, coming out of bondage
AUTHOR: unknown
EARLIEST_DATE: 1963 (recorded by Fannie Lou Hamer)
KEYWORDS: religious freedom nonballad travel
FOUND_IN: US Jamaica
REFERENCES: (1 citation)
DT, GOTELMT2
Roud #15220
CROSS_REFERENCES:
cf. "Go Tell It on the Mountain (I -- Christmas)"
cf. "Jesus Setta Me Free" (lyrics)
NOTES: The "freedom" adaptation of "Go Tell It on the Mountain" came out of the civil rights movement of the early 1960s. I list "Jamaica" as a location in the "FOUND IN" field because this version was recorded by Bob Marley long before he became an internationally-known star, when reggae was still arguably an indigenous folk style. Does this qualify within the "folk tradition"? Eyes of the beholder, perhaps, but I wanted the fact noted. - PJS
File: DTgotelm
===
NAME: Go to Berwick, Johnny
DESCRIPTION: "Go, go, go, Go to Berwick, Johnny, You shall have the horse, I shall have the pony."
AUTHOR: unknown
EARLIEST_DATE: 1969 (Montgomerie)
KEYWORDS: animal travel
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 9, "(Go, go, go)" (1 fragment)
Roud #8693
File: MSNR009
===
NAME: Go to Helen Hunt for It
DESCRIPTION: "Miss Helen Hunt knows all the spooks, And calls them out of dusty nooks." In case of uncertainty or loss, one is advised to turn to Miss Hunt. The song concludes when "Spain wanted money very bad." Spain had to "go to hell and hunt for it."
AUTHOR: Harry Connor?
EARLIEST_DATE: 1898? (Copyright listed on undated sheet music)
KEYWORDS: political magic war
HISTORICAL_REFERENCES: 1898 -- Spanish-American War
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 502, "Go to Helen Hunt for It" (1 text)
Roud #7641
NOTES: The final verse of this song, which reveals the true reading of the name "Helen Hunt," refers clearly to the Spanish-American War. Spain, faced with insurrection in Cuba, tried to get international support, and failed. Isolated, Spain could not give in to American demands fast enough, and the U.S. went to war -- with disastrous results for Spain. Meanwhile, the American press has utterly besmirched the Spanish reputation, leading to scornful remarks such as those found here. - RBW
File: R502
===
NAME: Go To Saint Pether
DESCRIPTION: The singer orders that news be carried to "Saint Pether" (i.e. the Papacy) of the troubles facing the Catholic cause. The Pope is distressed to hear that his armies are defeated. Mary of Hungary calls for "liquor to temper me pain."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: battle religious
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 149, "Go to Saint Pether" (1 text, 1 tune)
ST E149 (Full)
Roud #5346
NOTES: This is truly a difficult song to figure out, because so few details survive in the text. The one seemingly-identifiable figure is Mary of Hungary. The most notable woman of that name and title is Mary of Hungary and Bohemia (1505-1558), the sister of the Holy Roman Emperor Charles V and the wife of Louis II of Hungary.
In 1531, Mary was appointed regent of the Low Countries by Charles V. Charles was becoming involved in his great wars against Protestantism (this is, of course, shortly after Luther began his revolt, and the period in which Calvin was forming his opinions). That being the case, Mary of Hungary was involved in the persecution of Protestants. But they were Dutch Protestants, and for the most part she kept them under control. Thus it is hard to see how this song, presumably of English or Irish origin, could refer to her.
Another possibility occurring to me is that this song describes the Catholic distress after the defeat at the Battle of the Boyne (July 11, 1690). Catholics supported the former King James II (reigned 1685-1688/9) against the protestant William III of Orange, but were defeated. It may be that "Mary of Hungary" is Mary of Modena, James II's second wife, who bore him his son James the Old Pretender (it was the birth of this child that led to the Glorious Revolution of 1688; the nobility was not prepared to allow James to raise his son as a Catholic). - RBW
File: E149
===
NAME: Go to Sea No More: see Dixie Brown [Laws D7] (File: LD07)
===
NAME: Go to Sea Once More: see Dixie Brown [Laws D7] (File: LD07)
===
NAME: Go to Sleep Little Baby: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go to Sleep, My Little Pickaninny
DESCRIPTION: The "little Alabama coon" is told, "Go to sleep, my little pickaninny, Brother Fox will catch you if you don't...." Fuller forms may describe the child's life and ambitions for when he grows up
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: lullaby nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 116, "Go to Sleep, My Little Pickaninny" (2 texts plus mention of 1 more)
NOTES: Brown gives two forms of this song, one a genuine song in which the baby describes its aspirations (such as they are), the second probably a pure lullaby. The full form, which is strongly racist, is probably a minstrel piece which wore down to the somewhat less offensive lullaby version. - RBW
File: Br3116
===
NAME: Go To Sleepy: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go to Sleepy Little Baby: see All the Pretty Little Horses (File: LxU002)
===
NAME: Go Wash in the Beautiful Stream
DESCRIPTION: "Go wash in the beautiful stream, Go wash in the beautiful stream, Oh, Naaman, oh, Naaman, Go down and wash, Go wash in the beautiful stream."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Chappell)
KEYWORDS: religious Bible river
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 575, "Go Wash in the Beautiful Stream" (1 fragment)
Chappell-FSRA 97, "O Naaman" (1 fragment, 1 tune)
Roud #7875
NOTES: An allusion to 2 King 5. Naaman, a soldier of Damascus, comes to Israel seeking a cure for his leprosy. He is eventually referred to the prophet Elisha. Elisha tells him to wash himself in the Jordan. Naaman argues, asking why he can't wash in the rivers of Damascus, but eventually does as he's told and is cured.
Naaman did have something of a point: The Jordan valley is not "beautiful"; it is drab, dusty, and very, very hot. - RBW
File: Br3575
===
NAME: Goat's Will, The
DESCRIPTION: "Concerning a battle.. Between Larry's black goat and brave Mary McCloy." The goat, tethered outside its proper territory, will die to make amends. It makes its will (e.g. giving its teeth to a man who has none), curses McCloy, and bids farewell
AUTHOR: Hugh McCann (1869?)
EARLIEST_DATE: 1926 (Sam Henry collection)
KEYWORDS: animal death lastwill
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H119, p. 21, "The Goat's Will" (1 text, 1 tune)
Roud #13343
File: HHH119
===
NAME: God Bles the Moonshiners: see Moonshiner (File: San142)
===
NAME: God Bless the Master of this House
DESCRIPTION: "God bless the master of this house with a gold chain round his neck, O where his body sleeps or wakes, Lord send his soul to rest." The listener is reminded of Christ's crucifixion, death, and redeeming blood. (A New Year's blessing is given.)
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Frank Bond)
KEYWORDS: religious Jesus nonballad
FOUND_IN: Britain(England(South)
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 272-273, "God Bless the Master of this House" (1 text, 1 tune)
Roud #1066
RECORDINGS:
Frank Bond, "God Bless the Master Of This House" (on Voice16)
CROSS_REFERENCES:
cf. "The Bellman's Song (The Moon Shone Bright)" (lyrics)
NOTES: This piece shares many of its words with "The Moon Shone Bright," and the general sense of the piece is very similar. But the tune and stanza form are different, so -- barring a "missing link" -- I list them separately. - RBW
File: CoSB272
===
NAME: God Dawg My Lousy Soul
DESCRIPTION: "God dawg my lousy soul (x2), I'm goin' down the river And I couldn't git cross, God dawg..." Bluesy song; only the third and fourth lines change, e.g. "She put me in the bed And she covered up my head," "I'm goin' to Missouri To git me another dame"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work love nonballad
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 25-26, "God Dawg My Lousy Soul" (1 text, 1 tune)
Roud #10002
NOTES: Yes, you know and I know what the title of the song should really be. But it's not clear whether Wheeler or her informant (Uncle Tom Wall) cleaned it up. If the latter, it's possible that it circulated in tradition in this form. - RBW
File: MWhee025
===
NAME: God Don't Like It
DESCRIPTION: A warning against drink: "Well, God don't like it, no, no!... It's a-scandalous and a shame!" "Some people stay in the churches... Tney drinkin' beer and whisky, And they say that they don't care."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: religious drink nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 73-74, "(God Don't Like It)" (1 text)
Roud #15642
File: CNFM073
===
NAME: God Got Plenty o' Room
DESCRIPTION: "God got plenty o' room, got plenty o' room. 'Way in the kingdom, God got plenty o' room my Jesus say." "So many weeks and days have passed, Since we met together last." "Daniel's wisdom I may know." "We soon shall lay our school-books by."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 106, "God Got Plenty o' Room" (1 text, 1 tune)
Roud #12062
NOTES: This song has more scriptural references than almost anything in Allen/Ware/Garrison, though the references are often rather loose. The reference to God having "room" is clearly to John 14:2, "In my father's house are many mansions (KJV) or "In my Father's mansion are many rooms" (variously rendered in the modern versions).
Jacob's Ladder is in Genesis 28:12, and though Jacob is not said to have prayed there, he did make a vow there in Genesis 28:20.
"Daniel's wisdom" -- there are several references to this; perhaps the most explicit is in Daniel 2, where Daniel is lumped with the Wise Men of Babylon, and perhaps 5:11-12.
Stepehn's faith and spirit are described in Acts  7:55-60.
- RBW
File: AWG106
===
NAME: God Is at de Pulpit
DESCRIPTION: "God is at de pulpit, God is at de do', GOd is always over me, While He is in de middle of de flo'. God is a God, GOd don't neber change, 'Cause He always will be king."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 568, "God Is at de Pulpit" (1 short text)
Roud #11888
File: Br3568
===
NAME: God Moves on the Water: see The Titanic (III) ("God Moves on the Water") (Titanic #3) (File: CNFM076)
===
NAME: God Rest Ye Merry, Gentlemen: see God Rest You Merry, Gentlemen (File: FSWB378A)
===
NAME: God Rest You Merry, Gentlemen
DESCRIPTION: "God rest you merry, gentlemen, Let nothing you dismay, Remember Christ our savior Was born on Christmas day... Oh tidings of comfort and joy." The birth of Jesus is recounted and listeners urged to sing praise and rejoice in the new year
AUTHOR: unknown
EARLIEST_DATE: 1820 ("A Political Christmas Carol" is an undeniable parody of this piece)
KEYWORDS: religious carol Christmas Jesus nonballad
FOUND_IN: Britain(England)
REFERENCES: (5 citations)
OBC 11, "God Rest You Merry"; 12, "God Rest You Merry" (2 texts, 2 tunes)
Silber-FSWB, p. 378, "God Rest You Merry Gentlemen" (1 text)
Fuld-WFM, p. 249, "God Rest You Merry, Gentlemen"
DT, GODREST*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #26, "God Rest You Merry, Gentlemen" (1 text)
Roud #394
CROSS_REFERENCES:
cf. "Somerset Carol"
SAME_TUNE:
A Political Chrismas Carol (William Hone's 1820 satire on Lord Castlereigh) (Ian Bradley, _The Penguin Book of Carols_, pp. 101-102)
NOTES: Although this song is often sung in America as if punctuated, "God rest you, merry gentlemen," there is agreement that the correct reading is "God rest you merry, gentlemen." The gentlemen are being wished merriment, not being called merry.
Bradley in the _Penguin Book of Carols_ notes several other problems with the song: sexist language, non-Biblical details (common in traditional carols, of course), and the bad theology that "this holy tide of Christmas all others doth deface." I'm not sure I buy that last one -- yes, the essence of the Christian message is the Atonement, which is celebrated in Good Friday and Easter. But Christmas celebrates the *beginning* of the Incarnation, so surely it would be more important than any day in the calendar except Good Friday, Easter, and maybe Ascencion Sunday. So Christmas would seem to deface at least 99% of other days. Good enough for ordinary engineering purpose.
Bradley notes that this song seems to have been sung to several tunes in its early years. The common tune (the so-called "London Tune") was collected by RImbault in 1846 and seemingly first printed in connection with these words by Bramley and Stainer in 1871. - RBW
File: FSWB378A
===
NAME: God Save Ireland
DESCRIPTION: "High upon the gallows tree swung the noble-hearted three, By the vengeful tyrants stricken in their bloom." The three declare, "God Save Ireland" as they prepare to die, and say that their deaths don't matter. Listeners are encouraged to remember
AUTHOR: Timothy Daniel Sullivan (1827-1914)
EARLIEST_DATE: 1867 (_The Nation_ Dec 7, 1867, according to Zimmermann)
KEYWORDS: Ireland rebellion execution
HISTORICAL_REFERENCES: 1867 - Imprisonment of the Fenian leaders Kelly and Deasy, and the bungled rescue
FOUND_IN: Ireland
REFERENCES: (6 citations)
PGalvin, pp. 83-84, "God Save Ireland" (1 text, 1 tune)
Zimmermann 74, "God Save Ireland" (1 text, 1 tune)
Healy-OISBv2, pp. 137-138, "God Save Ireland" (1 text)
DT, GSAVILD*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 522-523, "God Save Ireland"  (1 text)
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 9-10, 508, "God Save Ireland"
CROSS_REFERENCES:
cf. "Tramp! Tramp! Tramp!" (tune) and reference there
cf. "The Smashing of the Van (I)" (subject: The Manchester Martyrs)
cf. "Allen, Larkin and O'Brien" (subject: The Manchester Martyrs)
cf. "The Manchester Martyrs" (subject: The Manchester Martyrs)
NOTES: Edward Condon was one of five men tried in 1867 for the death of Charles Brett. (For this incident and the story of the "Manchester Martyrs," see the notes to The Smashing of the Van.") One of those on trial was not connected to the crime. Three others were sentenced to death. Condon was allowed to live.
At the end of his trial, Condon cried out "God save Ireland." It became a Fenian slogan.
Sullivan is the author of a number of Irish patriotic poems, of which this is probably the best-known. - RBW
File: PGa083
===
NAME: God Save the King (God Save the Queen, etc.)
DESCRIPTION: Good wishes for the King of England: "God save (our Lord, or any monarch's name) the King, Long live our noble king, God save the King. Send him victorious, Happy and glorious, Long to reign over us, God save the King." Other verses equally insipid
AUTHOR: unknown
EARLIEST_DATE: c. 1744 ("Harmonia Anglicana")
KEYWORDS: royalty political nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Chappell/Wooldridge II, pp. 194-200, "God Save the King" (1 tune plus variants, 1 partial text)
Fuld-WFM, pp. 249-251+, "God Save the King"
DT, GODSAVE*
CROSS_REFERENCES:
cf. "America (My Country 'Tis of Thee)" (tune)
SAME_TUNE:
Heil Dir in Siegerkranz
O Deus Optime (cf. Chappell/Wooldridge II, p. 195)
America (My Country 'Tis of Thee) (File: RJ19006)
My Country (Greenway-AFP, pp. 88-89)
God Save the King (The King He Had a Date) (Pankake-PHCFSB, p. 115)
My Country's Tired of Me (Pankake-PHCFSB, p. 159)
Can Opener, 'Tis of Thee (Pankake-PHCFSB, p. 159)
Our Land Is Free (celebrating the end of transportation to Van Diemen's Land) (Robert Hughes, _The Fatal Shore_, p. 572)
God Save the Rights of Man (1798 Irish revolutionary song) (mentioned in Thomas Pakenham, _The Year of Liberty_, p. 193)
NOTES: This, obviously, has never been a true popular or traditional tune.
Given the number of songs derived from it, as well as the parodies (e.g. "The King he had a date, He stayed out very late, He was the King. The Queen she paced the floor, She paced till half past four, She met him at the door, God save the King"), it seems to me that it belongs here.
Fuld tells an interesting anecdote showing that this was once a political song. As first printed, the opening line read "God save our Lord the King." When Bonnie Prince Charlie landed in 1745, this was hastily amended to "God Save great GEORGE our King" -- with "George" printed in large type.
Prior to its adoption in Georgian times, the English used "The Roast Beef of Old England" as their anthem.
The phrase "God Save the King" is officially listed as Biblical (1 Sam. 10:24, 1 Kings 1:25, 34, 39, 2 Kings 11:12, 2 Ch. 23:11, etc.). One has to note that this is an inaccurate translation in the King James version, leading to the speculation that the acclamation actually predates the KJV. The Hebrew phrase correctly translates as "let the King live," and so is rendered "Long live the King" in almost all modern Bible translations. - RBW
File: ChWII194
===
NAME: God's Going to Set This World on Fire: see Welcome Table (Streets of Glory, God's Going to Set This World on Fire) (File: San478)
===
NAME: Godalmighty Drag
DESCRIPTION: "Mama and papa, O lawdy, Mama and papa, O my Lord, Done told me a lie...." "Done told me they'd pardon me... by next July." "July and August... done come and gone." "Left me here rolling... On this ole farm." "Gonna write to the Governor...."
AUTHOR: unknown
EARLIEST_DATE: 1941
KEYWORDS: prison family lie pardon worksong
FOUND_IN: US
REFERENCES: (2 citations)
Scott-BoA, pp. 309-311, "Godalmighty Drag" (1 text, 1 tune)
Jackson-DeadMan, pp. 130-132, "No More Cane on the Brazos/Godamighty" (1 text, 1 tune, a mixture of this with another song Jackson calls "Godamighty" though it has almost no lyric elements in common with "Godalmighty Drag"); pp. 261-267, "Godamighty" (3 texts, 2 tunes; possibly once again separate songs but so fluid that it isn't worth separating them out)
CROSS_REFERENCES:
cf. "Please Have Mercy on a Longtime Man" (lyrics)
cf. "Texarkana Mary" (lyrics)
File: SBoA309
===
NAME: Godamighty: see Godalmighty Drag (File: SBoA309)
===
NAME: Goin' Cross the Mountain
DESCRIPTION: "Goin' 'cross the mountain, Oh, fare thee well, Goin' 'cross the mountain, Hear my banjo tell." The singer has his kit ready, and is going to join the Union army "to give Jeff's men a little taste of my rifle ball." He promises to return at the war's end
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: Civilwar fight parting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 121, "Goin' Cross the Mountain" (1 text, 1 tune)
ST Wa121 (Partial)
Roud #4624
NOTES: Although large parts of the Appalachians were in Confederate territory, the rough terrain did not encourage slaveholding, and most of the residents remained loyal to the Union. Kentucky stayed with the North, West Virginia seceded from Virginia, and eastern Tennessee welcomed Federal occupying troops. One suspects this song came from one of those regions. - RBW
File: Wa121
===
NAME: Goin' Down the Road Feelin' Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: Goin' Down to Cairo: see Black Them Boots (Goin' Down to Cairo) (File: R550)
===
NAME: Goin' Down to Town: see Lynchburg Town (File: Wa181)
===
NAME: Goin' from the Cotton Fields
DESCRIPTION: "I'm goin' from the cotton fields, I'm goin' from the cane, I'm goin' from the old log hut That stands in the lane." Hard times force the singer to move north even though Dinah fears the cold. He regrets home and the old master's grave, but must go
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson), from a manuscript apparently dated before 1895
KEYWORDS: hardtimes home emigration slave travel
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, pp. 121-122, "Goin' from the Cotton Fields" (1 text)
ST Fus121 (Partial)
Roud #16368
NOTES: This has something of a minstrel feel, given that the singer talks about the "little patch of ground That good old master give me 'Fore the Yankee troops come down," as well as the former slave caring for Master's grave. And yet, the overall feel is quite authentic: Hard times and a hard migration. I've no idea what to make of it. - RBW
File: Fus121
===
NAME: Goin' Home
DESCRIPTION: Sung to the swinging of a pick. "Ev'rywhere I look (hanh!), Where I look this mornin'... Look like rain." The singer describes his prowess wit the pick, tells how his girl wants him home, and hopes he can win a pardon from the governor
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner chaingang work separation pardon
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 84-86, Goin' Home" (1 text, 1 tune)
Roud #15035
File: LxA084
===
NAME: Goin' to Have a Talk with the Chief of Police
DESCRIPTION: The singer goes to talk with the police chief, apparently with regard to his "good girl" who has been avoiding him. He looks for her on boats and trains, hopes she will come to love him, and wishes she were not in trouble
AUTHOR: unknown
EARLIEST_DATE: 950 (recording, Peelee Hatchee)
KEYWORDS: police love separation
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 98, "Goin' to Have a Talk With the Chief of Police" (1 text); pp. 271-272, "I'm Going Uptown" (1 tune, partial text)
Roud #10993
RECORDINGS:
Peelee Hatchee [pseud. for Emanuel Jones], "Talk with the Chief of Police" (on NFMAla6)
NOTES: This song is so confused that I suspect it is composite. Some of it is reminiscent of "Corinna, Corinna" -- but some of it, well, isn't. - RBW
File: CNFM098
===
NAME: Goin' to Shout All over God's Heaven: see All God's Children Got Shoes (File: CNFM067A)
===
NAME: Going Across the Sea
DESCRIPTION: Floating lyrics, bound by the chorus, "Going (across the sea/to Italy) before long (x3) To see that gal of mine." Sample verses: "Yonder comes a pretty little girl, How do you reckon I know..."; "Finger ring, finger ring, shines like glittering gold..."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Uncle Dave Macon), but some of the floating verses show up in SharpAp 88, "Betty Anne", which was collected in 1916.
LONG_DESCRIPTION: Floating lyrics, held together by the chorus, "(across the sea/to Italy) (x3) To see that gal of mine." Sample verses: "Yonder comes a pretty little girl, How do you reckon I know..."; "Finger ring, finger ring, shines like glittering gold..."; "I asked that gal to marry me... She said she wouldn't marry me If all the rest was dead."
KEYWORDS: floatingverses courting travel love nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 111, "Wish I Had a Needle and Thread" (7 text, of which only "E" is really substantial; it is certainly the "Italy" version of "Going Across the Sea." The other fragments contain verses typical of "Shady Grove," "Old Joe Clark," and others)
SharpAp 88, "Betty Anne" (1 text, 1 tune, with lyrics from "Shady Grove," "Fly Around, My Pretty Little Miss" and "Going Across the Sea")
Roud #11516
RECORDINGS:
Henry L. Bandy, "Going Across the Sea" (Gennett test pressing GEx14360, 1928; unissued; on KMM)
R. D. Burnett & Lynn Woodard, "Going Across the Sea" (recorded for Gennett 1929, but unissued; on BurnRuth01)
Crook Brothers String Band, "Going Across the Sea" (Victor V-40099, 1929)
Zeb Harrelson & M. B. Padgett, "Finger Ring" (OKeh 45078, 1927; rec. 1926)
Bascom Lamar Lunsford, "Italy" (Brunswick 227/Vocalion 5246, 1928) (on BLLunsford01)
Uncle Dave Macon, "Going Across the Sea" (Vocalion 15192, 1926)
CROSS_REFERENCES:
cf. "Train on the Island (June Apple/June Appal)" (floating lyrics)
cf. "Shady Grove" (floating lyrics)
cf. "Troubled In My Mind" (floating lyrics)
cf. "Took My Gal a-Walkin'" (floating lyrics)
cf. "Chilly Winds" (floating lyrics)
NOTES: Given that both songs are almost pure collections of floating verses, it may seem improbable to link "Italy" with "Going Across the Sea." The tunes, however, are the same; under the circumstances, that seems reason enough. - RBW
File: RcItaly
===
NAME: Going Around the World (Banjo Pickin' Girl, Baby Mine)
DESCRIPTION: "I'm going across the ocean (friends of mine/baby mine) (x3) If I don't change my notion." "I'm going across the sea... Say you'll love no one but me." "I'm going around the world... (with/I'm) a banjo-pickin' girl." Verses usually about courting
AUTHOR: unknown
EARLIEST_DATE: c. 1929 (recording, Burnett & Woodard)
KEYWORDS: courting love nonballad travel music money rambling
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 54, "Baby Mine" (1 text)
Roud #11519
RECORDINGS:
R. D. Burnett & Lynn Woodard, "Going Around the World" (recorded for Gennett 1929, but unissued; on BurnRuth01)
Coon Creek Girls, "Banjo-Pickin' Girl" (Vocalion 04413/OKeh 04413, 1938; on GoingDown)
Pete Steele, "Goin' Around This World, Baby Mine" (on PSteele01)
CROSS_REFERENCES:
cf. "Crawdad" (floating lyrics)
cf. "New River Train" (floating lyrics)
NOTES: Old-time singers in the Revival era tend to sing this as "Banjo Pickin' Girl," with a much more feminist feel than the earliest version known to me (sung by Burnett and Woodard). I have to suspect that someone (presumably one of the all-girl groups) touched the song up slightly. It is still clearly the same song, however. - RBW
Your suspicion is right on the nose -- it was the Coon Creek Girls. I suspect there are antecedents, possibly by Samantha Bumgarner, but I'm still looking. Incidentally, it's been much more commonly recorded as "Banjo-Pickin' Girl." - (PJS)
File: RcGAtW
===
NAME: Going Back West 'fore Long: see Going West (File: FCW053)
===
NAME: Going Down the River
DESCRIPTION: Floating verses: "Hey, little girl, if you don't give me dinner/I'll buy me a boat and sail down the river" "Coon Creek's up, Coon Creek's muddy/I'm so drunk I can't stand steady" "Goodbye wife, goodbye baby/Goodbye biscuits sopped in gravy"
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Dr. Smith's Champion Hoss Hair Pullers)
KEYWORDS: marriage food river dancetune floatingverses nonballad
FOUND_IN: 
REFERENCES: (1 citation)
DT, DOWNRIVE
RECORDINGS:
Dr. Smith's Champion Hoss Hair Pullers, "Going Down the River" (Victor 21711, 1928)
New Lost City Ramblers, "Going Down the River" (NLCR13)
NOTES: This shouldn't be confused with any of the other "Down the River" songs. - PJS
File: RcGDtRy1
===
NAME: Going Down This Road Feeling Bad
DESCRIPTION: A series of complaints, all ending "And I ain't gonna be treated this a-way." Examples: "I'm going down this road feeling bad." "I'm going where the climate suits my clothes." "I'm tired of lying in this jail." "They feed me on cornbread and beans."
AUTHOR: Unknown, although the credits for Whitter's first recording read "Austin-Mills"
EARLIEST_DATE: 1923 (recording, Henry Whitter)
KEYWORDS: prison hardtimes rambling
FOUND_IN: US(SE)
REFERENCES: (7 citations)
BrownIII 441, "I'm Going Down This Road Feeling Bad" (1 text)
Lomax-FSUSA 72, "Goin' Down the Road Feelin' Bad" (1 text, 1 tune)
Scott-BoA, pp. 346-347, "Goin' Down the Road" (1 text, 1 tune)
Botkin-AmFolklr, pp. 876-877, "I'm A-Goin' down This Road Feelin' Bad" (1 text, 1 tune)
Greenway-AFP, pp. 206-207, "Goin' Down the Road Feelin' Bad" (1 text)
Silber-FSWB, p. 60, "I'm Going Down This Road Feeling Bad" (1 text)
DT, GOINDOWN
Roud #4958
RECORDINGS:
H. M. Barnes & his Blue Ridge Ramblers, "Goin' Down the Road Feelin' Bad" (Brunswick 327, 1929)
James Barton, "I'm Going Where The Climate Fits My Clothes" (OKeh 40136, 1924)
Big Bill Broonzy, "Goin' Down the Road" (on Broonzy01)
Samantha Bumgarner & Eva Davis, "Worried Blues/Georgia Blues" (Columbia 166-D, 1924)
Jack Burchett, "Chilly Winds (Lonesome Road Blues" (on WatsonAshley01)
Cliff Carlisle, "Goin' Down the Road Feelin' Bad" (Perfect 12935, 1933)
Fiddlin' John Carson, "Goin' Where the Climate Suits My Clothes" (OKeh 45498, 1930)
Dillard Chandler, "Going Down The Road Feeling Bad" (on Chandler01)
Cherokee Ramblers, "Goin' Down the Road Feelin' Bad" (Decca 5138, 1935)
George Childers, "Goin' Down This Road Feelin' Bad" (on FolkVisions2)
Elizabeth Cotten, "Going Down the Road Feeling Bad" (on Cotten01)
Cousin Emmy [Cynthia May Carver], "Lonesome Road Blues" (Decca 24215, 1941)
Crazy Hillbillies Band, "Going Down the Road Feeling Bad" (OKeh 45579, 1934)
Ollie Crownover & group "Goin' Down the Road Feelin' Bad" (AAFS 3562 B2)
Warde Ford, "I'm going down this road feelin' bad / I ain't gonna be treated this a-way / Goin' down that road feelin' bad" (AFS 4206 A2, 1938; tr.; in AMMEM/Cowell)
Woody Guthrie, "Blowin' Down This Road" (Victor 26619, 1940); "I'm Goin' Down That Road Feelin' Bad" (AAFS 3418 A1)
Roy Hall's Cohutta Mountain Boys, "Going Down the Road Feeling Bad" (Fortune 170)
Rex & James Hardie, "Goin' Down the Road Feelin' Bad" (AAFS 3566 A1)
Sid Harkreader, "Way Down In Jail On My Knees" (Broadway 8115, c. 1930)
The Hillbillies, "Goin' Down the Road Feelin' Bad" (Vocalion 5021, c. 1926)
Theophilus G. Hoskins "Goin' Down the Road Feelin' Bad" (AAFS 1519 A3)
Bascom Lamar Lunsford, "Goin' Down the Road Feelin' Bad" (AAFS 1805 B1)
Ray Melton, "Goin' Down the Road Feelin' Bad" (AAFS 1347 A2)
David Miller, "Way Down in Jail On My Knees" (Perfect 12697 [as Blind Soldier]/Conqueror 7709, 1931)
John D. Mounce et al, "I'm a-Goin' Down This Road Feelin' Bad" (on MusOzarks01)
J. J. Nesse, J. C. Sutphin & Vernon Sutphin, "Lonesome Road Blues" [instrumental version] (on Stonemans01)
Pie Plant Pete [pseud. for Claude Moye], "Goin' Down the Road" (Decca 5030, 1934)
Joe Rakestraw, "Leavin' Here, Don't Know Where I'm Goin'" (on FolkVisions2)
George Reneau, "Lonesome Road Blues" (Vocalion 5029, c. 1926) 
Robert Ricker, "Goin' Down This Road Feelin' Bad" (AAFS 3903 B5)
Roe Bros. & Morrell, "Goin' Down the Road Feelin' Bad" (Columbia 15199-D, 1927)
 Smith & Irvine, "Lonesome Road Blues" [instrumental version] (Champion 16518, 1932; on StuffDreams1)
Soco Gap Band, "Lonesome Road Blues" (AAFS 3256 B3)
Gussie Ward Stine, "Goin' Down the Road Feelin' Bad" (AAFS 4103 B1)
Ernest Stoneman, "Lonesome Road Blues" (OKeh 45094, 1927; on TimesAint02)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Goin' Down the Road Feelin' Bad" (on DownYonder)
Henry Whitter's Virginia Breakdowners, "Lonesome Road Blues" (OKeh 40015, 1924, rec. 1923); "Goin' Down the Road Feelin' Bad" (OKeh 40169, 1924)
Williamson Bros. & Curry, "Lonesome Road Blues" (OKeh 45146, 1927)
ALTERNATE_TITLES:
Goin' Down this Old Dusty Road
NOTES: Botkin credits the words of this piece to Woody Guthrie, and certainly Woody sang the song. But there is every reason to believe it predates him. - RBW
Indeed it does; the Skillet Lickers included it in their skit "A Corn Likker Still in Georgia" in about 1930, and it may have been present in Black tradition before then.
Confusingly, [Warde] Ford's version is listed in the song catalog as, "I ain't gonna be treated this a-way," although the page is headed "I'm going down this road feelin' bad." He credits learning it from "Kaintucks" in Wisconsin. 
Both "Worried Blues" and "Georgia Blues," as recorded by Samantha Bumgarner & Eva Davis, incorporate enough elements of "Goin' Down This Road Feeling Bad" that I classify them here.
I place the Barton record here tentatively, as I have not heard it. The title, however, is far too suggestive to ignore. - PJS
File: LxU072
===
NAME: Going for a Pardon
DESCRIPTION: The pretty little girl on the train has no ticket. Her father is in prison and going blind; she is going for a pardon. The conductor lets her stay on the train. She meets the governor and is granted a pardon for her father
AUTHOR: Words: James Thornton and Clara Hauenschild / Music: James Thornton
EARLIEST_DATE: 1896 (copyright)
KEYWORDS: prison father disability pardon family children train
FOUND_IN: US(So)
REFERENCES: (2 citations)
Cohen-LSRail, pp. 316-320, "Going for a Pardon/The Eastbound Train" (2 texts, 1 tune)
Randolph 721, "Going for a Pardon" (2 texts)
Roud #7390
RECORDINGS:
Mac & Bob (Lester McFarland & Robert Gardner), "The East Bound Train" (Vocalion 5174, 1927)
Riley Puckett, "East Bound Train" (Columbia 15747-D, 1931)
Ernest V. Stoneman, "East Bound Train" (Edison 52299, 1928) (CYL: Edison [BA] 5548, 1928)
"Dock" Walsh, "The East Bound Train" (Columbia 15047-D, 19270
CROSS_REFERENCES:
cf. "Please, Mister Conductor (The Lightning Express)" (plot)
NOTES: According to Sigmund Spaeth, _A History of Popular Music in America_, pp. 255-256, James Thornton was a very popular songwriter from about 1892 to 1898, producing such songs as "My Sweetheart's the Man in the Moon," "Don't Give Up the Old Love for the New," "She May Have Seen Better Days," and (especially) "When You Were Sweet Sixteen." - RBW
File: R721
===
NAME: Going to Boston
DESCRIPTION: Playparty: "Goodbye girls, I'm going to Boston, (x3) Early in the morning." "Rights and lefts and play the better." "Won't you look pretty in the ballroom." The verses may describe the girls following the boys, or may just be about dancing
AUTHOR: unknown
EARLIEST_DATE: 1907 (JAFL 20)
KEYWORDS: playparty dancing travel
FOUND_IN: US(Ap,So)
REFERENCES: (8 citations)
Randolph 526, "We'll All Go to Boston" (2 texts, 1 tune)
Lomax-ABFS, pp. 297-298, "Going to Boston" (1 text, 1 tune)
Sharp/Karpeles-80E 67, "Going to Boston" (1 text, 1 tune)
Ritchie-SingFam, pp. 62-64, "[Goin' to Boston]" (1 text, 1 tune)
Ritchie-Southern, p. 19, "Goin' to Boston" (1 text, 1 tune)
SharpAp 261, "Going to Boston" (1 text, 1 tune)
Silber-FSWB, p. 391, "Going To Boston" (1 text)
DT, GOINBSTN
Roud #3595
RECORDINGS:
Pete Seeger, "Going to Boston" (on PeteSeeger21)
Art Thieme, "Going to Cairo" (on Thieme05)
CROSS_REFERENCES:
cf. "The Paw-Paw Patch" (lyrics)
File: SKE67
===
NAME: Going to Cairo: see Going to Boston (File: SKE67)
===
NAME: Going to Church Last Sunday: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Going to Clonakilty the Other Day
DESCRIPTION: The singer "was going to Clonakilty" and met "Dan and Miley ... and Gerry Connors and his hair." They step into a pub: "we'll fix it here." At the end the singer still has a fiver and claims someone should not brag, having been "born in the wagon"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: drink money hair
FOUND_IN: Ireland
REFERENCES: ()

Roud #16694
RECORDINGS:
Mary Delaney, "Going to Clonakilty the Other Day" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "One of numerous pieces made up by Travellers concerning a small incident among themselves ... the details of which are probably long forgotten, leaving only a handful of verses."
I assume "being born in the wagon" is equivalent to being a Traveller. - BS
File: RcGtCtOD
===
NAME: Going to Heaven by the Light of the Moon: see In the Morning by the Bright Light (File: R304)
===
NAME: Going to Leave Old Texas (Old Texas, Texas Song, The Cowman's Lament)
DESCRIPTION: "I'm going to leave old Texas now, They've got no use for the longhorn cow...." The singer departs to "make his home on the wide wide range." When he dies, he will "take [his] chance on the holy one."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy travel death
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 66, "The Trail to Mexico" (5 texts, 1 tune, of which only the "E" text goes here; "A" and "B" are "The Trail to Mexico" and "C" and "D" are "Early, Early in the Spring")
DT, OLDTEXAS
Roud #12711
RECORDINGS:
Harry Jackson, "I'm Gonna Leave Old Texas Now" (on HJackson1)
CROSS_REFERENCES:
cf. "Bury Me Not on the Lone Prairie" (tune)
NOTES: Often sung to the tune of "Bury Me Not on the Lone Prairie," but Gordon Bok's family tradition includes a different tune. - RBW
File: FCW066E
===
NAME: Going to Mass Last Sunday: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: Going to See My Girl: see When I Get On My Bran' New Suit (File: Fus158A)
===
NAME: Going to See My True Love (Jenny Get Around)
DESCRIPTION: "The days are long and lonesome, The nights are gettin' cold, I'm goin' to see my true love 'Fore I get too old. O get around, Jenny, get around, O get around I say... long summer's day." Mostly floating verses, mostly about courting
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: love courting dancing floatingverses
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, pp. 192-193, "[Goin' to See My True Love]" (1 text, 1 tune)
Roud #9175
NOTES: This is one of those Great Floating Verse collections; every line of this song (as printed by Jean Ritchie) can be found somewhere else: "The days are long and lonesome, The nights are gettin' cold, I'm goin' to see my true love 'Fore I get too old." "I went up on the mountain, Give my horn a blow, Thought I heard that pretty girl say Yonder comes my beau!" "Asked that girl to marry me, Tell you what she did, Picked her up a knotty pine stick And like to broke my head." And so forth.
The result reminds me most of "Train on the Island (June Apple)," but the tune is utterly different. Jean Ritchie mentions a comparison to "Napoleon Crossing the Rockies." - RBW
File: JRSF192
===
NAME: Going to the Mexican War: see Coffee Grows (Four in the Middle); also Little Pink, etc. (File: R524)
===
NAME: Going Up (Golden Slippers II)
DESCRIPTION: "What kind of shoes are you going to wear? Golden slippers (x2) Golden slippers, I'm a-going away... To live with the Lord. Goin' up (x13) to live with the Lord." "What kind of robes are you going to wear? Long white robes." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1909 (recording, Fisk Univ. Jubilee Quartet)
KEYWORDS: religious nonballad clothes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 571, "Golden Slippers" (1 text)
Roud #11835
RECORDINGS:
Fisk University Jubilee Quartet, "Golden Slippers" (Victor 16453, 1910; rec. 1909)
CROSS_REFERENCES:
cf. "What Kind of Crowns Do the Angels Wear?" (floating verses)
NOTES: Although the editors of Brown seem to think this is the same as the standard "Golden Slippers," it clearly is something else again, though perhaps inspired by memories of the other. - RBW
File: Br3571
===
NAME: Going West
DESCRIPTION: "I'm going out west before long (x2), I'm going out west where times are best." "My boy, he's gone west... and he'll never come back." "Little girlie, don't cry when I tell you goodbye." "You promised you'd marry me." "Lay your hand in mine...."
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: love courting separation travel
FOUND_IN: US
REFERENCES: (2 citations)
Fife-Cowboy/West 53, "Going West" (1 text, 1 tune)
BrownIII 296, "Going Back West 'fore Long" (1 fragment, too short to classify but it might well be this piece)
Roud #5113
NOTES: Roud lumps this with "I Am Going to the West." That song, however, is a parting song, with the singer leaving because his land is ruined. The only common element is the migration theme. - RBW
File: FCW053
===
NAME: Gol-Darned Wheel, The
DESCRIPTION: The cowboy boasts of his skill with horses. But a tenderfoot brings in a "gol-darned wheel" (bicycle). The cowboys get the singer to ride it, but it won't stop when he pulls on the handles. He crashes, but is glad that the "wheel" is even more damaged
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: humorous cowboy technology injury
FOUND_IN: US(SW)
REFERENCES: (3 citations)
Ohrlin-HBT 16, "The Gol-Darned Wheel" (1 text, 1 tune)
DT, GDWHEEL*
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 10-11, "The Gol-Darned Wheel" (1 text)
Roud #4043
RECORDINGS:
Glenn Ohrlin, "Gol Darn Wheel" (on Ohrlin01)
Marc Williams, "The Gol-Durned Wheel" (on BackSaddle)
NOTES: This song is item dB38 in Laws's Appendix II. - RBW
File: Ohr016
===
NAME: Gold
DESCRIPTION: "When the gold fever ranged I was doing well," but nonetheless the singer sets out (for California). He meets hard times, and misses his wife and family. He imagines himself at home, but wakes to find it was a dream. He returns to his miserable mining
AUTHOR: Enuel Davis?
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: hardtimes family loneliness dream gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 346-347, "Gold" (1 text)
Roud #7774
NOTES: Belden mentions that this was written "by Enuel Davis," who contributed other complaints about the trail to California, and sung to the tune of "Lily Dale." But in context, it appears possible that Davis was the transcriber or publisher. - RBW
File: Beld346
===
NAME: Gold Band, The
DESCRIPTION: "Goin' to march away in the gold band, in the army, bye and bye (x2) Sinner, what you gonna on that day (x2), When the fire's a-rolling behind you, In the army, bye and bye." "Sister Mary's goin' to hand down the robe... the robe and the gold band"
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious army
FOUND_IN: 
REFERENCES: (2 citations)
Allen/Ware/Garrison, p. 85, "The Gold Band" (1 text, 1 tune)
Silber-CivWar, p. 74, "The Gold Band" (1 text, 1 tune)
Roud #11632
File: SCW74
===
NAME: Gold Dust Fire, The
DESCRIPTION: "Ain't that a pity, oh Lord (x3), Ain't that a pity 'bout the Gold Dust men. Some got scalded, some got drowned, Some got burnt up in the Gold Dust fire"
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river ship disaster fire
HISTORICAL_REFERENCES: Aug 7, 1882 - Explosion of the packet Gold Dust, killing 17 and wounding 47
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 41-43, "The Gold Dust Fire" (1 text, 1 tune)
Roud #10011
File: MWhee041
===
NAME: Gold Watch [Laws K41]
DESCRIPTION: A sailor sees a girl and asks her to sleep with him. After an initial show of reluctance, she agrees to a fee of five guineas. They go to supper and then to bed. When he awakens, the girl is gone -- as are his money and his gold watch
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: sex seduction robbery whore humorous
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Laws K41, "Gold Watch"
Greenleaf/Mansfield 52, "Gold Watch" (1 text, 1 tune)
DT 417, RMBSAIL2*
Roud #1901
CROSS_REFERENCES:
cf. "The Shirt and the Apron" [Laws K42] (plot)
cf. "Maggie May" (plot)
cf. "Can't You Dance the Polka (New York Girls)" (plot)
cf. "Dixie Brown" [Laws D7] (plot)
cf. "The Poor Chronic Man" (plot)
cf. "The Winnipeg Whore" (plot)
cf. "The Red Plaid Shawl" (plot)
cf. "The Rookery" (plot)
cf. "The Young Man Badly Walked" (plot)
cf. "Roving Jack the Baker" (plot, with sex roles reversed)
File: LK41
===
NAME: Gold Watch and Chain (I)
DESCRIPTION: Singer tells girl that he would pawn his gold watch and chain, his ring, and his heart if she would love him again. He demands that she give back the gifts he's given her, including a lock of hair and a picture, and laments her unfaithfulness
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Ephraim Woodie & The Henpecked Husbands)
KEYWORDS: love betrayal floatingverses gift
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
DT, GOLDWTCH
RECORDINGS:
Carter Family, "Gold Watch and Chain" (Victor 23821, 1933; Montgomery Ward M-7354, c. 1937)
New Lost City Ramblers, "Gold Watch and Chain" (on NLCR13, NLCREP2)
Ephraim Woodie & The Henpecked Husbands, "Last Gold Dollar" (Columbia 15564-D, 1930; rec. 1929; on LostProv1)
File: DTgoldwt
===
NAME: Gold Watch and Chain (II): see The Female Highwayman [Laws N21] (File: LN21)
===
NAME: Golden Altar, The: see John Saw the Holy Number (File: Br3538)
===