NAME: Golden Axe, The
DESCRIPTION: Recitation: "What you goin' to do?" Sung: "Why, knock you in the head with a golden axe!"
AUTHOR: unknown
EARLIEST_DATE: 1922 (Randolph)
KEYWORDS: violence
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 284, "The Golden Axe" (1 fragment, 1 tune)
Roud #7785
File: R284
===
NAME: Golden Ball, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Golden Carol, The (The Three Kings)
DESCRIPTION: "Now is Christemas y-come, Father and Son together in one, Holy Ghost us be on...." The song announces Christmas, then tells the story of the "three kings" who came, visited Herod, saw Jesus, offered their gifts, and went home another way
AUTHOR: unknown
EARLIEST_DATE: c. 1475 (Bodleian ms. Eng. Poet. e. 1)
KEYWORDS: Jesus Bible Christmas carol religious
FOUND_IN: Britain(England)
REFERENCES: (2 citations)
OBB 107, "The Three Kings" (1 text)
OBC 173, "The Golden Carol" (1 text plus a tune by Vaughan Williams)
ST OBB107 (Partial)
CROSS_REFERENCES:
cf. "We Three Kings (Kings of Orient)" (subject)
NOTES: This is essentially the story told in Matt. 2:1-12. It should be noted, however, that
1. There is no reason to believe that there were three visitors. All we know is that they gave three gifts.
2. The visitors were not kings and were not wise men. They were "magi" -- Babylonian mystics and perhaps astrologers. Jews would generally consider magi to be evil sorcerers (the Greek word "magos," apart from the uses in Matt. 2:1, 7, 16, is used only in Acts 13:6, 8 of Simon Magus, a magician who claimed to be "the great power of God"). - RBW
File: OBB107
===
NAME: Golden Glove, The (Dog and Gun) [Laws N20]
DESCRIPTION: A lady is to be married, but finds she prefers the farmer who is to give her away. She pleads illness and calls off the wedding. She claims she has lost a glove (which she placed on the farmer's land) and will marry whoever finds it. The rest is obvious
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(181))
KEYWORDS: clothes courting marriage trick
FOUND_IN: Britain(England,Scotland) US(Ap,MW,NE,SE,So) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (23 citations)
Laws N20, "The Golden Glove (Dog and Gun)"
Greig #95, p. 2, "The Golden Glove" (1 text) 
GreigDuncan1 166, "The Golden Glove" (7 texts, 3 tunes)
Belden, pp. 229-231, "Dog and Gun (The Golden Glove)" (1 text plus 2 extracts and fragments of 2 more, 1 tune)
Randolph 71, "With Her Dog and Gun" (2 texts, 1 tune)
Randolph/Cohen, pp. 95-97, "With Her Dog and Gun" (1 text, 1 tune -- Randolph's 71A)
Eddy 64, "Dog and Gun" (2 texts)
Gardner/Chickering 73, "The Dog and the Gun" (1 text plus an excerpt and mention of 1 more, 1 tune)
Flanders/Brown, pp. 117-118, "The Dog and Gun" (1 text, 1 tune)
BrownII 197, "Dog and Gun" (1 text plus mention of 1 more)
Chappell-FSRA 60, "The Golden Glove" (1 text, 1 tune)
Hudson 43, pp. 158-159, "The Golden Glove" (1 text, lacking the beginning explaining the reason for the lady's behavior)
Scarborough-SongCatcher, pp. 227-230, "The Golden Glove" (1 text plus a fragment, with local titles "Lady Lost Her Glove," "The Dog and Gun"; 2 tunes on pp. 416-417)
Wyman-Brockway I, p. 49, "The Lady and the Glove" (1 text, 1 tune)
Warner 145, "The Golden Glove (or, The Dog and the Gun)" (1 text, 1 tune)
SHenry H524, p. 328, "The Squire's Bride" (1 text, 1 (non-traditional) tune)
JHCox 121, "Dog and Gun" (1 text plus mention of 4 more, 1 tune -- but for one of the unprinted texts!)
JHCoxIIA, #20, pp. 83-84, "The Farmer and His Bride" (1 text, 1 tune)
SharpAp 62, "The Golden Glove" (1 text, 2 tunes)
Creighton/Senior, pp. 147-150, "The Dog and the Gun" (2 texts, 1 tune)
Mackenzie 21, "The Golden Glove" (1 text, 1 tune)
Peacock, pp. 340-341, "The Golden Glove" (1 text, 1 tune)
DT 332, DOGGUN*
Roud #141
RECORDINGS:
O. J. Abbott, "Dog and Gun" (on Abbott1)
Logan English, "The Lady and the Glove" (on LEnglish1 -- several verses filled in from Wyman-Brockway I)
Martin Howley, "Golden Glove" (on IRClare01)
Bradley Kincaid, "Dog and Gun" (Bluebird B-5255, 1933)
BROADSIDES:
Bodleian, Harding B 28(181), "The Golden Glove," W. Armstrong (Liverpool), 1820-1824; also Firth b.33(35), Harding B 11(3656), Firth c.17(304), 2806 c.16(12), Harding B 11(1360), Harding B 15(121b), Harding B 11(1355), Harding B 11(1357), Harding B 11(1358), Harding B 11(1359), Harding B 11(384), Johnson Ballads 1093, 2806 c.17(149), Harding B 26(221), Johnson Ballads fol. 381 View 1 of 2, Firth b.27(457/458) View 1 of 4 [torn], Harding B 17(114b), Harding B 17(115a), Harding B 11(3909), Harding B 16(331b), Harding B 25(755), Harding B 26(222), Harding B 11(1356), Firth c.18(165), Firth c.18(164), "The Golden Glove"; 2806 c.8(213), "The Lady Went a Hunting With Her Dog and Her Gun" 
Murray, Mu23-y1:041, "The Golden Glove," James Lindsay Jr. (Glasgow), 19C; also Murray, Mu23-y3:046, "The Golden Glove" (also by Lindsay)
LOCSinging, as104640, "The Golden Glove," E. Hodge's (From Pitts), 19C; also as109080, "My Dog and Gun" 
NLScotland, L.C.Fol70(140b), "Golden Glove," unknown, c. 1845; also L.C.Fol.178.A.(035), "Golden Glove," James Lindsay (Glasgow), 1852-1859
ALTERNATE_TITLES:
The Squire
The Rich Esquire
Waistcoat and Britches
NOTES: When they are married the lady expects that she will "milk my own cows." The motif of the rich woman enjoying wifely chores not common among the wealthy is also in "The Rich Lady Gay." - BS
I'll bet that lasted about a week.... Many of the versions I've seen omit that. - RBW
File: LN20
===
NAME: Golden Gullies of the Palmer, The
DESCRIPTION: "Then roll the swag and blanket up, and let us haste away To the Golden Palmer, boys, where everyone they say Can get his ounce of gold, or it may be more, a day...." A cheerful call to set out for the gold fields of the Palmer River
AUTHOR: unknown
EARLIEST_DATE: 1984
KEYWORDS: river gold
HISTORICAL_REFERENCES: 1875 - Discovery of gold in the Palmer River in Queensland. The influx of people from all over the world meant that few grew rich -- and many starved in the inhospitable terrain
FOUND_IN: Australia
REFERENCES: (1 citation)
Fahey-Eureka, pp. 100-101, "The Golden Gullies of the Palmer" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Marching Through Georgia" (tune & meter)
File: FaE100
===
NAME: Golden Hind, The
DESCRIPTION: Jim Harding ships on board the Golden Hind bound for Bahia. On the return trip with a cargo from Barbados the Golden Hind runs into a snow storm off Cape Race. Harding dies in the storm as the Golden Hind makes St John's.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: grief death sea ship storm sailor
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 922-924, "The Golden Hind" (1 text, 1 tune)
Roud #9938
NOTES: Obviously not Francis Drake's Golden Hind. Bahia is on the coast of Brazil. - BS
File: Pea922
===
NAME: Golden Ring Around My Susan Girl
DESCRIPTION: "Golden ring around (the/my) Susan Girl (x3), All the way around the Susan girl." "Take a little girl and give her a whirl...." "Round and around, Susan girl...." "Do-si-do left, Susan Girl...." "All run away with the Susan girl...."
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Jean Ritchie)
KEYWORDS: dancing nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Ritchie-Southern, p. 29, "Golden Ring Around Susan Girl" (1 text, 1 tune)
DT, GOLDRING
Roud #7405
File: RitS029
===
NAME: Golden Ring Around Susan Girl: see Golden Ring Around My Susan Girl (File: RitS029)
===
NAME: Golden Slippers (I)
DESCRIPTION: "Oh. my golden slippers am laid away, Kase I don't 'spect to wear 'em till my weddin' day... O 'dem golden slippers... Golden slippers Ise gwine to wear To walk de golden street." The singer reflects on things he cannot have now but will have in heaven
AUTHOR: James A. Bland
EARLIEST_DATE: 1879
KEYWORDS: clothes religious nonballad
FOUND_IN: US
REFERENCES: (5 citations)
RJackson-19CPop, pp. 144-147, "Oh, dem Golden Slippers!" (1 text, 1 tune)
Scarborough-NegroFS, p. 172, "Raccoon Up in de 'Simmon Tree" (1 text, 1 tune, with the chorus of "Golden Slippers (I)" though the sole verse is "Raccoon up in de 'simmon tree, Possum on de ground...."); this is followed by two more versions of the 'simmon tree verse
Silber-FSWB, p. 250, "Golden Slippers" (1 text)
Fuld-WFM, p. 399, "Oh dem Golden Slippers"
DT, GOLDSLIP*
ST RJ19144 (Full)
Roud #13941
RECORDINGS:
Wolfe Ballard & Claude Samuels, "Golden Slippers" (Broadway 8036, late 1920s)
H. M. Barnes & his Blue Ridge Ramblers, "Golden Slippers" (Brunswick 313, 1929)
Harry C. Browne w. the Knickerbocker Male Quartet, "Oh! Dem Golden Slippers" (Columbia A-2116, 1916)
Vernon Dalhart, "Golden Slippers" (Durium [UK] 9-4, 1933)
Vernon Dalhart & Co. "O Dem Golden Slippers" (Edison 52174, 1928)
Vernon Dalhart & Carson Robison, "Golden Slippers" (Victor 20539, 1927) (Columbia 15181-D [as Vernon Dalhart & Charlie Wells], 1927) (Romeo 464, 1927; Conqueror 7062, 1928) (Regal 8408, 1927) (Champion 15567 [as "Oh Dem Golden Slippers"], 1928)
Dykes Magic City Trio, "Golden Slippers" (Brunswick 128, 1927)
Roy Harvey & the North Carolina Ramblers, "Oh Dem Golden Slippers" (Champion 45017, 1931)
Kanawha Singers, "Them Golden Slippers" (Brunswick 189/Vocalion 5173, 1927)
Minster Singers, "Oh! Dem Golden Slippers" (Gramophone Co. [UK] GC-4466, n.d.)
Chubby Parker, "Oh Dem Golden Slippers" (Silvertone 25102, c. 1927)
[John Wallace "Babe"] Spangler & [Dave] Pearson, "Golden Slippers" (OKeh, unissued, 1929)
West Virginia Ramblers, "Golden Slippers" (Champion 45017, 1935)
SAME_TUNE:
Golden City (MWheeler, pp. 51-52)
NOTES: James A. Bland also composed "Carry Me Back to Old Virginny" and "In the Evening by the Moonlight"; for more about him, see those entries. - RBW
File: RJ19144
===
NAME: Golden Slippers (II): see Going Up (Golden Slippers II) (File: Br3571)
===
NAME: Golden Vallady: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Golden Vanitee: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Golden Vanity, The [Child 286]
DESCRIPTION: A ship is threatened by a foreign galley. The ship's cabin boy, promised gold and the captain's daughter as wife, sinks the galley. He comes back to his ship; the captain will not take him from the water. (The ending is variable)
AUTHOR: unknown
EARLIEST_DATE: c. 1685 (broadside)
KEYWORDS: sea battle death promise lie abandonment
HISTORICAL_REFERENCES: c. 1552-1618 - Life of Sir Walter Raleigh (one of whose ships was named "The Sweet Trinity")
FOUND_IN: Britain(England(All),Scotland(Aber,Bord)) Ireland US(All) Canada(Mar,Newf,Ont)
REFERENCES: (60 citations)
Child 286, "The Sweet Trinity (The Golden Vanity)" (3 texts, 2 tunes) {Bronson's #52, #55}
Bronson 286, "The Sweet Trinity (The Golden Vanity)" (111 versions+1 in addenda)
Greig #116, p. 1, "The Lowlands O" (1 text) 
GreigDuncan1 37, "The Golden Vanity" (5 texts, 4 tunes) {D=Bronson's #13}
Ord, pp. 450-451, "The Lowlands Low" (1 text)
BarryEckstormSmyth pp. 339-347, "The Golden Vanity" (4 texts plus 2 fragments, 2 tunes) {Bronson's #108, #66}
Flanders-Ancient4, pp. ,188-263 "The Sweet Trinity or the Golden Vanity" (39 texts plus 11 fragments, 18 tunes) {E=Bronson's #71, HH=#64}
Ford-Vagabond, pp. 103-106, "The Goulden Vanitee" (1 text, 1 tune) {Bronson's #53}
Belden, pp. 97-100, "The Golden Vanity" (3 texts)
Randolph 38, "The Lowlands Low" (4 texts plus a fragment, 3 tunes)  {A=Bronson's #69, D=#48, E=#51}
Randolph/Cohen, pp. 56-59, "The Lowlands Low" (1 text, 1 tune -- Randolph's 38A) {Bronson's #69}
Davis-Ballads 47, "The Sweet Trinity (The Golden Vanity)" (4 texts plus 2 fragments, 1 tune entitled "The Turkish-Rogherlee and the Yellow Golden Tree, or Lowlands Low") {Bronson's #109}
Davis-More 43, pp. 339-343, "The Sweet Trinity (The Golden Vanity)" (1 text, 1 tune)
BrownII 47, "The Sweet Trinity (The Golden Vanity)" (3 texts plus mention of 2 more)
Chappell-FSRA 21, "The Green Willow Tree" (2 texts, 1 tune) {Bronson's #50}
Hudson 25, pp. 125-127, "The Sweet Trinity (The Golden Vanity)" (1 text)
Scarborough-SongCatcher, pp. 184-189, "The Sweet Trinity; The Golden Vanity" (2 texts; the first, with no title, is from Randolph; the second has local title "The Golden Willow Tree"; 1 tune on pp. 406-407) {Bronson's #107}
Shellans, pp. 62-63, "The Lonesome Sea Ballad" (1 text, 1 tune)
Brewster 25, "The Sweet Trinity (The Golden Vanity)" (3 texts, 1 tune) {Bronson's #68}
Gardner/Chickering 82, "The Lowlands Low" (1 text, 1 tune) {Bronson's #110, related to "The Arkansas Traveller"}
Flanders/Brown, pp. 230-231, "The Green Willow Trees" (1 text)
Linscott, pp. 136-137, "The Gallant Victory or Lowlands Low" (1 short text, with no hint of the Captain's refusal to save the boy; he is hauled aboard and dies, 1 tune)
Creighton/Senior, pp. 101-106, "The Sweet Trinity, or The Golden Vanity" (3 texts plus 2 fragments, 4 tunes) {Bronson's #44, #17, #19, #18}
Creighton-NovaScotia 10, "Sweet Trinity; or The Golden Vanity" (1 text, called "Golden Vallady" by the singer, 1 tune) {Bronson's #21}
Creighton-SNewBrunswick 6, "The Golden Vanity" (2 texts, 2 tunes)
Greenleaf/Mansfield 19, "The Golden Vanitie" (2 fragments)
Colcord, pp. 154-156, "The Golden Vanity" (1 text, 1 tune) {Bronson's #45}
Harlow, pp. 35-36, "Golden Vanitee" (1 text, 1 tune)
Hugill, pp. 62-64, "Lowlands Low" (3 texts, 3 tunes) [AbEd, pp. 58-60]
Logan, pp. 42-46, "The Goulden Vanitie (Golden Vanity, or the Low Lands Low)" (2 texts)
Leach, pp. 667-670, "The Sweet Trinity or The Golden Vanity" (3 texts)
Leach-Labrador 8, "The Golden Vanity" (1 text, 1 tune)
Wyman-Brockway I, p. 72, "The Mary Golden Tree, or The Lonesome Low" (1 text, 1 tune) {Bronson's #37}
Cambiaire, pp. 93-94, "The Merry Golden Tree" (1 text)
Ritchie-Southern, pp. 74-75, "Lonesome Sea" (1 text, 1 tune) {cf. Bronson's #41, which is also by Jean Ritchie and uses the same tune but a different title and slightly different words}
McNeil-SFB1, pp. 34-36, "The Green Willow Tree" (1 text, 1 tune)
Friedman, p. 409, "The Golden Vanity" (1 text)
FSCatskills 67, "The Bold Trellitee" (1 text, 1 tune)
OBB 132, "The 'Golden Vanity'" (1 text)
Warner 104, "Lowland Low (or, The Golden Willow Tree)" (1 text, 1 tune)
SharpAp 41, "The Golden Vanity" (7 texts plus 3 fragments, 11 tunes) {Bronson's #94, #93, #88, #104, #43, #46, #78, #90, #99, #39, #106}
Sharp-100E 14, "The Golden Vanity" (1 text, 1 tune) {Bronson's #1}
Niles 61, "The Sweet Trinity (The Golden Vanity)" (1 text, 1 tune)
Sharp/Karpeles-80E 28, "The Weeping Willow Tree (The Golden Vanity)" (1 text, 1 tune) {Bronson's #94}
Vaughan Williams/Lloyd, pp. 46-47, "The Golden Vanity" (1 text, 1 tune) {Bronson's #35}
Scott-BoA, pp. 138-139, "The Golden Vanity" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 38-40, "The Golden Vanity" (1 text, 1 tune)
Fowke/MacMillan 82, "The 'Green Willow Tree'" (1 text, 1 tune)
Karpeles-Newfoundland 23, "The Golden Vanity" (1 text fragment, 1 tune)
Lomax-FSNA 95, "The Golden Vanity" (1 text, 1 tune) {should be Bronson's #73, but heavily reworked}
Chase, pp. 120-121, "The Merry Golden Tree" (1 text, 1 tune) {Bronson's #74}
Abrahams/Foss, pp. 79-80, "Golden Willow Tree" (1 text, 1 tune)
LPound-ABS, 10, pp. 24-26, "The Lowlands Low" (1 text)
JHCox 32, "The Sweet Trinity (The Golden Vanity)" (2 texts plus a fragment)
JHCoxIIA, #15A-C, pp. 64-69, "The Golden Vanity," "The Mary Golden Lee," "The Green Willow Tree" (3 texts, 1 tune) {Bronson's #38, which -- despite Cox -- he calls "The Weeping Willow Tree"; this version has two American ships "The Weeping Willow Tree" and "The Golden Silveree"}
Darling-NAS, pp. 64-66, "The Sweet Trinity"; "The Golden Willow Tree" (1 text plus a fragment)
Silber-FSWB, p. 213, "The Golden Vanity" (1 text)
BBI, ZN2370, "Sir Walter Rawleigh ha's built a Ship"
DT 286, VANTYGL1* VANTIGL2* VANTIGL3* VANTIGL4* (VANTYGL9)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #411, "The Golden Vanity" (1 text)
ST C286 (Full)
Roud #122
RECORDINGS:
Almanac Singers, "The Golden Vanity" (General 5016B, 1941; on Almanac02, Almanac03, AlmanacCD1)
Horton Barker, "The Turkish Rebilee" (on Barker01) {Bronson's #74}
Justus Begley, "Golden Willow Tree" (AFS, 1937; on KMM)
Bill Cameron, "The Golden Vanity" (on FSB5) {Bronson's #10}
The Carter Family, "Sinking In The Lonesome Sea" (Conqueror 8644/Okeh 03160, 1936; Columbia 37756) {Bronson's #73}
Dodie Chalmers, "The Golden Victory (The Golden Vanity) (on FSBBAL2) {Bronson's #33}
Johnny Doughty, "The Golden Vanity" (on JDoughty01, HiddenE)
Warde Ford, "The Lowlands Low" [fragment] (AFS 4194 A2, 1938; in AMMEM/Cowell) {Bronson's #20}
Sam Hazel, "The Golden Willow Tree" (AFS 2095 B2, 3096 A, 3096 B1, 1939)
[Mrs.?] Ollie Jacobs, "A Ship Set Sail for North America" (AFS, 1941; on LC58) {Bronson's #86}
Paul Joines, "Green Willow Tree" (on Persis1)
Joe Kelly, "The Golden Vanity" (on Ontario1)
Paralee McCloud, "The Little Ship" (on FolkVisions1)
Jimmy Morris, "The Golden Willow Tree" (AFS, 1937; on LC58) {Bronson's #105}
New Lost City Ramblers, "Sinking in the Lonesome Sea" (on NLCR06, NLCR11)
Frank Proffitt, "Lowlands Low" [excerpt] (on USWarnerColl01)
Almeda Riddle, "Merry Golden Tree" (on LomaxCD1707)
Jean Ritchie, "The Merry Golden Tree" (on JRitchie01) {Bronson's #41}
Pete Seeger, "The Golden Vanity" (on PeteSeeger16) (Commodore 3006, n.d. -- but this may be the same recording as the General disc by the Almanac Singers)
Rob Walker, "The Lowlands Low" [fragment] (AFS 4194 A3, 1938; in AMMEM/Cowell) {Bronson's #49}
Doug Wallin, "The Golden Vanity" (on Wallins1)
BROADSIDES:
Bodleian, Harding B 11(1086), "The Golden Vanity" or "The Low Lands Low," H. Such (London), 1849-1862 
NLScotland, L.C.Fol.70(122a), "Lowlands Low," Poet's Box (Glasgow), 1877; also L.C.Fol.70(103b), "Lowlands Low"
CROSS_REFERENCES:
cf. "Louisiana Lowlands" (lyrics)
SAME_TUNE:
Sinking of the Great Ship (BrownII, #287, pp. 662-663, the "A" text)
ALTERNATE_TITLES:
The Lonesome Low
The Merry Golden Tree
The Sweet Kumadee
The Weep-Willow Tree
The Turkish Revoloo
Cabin Boy
Lowland Sea
Ye Gowden Vanitie
NOTES: Connecting this song with actual events is impossible even if one accepts Sir Walter Raleigh as the murderous captain. The following dates may, however, provide some guidelines:
1453 - Fall of Constantinople gives the Turks good access to the Mediterranean (Lowland) Sea.
1571 -  Battle of Lepanto cripples the Turkish navy.
1588 - Voyage of the Spanish Armada. Spanish navy crippled.
As far as I know, every version lists the enemy as Spanish, Turkish, or French. It should be noted, however, that the Barbary pirates were often called "Turks," since the Ottoman Empire had (often nominal) soveriegnty over them.
Incidentally, while this song does not have a historical setting, the plot has historical antecedents; Fredson Bowers, in _Elizabethan Revenge Tragedy_, mentions a 1605 pamphlet, "Two most unnatural and bloodie Murthers: The one by  Maister Cauerly... the other by mistris Browne and her servant Peter." Apparently Peter, a servant, had been promised land and the girl's hand; when her father reneged, the young couple turned to murder. 
The sinking of a ship by a youth is also apparently attested: N. A. M. Rodger reports, in _The Safeguard of the Sea_, p. 46, that a Saracen vessel threatened the fleet of Richard I on his way to the Third Crusade, but that one report claims it was sunk by a boy with an auger. Unfortunately, Rodger does not cite any primary sources for this account, and I don't believe sinking a ship with an auger is actually possible (by that time, ships had pumps and carpenters to plug leaks). I suspect that one of Rodger's sources actually heard a distorted version of this song.
Somewhat later, at the Battle of Sluys in 1340, the English fleet of Edward III "even [had] divers who tried to sink the enemy ships by boring holes in their hulls below water," according to Desmond Seward, _The Hundred Years War: The English in France, 1337-1453_, Atheneum, 1978, p. 44. Sluys was a great English victory, but if the divers accomplished anything, I haven't heard of it. - RBW
File: C286
===
NAME: Gone Long Ago
DESCRIPTION: "Where are the friends that to me were so dear? Gone long ago... Hopes that I cherished are fled from me now, I am degraded for rum was my foe, Gone long ago, long ago." The singer looks back on what drink has cost him: His wife, his youth, his virtue
AUTHOR: (based on "Long, Long Ago by Thomas H. Bayly)
EARLIEST_DATE: 1938 (Randolph)
KEYWORDS: drink warning parody
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 315, "Gone Long Ago" (1 text, 1 tune)
Roud #7791
CROSS_REFERENCES:
cf. "Long, Long Ago!" (tune)
File: R315
===
NAME: Gone to Cripple Creek: see Cripple Creek (I) (?) (File: San320)
===
NAME: Gonesome Scenes of Winter, The: see The Lonesome (Stormy) Scenes of Winter [Laws H12] (File: LH12)
===
NAME: Gonna Die With My Hammer In My Hand: see John Henry [Laws I1] (File: LI01)
===
NAME: Gonna Keep My Skillet Greasy: see Keep My Skillet Good and Greasy (File: Wa122)
===
NAME: Gonna Tie My Pecker to My Leg
DESCRIPTION: Usually short fragments of "The Chisholm Trail" distinguished by the unique chorus which gives this variant its title.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy
FOUND_IN: US(Ap,MW,So)
REFERENCES: (4 citations)
Cray, pp. 192-194, "Gonna Tie My Pecker to My Leg" (3 texts)
Randolph-Legman I, pp. 203-204, "The Old Chisholm Trail"
Logsdon 9, pp. 60-69, "Jimmie Tucker" (2 texts, 1 tune, both of which are really "The Old Chisholm Trail (II)," but in his notes are excerpts from "Gonna Tie My Pecker to My Leg")
DT, (CHISHLM)
Roud #3438
CROSS_REFERENCES:
cf. "The Chisholm Trail (II)"
NOTES: Versions are lumped with the similar "Old Chisholm Trail" in Randolph-Legman I. - EC
File: EM192
===
NAME: Goober Peas
DESCRIPTION: "Sitting by the roadside, on a summer's day... Lying in the shadows underneath the trees, Goodness how delicious, Eating goober peas." The southern soldier complains about army life, the battles, and the poor equipment; goober peas are his chief comfort
AUTHOR: unknown
EARLIEST_DATE: 1866
KEYWORDS: food Civilwar nonballad
FOUND_IN: US(SE)
REFERENCES: (8 citations)
RJackson-19CPop, pp. 73-75, "Goober Peas" (1 text, 1 tune)
Silber-CivWar, pp. 54-55, "Goober Peas" (1 text, 1 tune)
Arnett, p. 82, "Goober Peas" (1 text, 1 tune)
Botkin-SoFolklr, p. 715, "Eating Goober Peas" (1 text, 1 tune)
Darling-NAS, p. 351, "Goober Peas" (1 text)
Pankake-PHCFSB, p. 10, "Goober Peas" (1 text)
Silber-FSWB, p. 276, "Goober Peas" (1 text)
DT, GOOBPEAS
ST RJ19073 (Full)
Roud #11628
RECORDINGS:
New Lost City Ramblers, "Goober Peas" (on NLCREP4)
NOTES: First published in 1866 (with words credited to A. Pindar and music to "P. Nutt"!), we know from outside references that this song was popular with southern soldiers in the Civil War. It is particularly accurate as a description of the last few years of the war, when the complete breakdown of Confederate industry left the soldier ragged, and the loss of farmland and rail lines left them starving. Peanuts -- "goober peas" -- often served as an emergency ration for soldiers in Georgia and other parts of the south. - RBW
File: RJ19073
===
NAME: Good Ale (I)
DESCRIPTION: "Oh, good ale, thou art my darling, Thou art my joy both night and morning."  Drink encourages the singer to work, to dream, to enjoy. But also "It is you that makes my friends my foes, It is you that makes me (wear old/pawn my) clothes...."
AUTHOR: unknown
EARLIEST_DATE: 1790 (The Banquet of Thalia)
KEYWORDS: drink hardtimes poverty
FOUND_IN: Britain(England(South),Scotland(Aber))
REFERENCES: (4 citations)
GreigDuncan3 590, "The Braw Black Jug" (2 texts, 1 tune)
Kennedy 273, "Good Ale" (1 text, 1 tune)
Chappell/Wooldridge II, p. 179, "Good Ale, Thou Art My Darling" (1 text, 1 tune)
DT, GOODALE*
Roud #203
BROADSIDES:
Bodleian, Harding B 11(2212), "O Good Ale Thou Art My Darling ("Long time I have been seeking thee"), H. Such (London), 1863-1885; also Harding B 25(1393), Harding B 15(225b), "O Good Ale! Thou Art My Darling"
LOCSinging, as112320, "O! Dear Grog Thou Art My Darling," L. Deming (Boston), no date
ALTERNATE_TITLES:
Aul' Black Jug
NOTES: GreigDuncan3: "Learnt at Kinaldie about 1855.... Noted 19th December 1906." As Duncan writes, in the same note, his version has "some affinity in words" with "O Good Ale Thou Art My Darling." Some verses agree and the chorus is close enough that I don't think GreigDuncan3 should be split. - BS
File: K273
===
NAME: Good Ale (II)
DESCRIPTION: "Good ale gars me sell my hose ... and pawn my sheen." The singer had six oxen in a plough but sold them all for "good ale." His children are ragged and might have been hanged but he has had them jailed instead.
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: poverty drink nonballad children prison animal clothes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 593, "Good Ale" (2 texts, 2 tunes)
Roud #6045
NOTES: GreigDuncan3: "'Learnt from a farmservant fully twenty-six years ago. Noted 13th September 1907." - BS
File: GrD3593
===
NAME: Good Ale, Thou Art My Darling: see Good Ale (I) (File: K273)
===
NAME: Good Boy, The
DESCRIPTION: "I have led a good life, full of peace and quiet. I shall have an old age, full of rum and riot. I have been a good boy, wed to work and study. I shall be an old man, ribald, coarse, and bloody." The once-good boy describes what he will now do
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: rebellion age virtue
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Sandburg, p. 203, "The Good Boy" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 80-81, [no title] (1 text, tune referenced)
DT, GOODBOY
Roud #13612
NOTES: Various authors have claimed this piece (the Digital Tradition lists Lemuel F. Parton, though Sandburg merely describes him as a source; Spaeth offers Malcolm Ross and Ralph Albertson). Since versions differ dramatically in character, with only the first line or two being constant, one suspects that all these alleged "authors" are in fact customizing a generic piece. - RBW
File: San203
===
NAME: Good bye Mursheen Durkin
DESCRIPTION: Molly Durkin marries Tim O'Shea. Cooney, "to keep my heart from breakin', I sailed to Americay." He finds no work in New York. He goes to San Francisco, finds gold and heads back to Ireland where "I'll marry Miss O'Kelly, Molly Durkin for to spite"
AUTHOR: unknown
EARLIEST_DATE: 1929 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #1331)
KEYWORDS: travel gold work drink America Ireland humorous rake emigration betrayal return
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 36, "Good bye Mursheen Durkin" (1 text, 1 tune)
DT, MRSHDRK
Roud #9753
RECORDINGS:
Murty Rabbett, "Molly Durkin" (on USBallinsloeFair)
ALTERNATE_TITLES:
Muirsheen Durkin
Muirton Durkin
NOTES: O Lochlainn says "I learnt the last verse in childhood and 'invented' the other two finding nothing else but a fragment 'And now to end my story, I'll marry Queen Victorey'." What O Lochlainn remembers as the last verse appears to be the chorus. That fragment ending beats "I'll marry Miss O'Kelly" but otherwise "Molly Durkin" (on USBallinsloeFair) seems more authoritative.
In any case the description I used is from USBallinsloeFair. Here though is the description for O Lochlainn's version: Corney tires of courting and drinking locally. He goes off to roam the world. Then he tires "of all this pleasure" in Ireland and heads for New York. Now "good-bye Mursheen Durkin, Sure, I'm sick and tired of workin'" and heads for gold in California.
In Murty Rabbett's version the singer "landed in Castle Garden" in New York. That may be useful in bracketing the dates on that version. Castle Garden, before and again "Castle Clinton" at The Battery in New York, was the entry point for immigrants between 1845 and 1890 [see, for example, "Castle Garden, New York" transcribed from _The Illustrated American_ of March 1, 1890 at Norway-Heritage site]. One problem with using "Castle Garden" for dating is that the name may have remained synonymous with "entry point for New York" long after the building became the New York Aquarium. In my own family I heard about "Kesselgarten" sixty years after it closed, although my grandfather arrived in New York thirteen years after that building became home to captive fish.
For a similar Castle Garden(s) reference see the notes to "Castle Gardens (I)." - BS
Although O Lochlainn's text seems to be the source for almost every version known today, it seems to have been pretty heavily folk processed by revival singers. And I'm not talking about the zillion ways of spelling "Mursheen/Muirsheen."
According to Soodlum's Irish Ballad Book, the tune is "Cailini Deas Mhuigheo" ("The Beautiful Girls of Mayo").
I seem to recall reading somewhere that "Murisheen Durkin" is another name for Ireland. Of course, if you read enough Irish books, *everything* is a disguised name for Ireland. - RBW
File: OLcM036
===
NAME: Good for a Rush or a Rally
DESCRIPTION: "They are good for a rush or a rally, But they have no bottom to stay, But when I go out for a tally, I shear two hundred a day."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work Australia sheep
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 276, "Good for a Rush or a Rally" (1 text, 1 tune)
NOTES: For comparison: A "gun" shearer was one who could consistently shear a "century" -- 100 sheep. The all-time record, which will likely never be broken, is held by Jackie Howe, who once sheared 328 sheep in an eight hour day. - RBW
File: MA276
===
NAME: Good King Wenceslas
DESCRIPTION: On St. Stephen's Day, Wenceslas sees a poor man gathering wood, and decides to help the peasant. Wenceslas and his servant go out in the bad weather. Returning home, the servant suffers from the cold but Wenceslas miraculously keeps him warm
AUTHOR: Words: J. M. Neale / Music: unknown
EARLIEST_DATE: 1853 (tune from Piae Cantiones, 1582)
KEYWORDS: religious royalty
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
OBC 136, "Good King Wenceslas" (1 text, 1 tune)
Silber-FSWB, p. 382, "Good King Wenceslas" (1 text)
Fuld-WFM, pp. 254-255, "Good King Wenceslas"
DT, GOODKING*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #29, "Good Kin Wenceslas" (1 text)
CROSS_REFERENCES:
cf. "The Flower Carol (Spring Has Now Unwrapped the Flowers)" (tune)
SAME_TUNE:
Good King Wences (Pankake-PHCFSB, p. 115)
NOTES: Fuld gives details of how J. M. Neale created words (which the editors of the _Oxford Book of Carols_ call, with reason, "one of his less happy pieces") to the tune "Tempus adest floridum" ("Spring Has Unwrapped Her Flowers"), which had appeared in the published version of the _Piae Cantiones_ the previous year.
Wenceslas is Saint Wenceslaus (or Vaclav, to use the non-Latinate form) of Bohemia (c. 905-c. 932), properly a Duke (since Bohemia was a duchy), who succeeded to the throne of Bohemia c. 920 and took over from the regency c. 924 but was murdered in 935.
Wenceslaus's kingdom was beset by religious conflict, and this contributed to his fall. His grandmother was Christian, as was his dead father, but his mother Dragomira and his brother Boleslav (who murdered him) were pagan. As a ruler, Wenceslaus does not seem to have amounted to much; his later reputation probably derives from his martyrdom. He is the Catholic saint of the Czech Republic (which includes Bohemia). Several later kings shared his name, including the famously incompetent Wenceslaus IV of Bohemia (1361-1419, Holy Roman Emperor from 1378 but deposed 1400).
There is no evidence that Wenceslaus ever did any of the things described in this carol, and indeed it has been noted that there are several logical flaws in the narrative; apparently it came almost whole out of Neale's head as he sought to make a song for Saint Stephen's Day.
On lyrical and theological and historical grounds, then, the song probably should be dropped. But, as Eric Routley commented (quoted by Bradley), it "contains snow and philanthropy in just the proportions calculated to make it a favorite." More to the point, it has a great tune -- though, of course, that tune has nothing to do with Wenceslaus, or Neale, or Christmas. - RBW
File: FSWB382
===
NAME: Good Lordy, Rocky My Soul: see Good Lordy, Rocky My Soul (File: FSWB357B)
===
NAME: Good Luck to the Barley Mow: see The Barley Mow (File: ShH99)
===
NAME: Good Mornin', Blues
DESCRIPTION: "I woke up this morning' with the blues all around my bed... Went to eat my breakfast, had the blues all in my bread." The singer describes how the loss of his girl has left him lonely, in pain, and otherwise miserable
AUTHOR: unknown
EARLIEST_DATE: 1940 (recording, Lead Belly)
KEYWORDS: loneliness separation
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 311, "Good Mornin', Blues" (1 text, 1 tune)
Silber-FSWB, p. 75, "Good Morning Blues" (1 text)
Roud #11687
NOTES: Another Alan Lomax special; I don't know what fraction of it is traditional. - RBW
Well, Lead Belly sang it with those words. - PJS
OK, so it's a Lomax/Lead Belly special. - RBW
File: LoF311
===
NAME: Good Morning Mister Railroadman: see The Gambler (II) (File: BRaF459)
===
NAME: Good Morning My Pretty Little Miss: see Pretty Little Miss [Laws P18] (File: LP18)
===
NAME: Good Morning, Ladies All (I)
DESCRIPTION: Capstan shanty. Title from second chorus: "Ah-ha, me yaller gals, Good mornin', ladies all." A packet heads out "bound to hell," the crew is mostly wiped out by "Yaller Jack" (yellow fever) and take on some monkeys as a crew.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: shanty ship disease animal
FOUND_IN: Britain West Indies
REFERENCES: (2 citations)
Hugill pp. 349-351, "Good Morning, Ladies All" (2 texts, 2 tunes; the "a" text is this piece, while "b" is "Good Morning, Ladies All (II)") [AbEd, p. 262]
Sharp-EFC, XVII, p. 20, "Good Morning, Ladies All" (1 text, 1 tune)
Roud #8284
NOTES: Hugill claims that any shanty including the phrase "Good morning, ladies all" would be of Negro origin, and had collected this from Tobago Smith, a West Indian shantyman. He also speculates that this may be a rumored but as yet undocumented shanty which tells the story of a crew of monkeys taking charge of a ship, but the three verses he had weren't enough to be sure. Sharp's verses don't even get that far, but the tune is pretty much the same. Sharp says this has some affinity with "Heave Away, Me Johnnies," though I couldn't see it, except for a couple notes in the tune of the chorus. - SL
File: Hugi349a
===
NAME: Good Morning, Ladies All (II)
DESCRIPTION: Pump or halyard shanty. "We are outward bound for Mobile Town, with a heave-o, haul! An' we'll heave the ol' wheel round an' round, Good mornin' ladies all!" Rest of verses on going home, spending money, women, and general good times themes.
AUTHOR: unknown
EARLIEST_DATE: 1921 (Richard Runciman Terry's _The Shanty Book_, Pt.1)
KEYWORDS: shanty home dancing
FOUND_IN: Britain West Indies
REFERENCES: (1 citation)
Hugill pp. 349-351, "Good Morning, Ladies All" (2 texts, 2 tunes; the "b" text is this piece, while "a" is "Good Morning, Ladies All (I)") [AbEd, p. 263]
Roud #8290
CROSS_REFERENCES:
cf. "Outward and Homeward Bound" (shared verses)
File: Hugi350
===
NAME: Good Morning, Merry Sunshine
DESCRIPTION: "Good morning, merry sunshine, How did you wake so soon? You frightened all the stars away And shined away the moon." "I do not go to sleep, dear child, I just go round to see The little children of the east Who rise and watch for me."
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 879, "Good Morning, Merry Sunshine" (1 fragment, 1 tune)
Roud #7544
File: R879
===
NAME: Good Morrow, Gossip Joan: see Gossip Joan (Neighbor Jones) (File: Br3144)
===
NAME: Good News
DESCRIPTION: "Good news, chariot's coming (x3), And I don't want to be left behind." "There's a long white robe in Heaven I know." The song catalogs all the things to be found in heaven; the singer hopes to achieve all
AUTHOR: unknown
EARLIEST_DATE: 1911 (recording, Fisk Jubilee Quartet)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 572, "Good News -- Chariot's Comin'" (1 fragment)
Silber-FSWB, p. 370, "Good News" (1 text)
DT, GOODNEWS
Roud #11891
RECORDINGS:
Bobby Jean Chauteau & group "Good News, Chariot is Coming" (New Light 101, n.d.)
Dixie Jubilee Quintet, "Good News" (Brunswick 3150, 1926)
Fisk Jubilee Quartet, "Good News" (Victor 16856, 1911)
Fisk University Jubilee Singers, "Good News, the Chariot's Coming" (Columbia A2072, 1916)
Hall Johnson Negro Choir, "Good News" (Victor 36020, 1930)
Master Spiritual Singers, "Good News, the Chariot is Coming" (Hub 3018, n.d.)
Southern Four, "Good News, Chariot's Comin'! and O Mary, Doan You Weep" (Edison 50885, 1921)
Tuskegee Institute Singers, "Good News" (Victor 17663, 1914)
File: FSWB370B
===
NAME: Good News -- Chariot's Comin': see Good News (File: FSWB370B)
===
NAME: Good News Coming from Canaan
DESCRIPTION: "I thought I heard my mother say, Good news coming from Canaan. I want to hear my children pray, Good news coming from Canaan."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 574, "Good News Coming from Canaan" (1 fragment)
Roud #11893
File: Br3574
===
NAME: Good News, Member
DESCRIPTION: "Good news, member, good news, member, Don't you mind what Satan say. Good news, member, good news, And I heard from heaven today." "My brother have a seal and I so glad." "Mr. Hawley have a home in paradise." "Archangel bring baptizing down."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 97-98, "Good News, Member" (1 text, 1 tune)
Roud #12054
File: AWG097B
===
NAME: Good Old Days of Adam and Eve, The
DESCRIPTION: "I sing, I sing of days grown older... Sing high, sing ho, I grieve, I grieve For the good old days of Adam and Eve." In the good old days, the town was smaller, the people bolder, etc.
AUTHOR: unknown
EARLIEST_DATE: 1845 (broadside, Bodleian Harding B 25(763))
KEYWORDS: nonballad
FOUND_IN: US(NE,So)
REFERENCES: (2 citations)
Belden, p. 431, "The Good Old Days of Adam and Eve" (1 text)
Leyden 7, "A New Song" (1 text, 1 tune)
Roud #7836
BROADSIDES:
Bodleian, Harding B 25(763), "The Good Old Days of Adam and Eve" ("I sing, I sing, of good times older"), J. Pitts (London), 1819-1844; also 2806 c.17(150), 2806 c.17(152), Firth b.26(81), "[The] Good Old Days of Adam and Eve"
CROSS_REFERENCES:
cf. "Meditations of an Old Bachelor (The Good Old-Fashioned Girl)" (theme)
cf. "Twenty Years Ago (Forty Years Ago)" (theme)
cf. "Why Do You Bob Your Hair, Girls?" (theme)
cf. "You Must Live Holy" (theme)
cf. "In Old Pod-Auger Times" (theme)
cf. "Maurice Hogan's Song" (theme)
cf. "It Wasna Sae" (theme)
SAME_TUNE:
A New Song on the Times (broadside Murray, Mu23-y3:021, "A New Song on the Times" ("You people now both high and low, pray listen to these rhymes"), unknown, 19C)
NOTES: Since this song is mostly whining about the new ways of doing things, it's not too surprising that the handful of known versions (Belden's, plus several known to and assembled by Sandy and Caroline Paton) have few lyrics in common. There is no question, though, that they're the same song. - RBW
Leyden, analyzing the before and after, dates his version to Belfast in the 1820s. Most of the discussion would do as well for the Bodleian broadsides, which share some verses with Leyden and with each other, though referring to other cities. - BS
File: Beld431
===
NAME: Good Old Man (I), The: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Good Old Man (II), The: see My Good Old Man (File: R426)
===
NAME: Good Old Mountain Dew
DESCRIPTION: "Beside a hill there is a still Where the smoke runs up to the sky." The smell reveals that "the liquor boys are nigh." The making of the dew is described, and it is said to have been praised by scholars. The singer calls for more dew.
AUTHOR: unknown
EARLIEST_DATE: 1916 (OLochlainn)
KEYWORDS: drink nonballad
FOUND_IN: US(MA,SE) Canada(Ont) Ireland
REFERENCES: (7 citations)
BrownIII 41, "The Hidden Still" (1 fragment, probably this piece)
OLochlainn 64, "The Real Old Mountain Dew" (1 text, 1 tune)
Morton-Maguire 23, pp. 53-54,112,166, "The Mountain Dew" (1 text, 1 tune)
Lomax-ABFS, pp. 180-182, "Good Old Mountain Dew' (1 text, 1 tune)
Darling-NAS, pp. 288-289, "Real Old Mountain Dew" (1 text, filed with "Old Mountain Dew")
Silber-FSWB, p. 229, "Real Old Mountain Dew" (1 text)
DT, MTDEW2*
Roud #938
RECORDINGS:
O. J. Abbott, "The Real Old Mountain Dew" (on Abbott1)
The Clancy Brothers and Tommy Makem, "The Real Old Mountain Dew" (on IRClancyMakem01)
John Griffin and Ed Geoghegan?, "The Real Old Mountain Dew" (on Voice13)
CROSS_REFERENCES:
cf. "Are You There Moriarity" (tune, per OLochlainn)
ALTERNATE_TITLES:
Let the Grasses Grow
NOTES: OLochlainn: "I am told it was written by Phil O Neill of Kinsale." - BS
Robert Gogan,  _130 Great Irish Ballads_ (third edition, Music Ireland, 2004), p. 37, on the other hand, attributes it to Samuel Lover. But I should observe that few of his song notes seem to find support in reputable sources. And, of course, it's possible that Lover published a version without actually writing it.
Not to be confused with Bascom Lamar Lunsford's "Old Mountain Dew." - RBW
File: LxA180
===
NAME: Good Old Rebel, The (The Song of the Rebel Soldier)
DESCRIPTION: "I'm a good old Rebel soldier, and that's just what I am, And for this Yankee nation I do not give a damn!" The rebel tells of his history in the Confederate army. He scorns the Reconstruction governments, and proclaims, "I won't be reconstructed!"
AUTHOR: unknown
EARLIEST_DATE: 1866?
KEYWORDS: Civilwar soldier political
HISTORICAL_REFERENCES: July 21, 1861 - First Battle of Bull Run/Manassas. Confederates under Beauregard and Johnston rout an inexperienced Federal force under McDowell.
Aug 29-30, 1862 - Second Battle of Bull Run/Manassas. Lee's army takes Pope's force in flank and rolls it up.
Apr 7 and Sept 8, 1863 - Federal attempts to retake Fort Sumter and Charleston Harbor. Both failed.
May 1-4, 1863 - Battle of Chancellorsville (which would appear to be the "Battle of the Wilderness" referred to in some texts, since Stonewall Jackson is mentioned in the immediate context). Lee defeats Hooker, but Jackson is killed
May 5-7, 1864 - Battle of the Wilderness. Lee's army mauls the Federal force under Grant and Meade, but the Federals refuse to retreat
May 11, 1864 - Battle of Yellow Tavern. Confederate cavalry commander J.E.B. Stuart mortally wounded (he died May 12).
1865-1872 - The era of the Freedmen's Bureau. Its purpose was to help former slaves to make the transition to freedom, and to give them as many opportunities as possible. Most Southerners fought it tooth and nail, and finally the Radical Republicans abandoned it in 1872
FOUND_IN: US(SE,So)
REFERENCES: (13 citations)
Randolph 231, "I'm a Good Old Rebel" (3 texts, 3 tunes)
Randolph/Cohen, pp. 216-217, "I'm a Good Old Rebel" (1 text, 1 tune -- Randolph's 231C)
Warner 193, "The Song of the Rebel Soldier"; 194, "An Old  Unreconstructed" (2 traditional texts plus assorted floating stanzas and a copy of a printed text plus mention of 6(?) more, 1 tune) 
BrownIII 391, "The Good Old Rebel" (2 texts plus a fragment and mention of 1 more)
Hudson 118, pp. 259-260, "I'm a Good Old Rebel" (1 text)
JHCox 77, "I'm a Good Old Rebel" (1 text)
Silber-CivWar, pp. 88-89, "Oh, I'm a Good Old Rebel" (1 text, 1 tune)
Lomax-ABFS, pp. 535-540, "Good Old Rebel" (2 texts, 2 tunes)
Lomax-FSNA 133, "The Good Old Rebel" (1 text, 1 tune)
Botkin-SoFolklr, p. 716, "I'm a Good Old Rebel" (1 text, 1 tune)
Darling-NAS, pp. 351-353, "I'm a Good Old Rebel" (1 text)
Silber-FSWB, p. 290, "The Good Old Rebel" (1 text)
DT, UNRECON MOONSHI5*
Roud #823
RECORDINGS:
Harry "Haywire Mac" McClintock, "Uncle Jim's Rebel Soldier" (on McClintock01); "Reconstructed Rebel Soldier" (on McClintock02) [The two McClintock recordings are listed tentatively, awaiting audition. - PJS]
NOTES: Cox lists several early printers and claimed authors. The most common attribution is to Major Innes Randolph (CSV), but is from a book published by Randolph's son in 1892. An 1890 text is attributed to J.R.T.; another, printed 1903, dedicates it to "Thad. Stevens, 1862" and claims it was sung by "Harry Allen, Washington Artillery, New Orleans, LA."
A dedication to Stevens makes a perverse sort of sense; Stevens was a humorless anti-Southern abolitionist. The 1862 date makes little sense, however. Still, something caused the song to go into oral tradition. I think we must simply regard the matter as uncertain.
"Marse Robert" is, of course, the soldiers' nickname for Robert E. Lee.
Point Lookout was a Federal prison camp in Maryland. It was an unpleasant place (the prisoners were housed in tents, and water was sometimes scarce), but the army that produced the Andersonville prison camp had no grounds for complaint!
The "darkies dressed in blue" were Blacks who joined the Federal army; their performance was not spectacular, but this was mostly the fault of bad officers. Needless to say, the Confederates hated them above all -- but at the end of the war they too were putting Blacks in uniform!
The Warner text "An Old Unreconstructed" appears to belong with this piece; the lyrics are different, but the spirit and the meter are the same.
In that song, the rebels claim that their cavalry was always superior to the Federals'. This was certainly true in the early years of the war, but by the time of Brandy Station (June 9, 1863), the two forces were equally competent (the Confederates had better officers, but the Federals had better weapons), and by 1864, with Southern horses running out and Sheridan in charge of the Federal cavalry, the Union horse was probably superior.
The "cowardly blockade" refers to the Federal blockade that largely cut off the Confederates from the outside world. It was not "cowardly"; blockade was already recognized under international law. Nor did it automatically cut off the Confederates from munitions; the blockade did not really begin to bite until 1863, by which time the Confederates were fairly well equipped with weapons (often captured from the Unionists). More important was the complete Confederate failure to industrialize.
The "German immigrants" referred to are probably the Federal XI corps, composed primarily of German refugees, which suffered the worst casualties at Chancellorsville and was routed at Gettysburg. These troops were held in very low esteem by both sides. Except for some Irish formations (none larger than a brigade), I know of no other Federal forces composed entirely of "furriners." - RBW
File: Wa193
===
NAME: Good Old State of Maine, The
DESCRIPTION: The singer tells how lumbering woods are "different from the good old State of Maine." The woods have "alieners and foreigners" and low wages, deep snow, harsh regulations and bad food. "I'll mend my ways and spend my days in the good old State of Maine."
AUTHOR: Larry Gorman
EARLIEST_DATE: 1959 (Miramichi1)
KEYWORDS: lumbering ordeal nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Ives-NewBrunswick, pp. 111-114, "The Good Old State of Maine" (1 text, 1 tune)
Manny/Wilson 18, "The Good Old State of Maine (Henry's Concern)" (1 text, 1 tune)
ST IvNB111 (Partial)
Roud #1955
RECORDINGS:
Jim Brown, "The Good Old State of Maine" (on Miramichi1)
NOTES: Ives-NewBrunswick: The song is about the J.E. Henry & Co. sawmill and lumbering operations in the Zealand Valley, in New Hampshire. - BS
According to Manny and Wilson, the "correct" title is "Henry's Concern." - RBW
File: IvNB111
===
NAME: Good Old Way (I), The
DESCRIPTION: "The good old way, the good old way, I am travelling in the good old way, And no matter where I be nor what people thinks of me...." "The Baptists in their glee may turn their back on me...." The singer condemns sinners and vows to stick with God
AUTHOR: unknown
EARLIEST_DATE: 1938 (Chappell)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 93, "The Good Old Way" (1 text, 1 tune)
Roud #16937
CROSS_REFERENCES:
cf. "O I Shall Have Wings" (lyrics)
File: ChFRA093
===
NAME: Good Old Way (II), The
DESCRIPTION: "As I went down in the valley to pray, Studying about that good old way When you shall wear the starry crown, Good Lord, show me the way. Oh (mourner/sister/member), let's go down, let's go down, let's go down... down in the valley to play."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 84, "The Good Old Way" (1 text, 1 tune)
Roud #12041
CROSS_REFERENCES:
cf. "Down in the Valley to Pray" (lyrics)
NOTES: This shares a lot of lines with "Down in the Valley to Pray," and some would perhaps lump them. But the overall form is different enough that I have split them. - RBW
File: AWG084A
===
NAME: Good Roarin' Fire, A
DESCRIPTION:  "Wi' the day's work done," these things make the singer happy to come home: "a good roarin' fire," "your childer lep an' run," a "wife is kind an' happy," "a clean-swep' stone."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: home work fire nonballad children wife
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hayward-Ulster, p. 32, "A Good Roarin' Fire" (1 text)
Roud #6550
File: HayU032
===
NAME: Good Scow Alice Strong, The
DESCRIPTION: "When running down for Cleveland On the good scow Alice Strong, The Captain's eyes grew weary." He orders the mate to take charge. "The mate was but a farmer Who'd seen service with a plow": He steers the ship on a straight course -- into another boat!
AUTHOR: unknown
EARLIEST_DATE: 1933 (Collected from John S. Parsons by Walton)
KEYWORDS: ship farming wreck humorous
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 165-166, "The Good Scow Alice Strong" (1 text)
File: WGM165
===
NAME: Good Ship Calabah, The: see The Calabar (File: HHH502)
===
NAME: Good Ship Cumberland: see The Cumberland [Laws A26] (File: LA26)
===
NAME: Good Ship Jubilee, The: see The Flemings of Torbay [Laws D23] (File: LD23)
===
NAME: Good Ship Kangaroo, The
DESCRIPTION: The singer goes to sea on the Kangaroo. His sweetheart gives him a token to remember her by. On his return home, he learns the she has run off with another man. He vows to go to a foreign shore and "throw [him]self away" on a foreign girl
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: love separation sailor return infidelity
FOUND_IN: Ireland Australia
REFERENCES: (3 citations)
Hugill, pp. 473-476, "Aboard the Kangaroo," "On Board the Kangaroo" (2 texts, 2 tunes) [AbEd, pp. 351-353]
Meredith/Anderson, p. 60, "Aboard of the Kangaroo" (1 text, 1 tune)
DT, SHPKNGR*
Roud #925
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(087), "On Board the 'Kangaroo,'" unknown, c.1875
File: MA060
===
NAME: Good Ship Mary Cochrane, The: see The Wreck of the Rebecca (The Mary Cochrane) (File: HHH565)
===
NAME: Good Ship Venus, The
DESCRIPTION: A quatrain ballad, this song describes the interminable sexual misadventures of the crew of the Good Ship Venus, whose mast is a rampant penis.
AUTHOR: unknown
EARLIEST_DATE: Vance Randolph firmly dates the three versions in his "Unprintable" Collection from the Ozarks to 1890.
KEYWORDS: bawdy sex humorous ship
FOUND_IN: Australia Canada Britain(England) US(NE,MW,So,SW) New Zealand
REFERENCES: (3 citations)
Cray, pp. 315-318, "The Good Ship Venus" (2 texts, 1 tune)
Randolph-Legman I, pp. 500-501, "Frigging in the Rigging" (1 text, 1 tune)
DT, FRGGING SHPVENUS
Roud #4836
CROSS_REFERENCES:
cf. "Christopher Columbo" (lyrics)
NOTES: The limerick-form stanzas with the internal rhyme in the third line of "Good Ship" frequently migrate to "Christopher Columbo." - EC
File: EM315
===
NAME: Good Woman: see The Three Butchers (Dixon and Johnson) [Laws L4] (File: LL04)
===
NAME: Good-by, Mother: see Goodbye, Mother (File: LxA592)
===
NAME: Good-by, Pretty Mama: see Goodbye, Pretty Mama (File: LxA020)
===
NAME: Good-bye (Goodbye My Brother)
DESCRIPTION: "Goodbye, my brother, goodbye, Hallelujah! Goodbye, sister Sally, goodbye, Hallelujah! Going home, Hallelujah! Jesus call me, Hallelujah! Linger no longer, Hallelujah! Tarry no longer, Hallelujah"
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 52, "Good-bye" (1 text, 1 tune)
Roud #12011
File: AWG052A
===
NAME: Good-Bye Brother
DESCRIPTION: "Goodbye brother, goodbye, brother, If I don't see you more; Now God bless you, now God bless you, If I don't see you more." "We'll part in the body but meet in the spirit... We'll meet in Heaven in the blessed kingdom."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious separation
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 47, "Good-bye Brother" (1 text. 1 tune)
Roud #12004
File: AWG047A
===
NAME: Good-bye My Lovely Annie: see Adieu Sweet Lovely Nancy (File: E153D)
===
NAME: Good-bye Sweet Liza Jane: see Goodbye Eliza Jane (File: SRW211)
===
NAME: Goodbye Eliza Jane
DESCRIPTION: "Lookey here 'Liza, listen to me, you ain't the girl you promised to be." Disappointed that Liza "went riding with Mr. Brown," the singer declares, "Goodbye, Miss Liza, I'm going to leave you." He demands his gifts back; Mr. Brown can replace them
AUTHOR: Words: Andrew B. Sterling / Music: Harry Von Tilzer
EARLIEST_DATE: 1903
KEYWORDS: courting separation betrayal
FOUND_IN: US
REFERENCES: (2 citations)
Spaeth-ReadWeep, p. 211, "Good-bye, Eliza Jane" (partial text and tune)
Rorrer, p. 93, "Good-bye Sweet Liza Jane" (1 text)
Roud #12403
RECORDINGS:
Peerless Quartet, "Minstrels Part 4, Goodbye Eliza Jane" (Little Wonder 343, 1916)
Charlie Poole and the North Carolina Ramblers, "Good-bye Sweet Liza Jane" (Columbia 15601-D, 1930; on CPoole03 as "Goodbye Liza Jane")
NOTES: I couldn't believe this was a Harry von Tilzer song either. Amazing what a little Charlie Poole influence can do. - RBW
File: SRW211
===
NAME: Goodbye Fare-Ye-Well (I): see Blow the Man Down (File: Doe017)
===
NAME: Goodbye Liza Jane (I)
DESCRIPTION: "Our horse fell down the well around behind the stable (x2), Well he didn't fall clear down but he fell, fell... As far as he was able. Oh, it's goodbye Liza Jane." Similarly "My gal crossed a bridge... but the bridge it wasn't built yet." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, p. 51, "Good-by Liza Jane" (1 text, 1 tune)
ST San051 (Full)
RECORDINGS:
Pete Seeger, "Goodbye Liza Jane" (on PeteSeeger22)
CROSS_REFERENCES:
cf. "Black Them Boots (Goin' Down to Cairo)"
File: San051
===
NAME: Goodbye Liza Jane (II): see Liza Jane (File: San132)
===
NAME: Goodbye Liza Jane (III): see Goodbye Eliza Jane (File: SRW211)
===
NAME: Goodbye to My Stepstone
DESCRIPTION: The singer has stayed at home among loved ones for a long time, but now is leaving: "Goodbye to my stepstone, goodbye to my home, God bless the ones that I leave with a sigh; I'll cherish dear memory while I am away; Goodbye, dear old stepstone, goodbye."
AUTHOR: probably J. O. Webster
EARLIEST_DATE: 1904 (collected from Lela Ammons by Bascom Lamar Lunsford. Source: _Sing Out_, volume 35, #4 [1991], p. 8); J. O. Webster published his piece "Old Doorstep," the likely ancestor, in 1880
KEYWORDS: travel home farewell rambling
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 853, "The Old Stepstone" (1 texts plus 2 fragments)
DT, STEPSTON*
Roud #7453
RECORDINGS:
Floyd County Ramblers, "Step Stone" (Victor V-40331, 1930; Bluebird B-5107, 1933; on TimesAint05)
Bascom Lamar Lunsford, "Stepstones" (Brunswick 231, 1928; Brunswick 314, 1929; on BLLunsford01)
Peg Moreland, "The Old Step Stone" (Victor V-40008, 1929)
E. R. Nance Singers, "Goodbye to My Stepstone" (Champion 16316, 1931)
Three Muskateers, "Goodbye to the Step Stones" (Bluebird B-6525, 1936)
Ernest V. Stoneman and His Dixie Mountaineers, "Goodbye Dear Old Stepstone" (Edison 52489, 1929); Ernest Stoneman and Eddie Stoneman, "Good-bye Dear Old Stepstone" (ARC, unissued, 1934)
ALTERNATE_TITLES:
The Old Doorstep
NOTES: I've seen this attributed to Woody Guthrie, but the texts in Randolph, and his references to 1890s songbooks,  make it clear that the basic song predated him. - RBW
File: R853
===
NAME: Goodbye, Brother
DESCRIPTION: "Goodbye, brother (x2), If I don't see you more; Now God bless you (x2), If I don't see you more." "We part in the body, but we meet in the spirit, If I don't see you more; We'll meet in the heaven, in the blessed kingdom, If I don't see you more."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious nonballad parting
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, p. 477, "Good-bye, Brother" (1 text, 1 tune)
File: San477
===
NAME: Goodbye, Fare Ye Well: see Homeward Bound (I) (File: Doe087)
===
NAME: Goodbye, Fare You Well (I)
DESCRIPTION: "Fare you well,Julianna, you know, Hoo row, row, row, my boys, To the westward we roll and we now coming home, Goodbye, fare you well, goodbye, fare you well."  The sailors bid farewell to the whales and look forward to arriving home
AUTHOR: unknown
EARLIEST_DATE: 1971
KEYWORDS: whaler home nonballad sailor whale
FOUND_IN: 
REFERENCES: (1 citation)
Darling-NAS, pp. 321-322, "Goodbye, Fare You Well" (1 text)
NOTES: A great tune; I'm surprised it's not more widely collected. But hardly a good sentiment in these days. - RBW
File: DarNS321
===
NAME: Goodbye, Fare You Well (II): see Homeward Bound (I) (File: Doe087)
===
NAME: Goodbye, Fare-Ye-Well (II): see The Dreadnought [Laws D13] (File: LD13)
===
NAME: Goodbye, Little Bonnie Blue Eyes: see More Pretty Girls Than One (File: CSW192)
===
NAME: Goodbye, Little Bonnie, Goodbye: see More Pretty Girls Than One (File: CSW192)
===
NAME: Goodbye, Little Girl, Goodbye
DESCRIPTION: "The sound of the bugle is calling, Fare thee well, fare thee well." The soldier boy sets out: "Goodbye, little girl, goodbye... In my (Virginia/blue) uniform, I'll return to you." In the din of battle, he sends a (dying?) message to the girl
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: soldier separation love
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 271, "Goodbye, Little Girl, Goodbye" (1 text)
Roud #15745
NOTES: The Brown text appears confused. It starts simply enough, with a soldier bidding goodbye to his girl. But when the battle comes, it's not clear whether the lover dies, or the lover lives and goes home, or someone else asks him to send a message. - RBW
File: Br3271
===
NAME: Goodbye, Mary Dear: see I'll Be There, Mary Dear (File: RcGoMaDe)
===
NAME: Goodbye, Mother
DESCRIPTION: "Goodbye, Mother, goodbye, Your voice I shall hear it no mo', Death done flamished yo' body...." The singer hears mother calling from the grave, wishes she were still alive, and hopes to go to heaven where there is no trouble
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: death mother burial religious
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 592-593, "Good-by Mother" (1 text, 1 tune)
Roud #15566
File: LxA592
===
NAME: Goodbye, My Blue Bell
DESCRIPTION: "Goodbye, my Blue Bell, Farewell to you. One last fond look into your eyes so blue. 'Mid campfires gleaming, Through shot and shell, I will be dreaming Of my sweet Blue Bell."
AUTHOR: unknown
EARLIEST_DATE: 1945 (Brown)
KEYWORDS: soldier separation
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 395, "Goodbye, My Blue Bell" (1 fragment)
Roud #11331
NOTES: Brown's informant thought this came from the Spanish-American War. Possible, but probably beyond proof. - RBW
File: Br3395
===
NAME: Goodbye, My Love, Goodbye
DESCRIPTION: Hauling shanty, probably Negro in origin. "I'm bound away to leave you, Goodbye, my love, goodbye. I never will deceive you, Goodbye, my love, goodbye." Given verses are all variations on the 'goodbye, farewell, we're bound away' theme.
AUTHOR: unknown
EARLIEST_DATE: 1887 (Davis/Tozer _Sailor Songs or Chanties_)
KEYWORDS: shanty farewell separation
FOUND_IN: Britain US West Indies
REFERENCES: (2 citations)
Colcord, p. 62, "Goodbye, My Love, Goodbye" (1 text, 1 tune)
Hugill, pp. 118-119, "Goodbye, My Love, Goodbye" (1 text, 1 tune) [AbEd, p. 102]
Roud #4709
CROSS_REFERENCES:
cf. "Goodbye, My Lover, Goodbye" (chorus form)
cf. "Shallo Brown" (similar tune and meter)
NOTES: I thought very seriously about lumping this with "Goodbye, My Lover, Goodbye," given that both have sailor versions and both are weak in the plot department. I'm still not sure, but I haven't seen any actual common lyrics, and the tunes are different. Still, it's hard to be sure about fragments. - RBW
File: Hugi118
===
NAME: Goodbye, My Lover, Goodbye
DESCRIPTION: A riverman, departing for New Orleans, bids his sweetheart farewell: "I'm going away to New Orleans, Goodbye, my lover, goodbye...." "She's on her way to New Orleans... She's bound to pass the Robert E. Lee...." "I'll make this trip and make no more...."
AUTHOR: T. H. Allen?
EARLIEST_DATE: 1882
KEYWORDS: river farewell work separation floatingverses
FOUND_IN: US(MW,SE,So)
REFERENCES: (6 citations)
BrownIII 274, "Goodbye, My Lover, Goodbye" (1 text plus a fragment)
Walton/Grimm/Murdock, pp. 46-47, "Good-bye, My Lover, Good-Bye" (1 text, 1 tune)
Jackson-DeadMan, pp. 97-99, "Goodbye, My Lover, Goodbye" (1 text, 1 tune)
MHenry-Appalachians, p. 160, "Goodbye, My Lover, Goodbye" (1 text)
Botkin-MRFolklr, p. 591, "Let Her Go By" (1 text)
Silber-FSWB, p. 152, "Goodbye, My Lover, Goodbye" (1 text)
Roud #15381
RECORDINGS:
Emry Arthur, "Goodbye My Lover, Goodbye" (Vocalion 5209, c. 1928)
Kanawha Singers, "Goodbye My Lover Goodbye" (Brunswick 242, 1928)
Bill Mooney & his Cactus Twisters, "Goodbye, My Lover, Goodbye" (Imperial 1150, n.d.)
CROSS_REFERENCES:
cf. "Goodbye, My Love, Goodbye" (chorus form)
NOTES: The description above is based on the most coherent version I could find. Brown's texts, however, have nothing of this plot; both have a verse "See the train go 'round the bend... Loaded down with (railroad/Chapel Hill) men," with the other stanzas floating. Jackson's version is similar: The train comes round the bend filled with CONVICT men. It appears that the simple tune was used for all sorts of floating verse songs.
The Walton/Grimm/Murdock version seems to have been particularized for Great Lakes sailors; it begins "A farmer boy stands on the deck" and complains about all the things he doesn't know (e.g. he can't tell various types of sail apart). This may have been influenced by "Goodbye, My Love, Goodbye," which is also a sailor song, but that is a separation song, and the Walton version is a taunt, so I don't think they are the same.
This has been attributed to T. H. Allen (cf. Brown), but I don't know the reliability of the citation. - RBW
There is a parody version ["See the Steamer Go 'round the Bend"]: "See the steamer go 'round the bend, goodbye, my lover, goodbye/They're taking old Sammy away to the pen...And why are they taking old Sam to the pen?...He hit a policeman and hit him again/goodbye, my lover, goodbye." Sam Hinton credits this to his father, who liked to improvise. - PJS
File: BMRF591
===
NAME: Goodbye, Old Paint
DESCRIPTION: "Goodbye, old Paint, I'm a-leavin' Cheyenne." The impatient cowboy is off for Montana. He bids farewell to the girl and starts his horses on their way
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: horse cowboy rambling
FOUND_IN: US(Ro,So)
REFERENCES: (9 citations)
Larkin, pp. 169-170, "Goodbye, Old Paint" (1 text, 1 tune)
Lomax-FSUSA 63(A), "Old Paint" (1 text, 1 tune)
Lomax-ABFS, pp. 383-385, "Good-by, Old Paint" (1 text, 1 tune)
Lomax-FSNA 195, "I'm A-Leavin' Cheyenne" (1 text, 1 tune)
Scott-BoA, p. 263, "Goodbye, Old Paint" (1 text, 1 tune)
Fife-Cowboy/West 83, "Old Paint" (3 texts, 1 tune, although the "C" text appears to be "The Wagoner's Lad")
Pankake-PHCFSB, p. 275, "Goodbye, Old Paint" (1 text)
Silber-FSWB, p. 106, "Goodbye Old Paint" (1 text)
DT, OLDPAINT*
Roud #915
RECORDINGS:
Arkansas Charlie [pseud. for Charlie Craver], "Goodbye Old Paint" (Vocalion 5270, c. 1928)
Emmett Brand, "Riding My Buggy, My Whip in My Hand" (on MuSouth06)
Sloan Matthews, "Goodbye, Old Paint (II)" (AFS, 1940s; on LC28)
Harry "Haywire Mac" McClintock, "Goodbye Old Paint" (Victor 21761, 1928; on WhenIWas1)
Patsy Montana, "Ridin' Old Paint" (Conqueror 8575, 1935)
Jess Morris, "Goodbye, Old Paint (I)" (AFS, 1942; on LC28, LCTreas)
Tex Ritter, "A-Ridin' Old Paint" (Conqueror 8144, 1933/Perfect 12984, 1934; on BackSaddle); "Goodbye Old Paint"  (Vocalion 5493, c. 1931; Conqueror 8073, 1932; Vocalion 04911, 1939)
Pete Seeger, "Old Paint" (on PeteSeeger09, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (floating lyrics)
cf. "I Ride an Old Paint"
NOTES: I classify Emmett Brand's recording here because it has to go somewhere, but it also includes material from "Rye Whiskey (Jack of Diamonds)" and "Wagoner's Lad," and a tune the collector found reminiscent of "One Morning in May." Ah, the folk process! - PJS
File: LxU063A
===
NAME: Goodbye, Pretty Mama
DESCRIPTION: "I'm gonna take those shoes I bought you, Put yo' feet on de groun' (x2)." "I'm gonna leave you jes' like I foun' you, All out an' down (x2)." "I ain' gonna buy you nothin' else, When I go to town (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: separation clothes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, p. 20, "Good-by, Pretty Mama" (1 text, 1 tune)
Roud #15522
NOTES: The Lomaxes call this a "variant of the Tie-Tamping Chant." They offer no supporting evidence, however, and the forms of the two songs are different. So I separate them (though Roud lumps them). - RBW
File: LxA020
===
NAME: Goodman's Song, The
DESCRIPTION: The singer threatens to retaliate for thin or lumpy porridge by making the oxen run or leave the land unploughed. "Wine wine wine awa', Halkie's [cow] ane and humlie's [hornless cow] twa, Wine wine wine awa"
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: farming work food nonballad drink
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 395, "The Goodman's Song" (1 text)
Roud #5928
File: GrD3395
===
NAME: Goodnight Irene
DESCRIPTION: The singer describes how he courted Irene. Now he and his wife are parted. "And if Irene turns her back on me, gonna take morphine and die." Chorus: "Irene, goodnight, Irene, goodnight; Goodnight, Irene, goodnight, Irene, I'll (get/see) you in my dreams."
AUTHOR: popular version by Huddie Ledbetter ("Lead Belly")
EARLIEST_DATE: 1933 (recordings, Huddie Ledbetter [Lead Belly])
KEYWORDS: love courting separation drugs suicide loneliness floatingverses
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 315, "Irene" (1 text, 1 tune)
PSeeger-AFB, p. 48, "Irene, Goodnight" (1 text, 1 tune)
Fuld-WFM, pp. 307-308, "Irene (Goodnight, Irene)"
DT, IRENGDNT
Roud #11681
RECORDINGS:
Gordon Jenkins & The Weavers, "Goodnight Irene" (Decca 27077, 1950; on Weavers01)
Huddie Ledbetter [Lead Belly], "Irene" (AFS 120 A1, 1933) (AFS 120 A6, 1933) (AFS 120 A7, 1933) (Atlantic 917, 1950)
Pete Seeger, "Goodnight, Irene" (on PeteSeeger24) (on PeteSeeger43)
CROSS_REFERENCES:
cf. "Dark and Dreary Weather" (floating lyrics)
cf. "Willy, Poor Boy" (floating lyrics)
cf. "Sometimes I'm in This Country" (floating lyrics)
cf. "Rambling Round" (approximate tune)
cf. "Roll On, Columbia" (tune)
NOTES: Fuld quotes the Lomaxes to the effect that Lead Belly learned the chorus of this song from his uncle. Many of the verses can also be shown to be older. To what extent Lead Belly created this song, as opposed to reshaping the materials, cannot now be determined.
The 1888 song "Irene, Goodnight," sung by the Haverly Minstrels and credited by Spaeth to "Davis" (but dated 1892), is a separate piece. - RBW
The "Davis" cited by Spaeth is Gussie L. Davis, and according to Guy Logsdon & Jeff Place the date is 1887, not 1888. They note some melodic similarity to the song sung by Lead Belly.
According to Seeger, Lead Belly said Irene was a sixteen-year-old girl he knew, who took up with a rambler. - PJS
File: LoF315
===
NAME: Goodnight Ladies
DESCRIPTION: "Goodnight ladies (x3), We're going to leave you now." "Merrily we roll along, Roll along, roll along, Merrily we roll along Over the deep blue sea." "Farewell ladies, (x3), We're going to leave you now." "Sweet dreams, ladies, We're going to leave...."
AUTHOR: unknown
EARLIEST_DATE: 1847 (sheet music)
KEYWORDS: nonballad farewell
FOUND_IN: US
REFERENCES: (3 citations)
Hugill, pp. 179-180, "Goodnight, Ladies" (1 text, 1 tune)
Silber-FSWB, p. 258, "Goodnight Ladies" (1 text)
Fuld-WFM, pp. 255-256, "Goodnight Ladies"
CROSS_REFERENCES:
cf. "Mary Had a Little Lamb" (partial tune)
NOTES: The notes in Fuld indicate a complex history for this song. "Farewell Ladies," containing the first verse of the piece, was printed in 1847 and credited to E. P. Christy. It seems likely enough that the Christy Minstrels used it to close programs.
The complete text, with the "Merrily We Roll Along verse" (which shates a melody with "Mary Had a Little Lamb") was published in 1867.
Fuld says that the melody is that of "I've Been Working on the Railroad," but if so, there has been a lot of embellishment along the way. 0 RBW
File: FSWB258A
===
NAME: Goorianawa
DESCRIPTION: "I've been many years a shearer, and fancied I could shear... But, oh my! I never saw before The way we had to knuckle down at Goorianawa." The shearer describes the many places he has worked, then complains how Goorianawa broke his spirits
AUTHOR: unknown
EARLIEST_DATE: 1912 (short version in "The Lone Hand")
KEYWORDS: work sheep Australia
FOUND_IN: Australia
REFERENCES: (3 citations)
Meredith/Anderson, pp. 268-269, "Goorianawa" (1 text, 1 tune)
Manifold-PASB, pp. 126-127, "Goorianawa" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 186-189, "Goorianawa" (1 text)
Roud #9114
NOTES: Accorting to Patterson/Fahey/Seal, Goorianawa was known among shearers as a hard station to work -- bad conditions and low pay. "Banjo" Paterson had heard of this song at the time he assembled _Old Bush Songs_, but was unable to locate a text. - RBW
File: MA268
===
NAME: Goose Hangs High, The
DESCRIPTION: "Im June of '63, I suppose you all know, General Lee he had a plan into Washington to go." Stuart loses a battle, but Lee invades Pennsylvania; Meade replaces Hooker; the Union wins: "You cannot whip the Yankee boys while the goose hangs high"
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: Civilwar battle
HISTORICAL_REFERENCES: June 9, 1863 - Battle of Brandy Station. Union cavalry attack Stuart's rebel horse, but are driver off
July 1-3, 1863 - Battle of Gettysburg. George Gordon Meade's Army of the Potomac holds off Robert E. Lee's Army of Northern Virginia
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 372-373, "The Goose Hangs High" (1 text plus mention of 1 more)
Roud #7763
NOTES: Belden admits that this song may not have been traditional; both texts were copies sold as pamphlets, probably by the same blind man, Jasper Kinder.
After the Battle of Chancellorsville, northern Virginia was largely denuded of supplies, which made it hard for Lee to provision his army. In addition, the North's Army of the Potomac was, for nearly the only time in the war, shrinking; a number of regiments had volunteered in early 1861 for two years, and now were mustering out. With the Union forces weak and defeated, it seemed like time to invade the North.
The Union had a bit of a surprise waiting: Until this time, Jeb Stuart's cavalry had been much superior to the Federal forces. But Joe Hooker, the Union commander, had reorganized the union horse as a single corps (as opposed to un-unified brigades and divisions). For the first time in the war, they came looking for Stuart at Brandy Station -- and fought on fairly even terms.
In the end, contrary to the song, the Union troopers were driven off, and took more casualties. But they had shown they could stand up to the Confederates -- which would stand them in good stead at Gettysburg, where they beat off an attack by Stuart. Plus they had learned a lot about Rebel movements.
As the rebel forces moved north, Lincoln and his cabinet became more and more worried about Joe Hooker, the loser of Chancellorsville, who was still in command. Finally, on June 28, they induced Hooker to resign, replacing him with George Gordon Meade (1815-1872). It was Meade who held off Lee's attack at Gettysburg. The song is again too optimistic about the aftermath, though; while Lee failed to drive Meade off his position, Lee was not routed, and Meade pursued very slowly, inflicting very little additional damage on Lee's forces.
The day after the end of the Battle of Gettysburg, July 4, 1863, Grant captured the city of Vicksburg. It was the single best week for Union arms in the entire war.
I cannot for the life of my guess what the significance of a goose hanging high might be. I would note that a "Goose Hangs High Songster" was published in 1866 -- but I haven't seen it.  - RBW
File: Beld372
===
NAME: Goosey, Goosey, Gander
DESCRIPTION: "Goosey, goosey, gander, Whither shall I wander, Upstairs and downstairs And in my lady's chamber." The ending varies
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: bird
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 190, "Goosey, goosey gander" (1 text)
Baring-Gould-MotherGoose #89, p. 86, "(Goose-a-goose-a, gander)"
Roud #6488
NOTES: This is another Mother Goose rhyme I seem to vaguely recall hearing sung rather than recited, so I'm including it on that basis, though I'm anything but sure about this.
The early version, in Gammer Gurton's Garland, ends with instructions that the listener will find provisions in the lady's chamber; in the common version, it houses "an old man Who would not say his prayers" -- which the Baring-Goulds note is a relic of another nursery rhyme, "Old Father Long Legs."
Katherine Elwes Thomas, of the ever fertile imagination (and we know what was used as the original fertilizer) believes this refers to the militantly anti-Protestant Cardinal (David) Beaton, who in fact was thrown downstairs and killed in 1546. To be fair, it should be noted that he might be found in a lady's chamber; he was far from celibate. - RBW
File: BGMG089
===
NAME: Gordon o' Newton's Marriage
DESCRIPTION: The singer describes "this night our Gordon has brought home a young and bloomming bride." The house and tenants "wi' harmless mirth welcome our lady home" and drink her health. "Wi' Gordon's plaid the Forbes maid does now herself adorn"
AUTHOR: Alexander Moir (source: GreigDuncan3)
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: marriage drink
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 615, "Gordon o' Newton's Marriage" (1 text, 1 tune)
Roud #6056
NOTES: GreigDuncan3, citing Bulloch, _The House of Gordon_: "The song celebrates the marriage of Alexander Gordon of Newton, b. 1804, and Sarah, eldest daughter of Alexander Forbes, which took place on 20 February 1844." 
GreigDuncan3: "It was sung at the tenants' dinner." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Newton (615) is at coordinate (h3,v6-7) on that map [roughly 23 miles NW of Aberdeen]. - BS
File: GrD3615
===
NAME: Gorion-Og
DESCRIPTION: Fragment: "I found the track of the wind in the trees...but never a trace of baby o." Similarly "...mist on the hill..." and "swan on the lake."
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Margaret MacArthur)
KEYWORDS: baby family lullaby
FOUND_IN: US(NE)
REFERENCES: (0 citations)
RECORDINGS:
Margaret MacArthur, "Gorion-Og" (on MMacArthur01)
NOTES: This sounds like a fragment or degenerated form of a child-disappearance ballad. In the hope that the rest of it may surface some day, and because there's a thread of narrative buried in what sounds like a nursery rhyme, I include it. - PJS
I must admit that this explanation never occurred to me (the song just sounds like a lullaby) -- but it's a beautiful melody; I too hope we can find more of it. - RBW
File: RcGorion
===
NAME: Gospel Cannonball
DESCRIPTION: "On the great and holy Bibble, on the pages I do find, How God came down from heaven to redeem this soul of mine." The singer notes the popularity of the Bible and urges listeners to heed so they too can go to God on the Gospel Cannonball
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Wade Mainer and the Sons of the Mountaineers)
KEYWORDS: train religious nonballad derivative
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 636-637, "The Gospel Cannonball" (1 text, 1 tune)
Roud #18559
RECORDINGS:
Delmore Brothers, "Gospel Cannon Ball" (Decca 5970/46049, 1941)
Wade Mainer and the Sons of the Mountaineers, "The Gospel Cannonball" (Bluebird B-8349/Montgomery Ward M-8448, 1939)
CROSS_REFERENCES:
cf. "The Wabash Cannonball" (lyrics)
NOTES: Cohen considers this derived from the "Wabash Cannonball," while admitting that none of the recorded versions use that popular tune. Certainly some of the lyrics are closely parallel. The source is unknown. It is interesting to note that, though the song talks a lot about the Bible, it never actually cites it, and the theology is, to say the least, simplified. - RBW
File: LSRai636
===
NAME: Gospel Pool, The
DESCRIPTION: "Brother, how did you feel that day, When you lost your guilt and burden? I felt like the Lord God freed my soul, And the healing waters move." The healed man says that he could run (or his hands looked new), and "the green trees bowed."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious healing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 521, "The Gospel Pool" (2 short texts)
Roud #11816
NOTES: This seems to be based, very loosely, on the healing in John 5:2-9, where a crippled man hopes to enter the healing waters of Bethzatha. But the parallel is not very close -- and the part about the healing effects of the waters is largely absent in the best manuscripts of John. - RBW
File: Br3521
===
NAME: Gospel Ship (I), The
DESCRIPTION: "The Gospel Ship is sailing by, The Ark of Safety now is nigh; On sinners, unto Jesus fly... Oh, there'll be glory... when we the Lord embrace." Fathers and brothers are invited to come along; the end of the world is described
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders/Brown), from a manuscript apparently dated 1831
KEYWORDS: religious nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 75-77, "The Gospel Ship" (1 text)
ST FlBr075 (Partial)
Roud #2838
CROSS_REFERENCES:
cf. "Shout, Shout, We're Gaining Ground" (lyrics)
NOTES: Although the title of this is clearly reminiscent of "The Old Gospel Ship," the kinship consists at most of a few stray lines. It's a bit closer to Randolph's fragments, "Shout, Shout, We're Gaining Ground," which may be a free-floating chorus of this verse.
The piece itself is clearly inspired by the New Testament Apocalypse, but the language itself has almost no resemblance to the Bible (e.g. the name "Jehovah," which isn't what the Hebrews called their God anyway, is not used in the New Testament, which uses the Greek word "Lord"; nor did YHWH the Father open the sealed book; it was the Lamb, i.e. God the Son, who opened the scroll; see Rev. 6.1ff.) - RBW
File: FlBr075
===
NAME: Gospel Ship (II), The: see The Old Gospel Ship (File: FSWB351B)
===
NAME: Gospel Train (I), The: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gospel Train (II), The
DESCRIPTION: "Select de proper train (x3), When de bridegroom comes." "Git on board de train (x3) When de bridegroom comes." "Gwine to travel wid my Savior." "Gwine to travel home to glory."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; this is the "A" text; "B" is "The Gospel Train (III)"; "C" is a fragment of "Get On Board, Little Children")
Roud #11820
NOTES: Roud lumps this with "Boundless Mercy (Drooping Souls, No Longer Grieve)" -- a clerical error, I suspect. - RBW
File: Br3529A
===
NAME: Gospel Train (III), The
DESCRIPTION: "Oh, don't you hear that whistle blowin' (x3), Get on board, get on board." "Oh, it ain't no harm to trust in Jesus (x3), Get on board, get on board." "Jesus is the conductor." ""Oh! have you got your ticket ready?"
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious nonballad train
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 529, "The Gospel Train" (2 texts plus a fragment; this is the "B" text; "A" is "The Gospel Train (II)"; "C" is a fragment of "Get On Board, Little Children")
File: Br3529B
===
NAME: Gospel Train Am Leabin' (II), De: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gospel Train Am Leaving (I)
DESCRIPTION: "De gospel train am leaving For my father's mansions, De gospel train am leaving, And we all be left behind." "Oh, run, Mary, run, De gospel train am leaving, Oh, run, Mary, run, I want to get to heaben today."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious train nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 255, (no title) (1 short text)
File: ScaNF255
===
NAME: Gospel Train is Coming (I), The (Gospel Train IV)
DESCRIPTION: "The gospel train is coming, don't you want to go (x3), Yes, I want to go." "Jesus is the engineer, don't you want to go? (x3). Yes, I want to go." "Can't you hear the bell ring...." "Can't you hear the wheel hum...." "She's comin' round the curve...."
AUTHOR: unknown
EARLIEST_DATE: c. 1926 (recording, Rev. Edward W. Clayborn)
KEYWORDS: train religious nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 619-624, "The Gospel Train Is Coming" (1 text plus 2 texts of "Get On Board, Little Children"; 1 tune for each of the two songs)
RECORDINGS:
Rev. Edward W. Clayborn (Clayburn, Clayton, Claiborn), "The Gospel Train is Coming" (Vocalion 1082/Melotone M12546, c.1927)
File: LSRai619
===
NAME: Gospel Train Is Coming (II), The: see Get On Board, Little Children (File: FSWB361A)
===
NAME: Gosport Beach (The Undutiful Daughter)
DESCRIPTION: "On Gosport beach I landed, that place of noted fame." The sailor meets a beautiful whose merchant parents threw her out. He offers to marry her, breaks a ring, and goes on his voyage. Three months later, he returns and marries her
AUTHOR: unknown
EARLIEST_DATE: 1856 (Journal from the Catalpa)
KEYWORDS: sailor love clothes brokentoken wedding marriage
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 127-129, "The Undutiful Daughter" ( text)
Roud #1038
File: SWMS127
===
NAME: Gosport Tragedy, The: see The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B] (File: LP36)
===
NAME: Gossip Joan (Neighbor Jones)
DESCRIPTION: "Good morrow, Gossip Joan, Where have you been a-walking? I have for you, for you for you, for you for you... a budget full of wonders." The wonders are listed: A cow with a calf that cannot eat hay, a duck which died from eating a snail
AUTHOR: unknown
EARLIEST_DATE: 1720 (Pills to Purge Melancholy)
KEYWORDS: talltale animal
FOUND_IN: Britain(England) US(SE)
REFERENCES: (2 citations)
Chappell/Wooldridge II, p. 98, "Good Morrow, Gossip Joan" (1 text, 1 tune)
BrownIII 144, "Neighbour Jones" (1 text)
Roud #1039
CROSS_REFERENCES:
cf. "Martin Said To His Man" (theme)
File: Br3144
===
NAME: Got Dem Blues
DESCRIPTION: "Got dem blues, but I'm too mean, lordy, I'm too damned mean to cry. I got dem blues, Got dem blues, but I'm too damned mean to cry. Yes, I got dem dirty blues, But I'm too damned mean to cry, Yes! mean to cry, Sweet daddy! Uh-huh! Turn me down! Uh-huh!
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, pp. 232-233, "Got Dem Blues" (1 short text, 1 tune)
File: San232
===
NAME: Got No Honey Baby Now: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Got No Sugar Baby Now: see Sugar Baby (Red Rocking Chair; Red Apple Juice) (File: ADR82)
===
NAME: Got the Farm Land Blues
DESCRIPTION: Farmer laments that thieves have gotten his chickens, corn, beans and the tires from his car, while the boll weevils have eaten his cotton and a storm has torn down his corn. He plans to sell his farm and move to town.
AUTHOR: probably Clarence "Tom" Ashley of the Carolina Tar Heels
EARLIEST_DATE: 1930 (recording, Carolina Tar Heels)
KEYWORDS: theft farming storm bug
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 68, "Got the Farm Land Blues" (1 text, 1 tune)
RECORDINGS:
Carolina Tar Heels, "Got the Farm Land Blues" (Victor 23611A, 1930; on AAFM1, HardTimes2)
NOTES: The song is in the form of a "white blues." -PJS
File: ADR68
===
NAME: Got the Jake Leg Too
DESCRIPTION: Singer wakes up in the middle of the night with "jake leg"; he can't get out of bed and feels nearly dead. His Aunt Dinah has it; a preacher drinks and gets it too. Singer warns against drinking "Jamaica ginger"; he will pray for his fellow jake-leggers
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Ray Brothers)
KEYWORDS: disease warning drink
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Ray Brothers "Got the Jake Leg Too" (Victor 23508, 1930; on RoughWays1)
CROSS_REFERENCES:
cf. "Jake Limber Leg Blues" (topic)
NOTES: In 1929-1930 public health authorities in the USA became aware of an epidemic of neurological disease, "jake leg", characterized by irregular, halting gait and muscular palsy, caused by impurities contained in bootleg liquor, most notably "Jamaica ginger." Jake leg inspired numerous tunes and songs among country and blues artists. - PJS
File: RcGtJLT
===
NAME: Gougane Barra
DESCRIPTION: There is a green island in lone Gougane Barra." What better place for a bard? The singer thinks about past bards there, "far from the Saxon's dark bondage and slaughter." When Ireland is free some minstrel will come here a lay a wreath on his grave
AUTHOR: James Joseph Callanan (1795-1829) (source: Croker-PopularSongs)
EARLIEST_DATE: 830 (_The Recluse of Inchidony_, written 1826, according to Croker-PopularSongs)
KEYWORDS: Ireland lyric nonballad patriotic
FOUND_IN: 
REFERENCES: (5 citations)
Croker-PopularSongs, pp. 191-195, "Gougane Barra" (1 text)
O'Conor, p. 107, "Gougaune Barra" (1 text)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 192-194, "Gougaune Barra"
Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 47-49,"Gougaune Barra"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 398-399, 496-497, "Gougaune Barra"
NOTES: Croker-PopularSongs: The origin of the river Lee is the lake of Gougane Barra, "about two miles in circumference," with one small island which, "in times of trouble, [was] sought as an asylum." The lake is formed "by numerous streams descending from the mountains that divide the counties of Cork and Kerry." Croker points out that Callanan is not buried at Gougane Barra, but in Portugal. - BS
There is a certain amount of confusion about this author. Most sources list his name as James Joseph Callanan, but he is also sometimes listed under the name "Jeremiah" (and, yes, it is known that it is the same guy). Most sources agree that he was born in 1795, but his death date seemingly varies; Hoagland and MacDonagh/Robinson give 1829. He wrote some poetry of his own, but is probably best known for his translations from Gaelic. Works of his found in this index include "The Convict of Clonmel," "The Outlaw of Loch Lene," "Sweet Avondu," "The Virgin Mary's Bank," "Gougane Barra," and a translation of "Drimindown." - RBW
File: CrPS191
===
NAME: Goulden Vanitee, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Goulden Vanitie, The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Government Claim, The: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Gowans are Gay, The
DESCRIPTION: The singer walks out in May and meets a "proper lass." He asks what she is doing; she replies, "Gathering the dew; what need you ask?" He asks her to marry; she says it is not her task to give him her maidenhead. He returns home wondering who she was
AUTHOR: unknown
EARLIEST_DATE: 1924
KEYWORDS: courting virginity virtue loneliness
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Combs/Wilgus 140, pp. 142-143, "The Gowans are Gay" (1 text)
Roud #4295
CROSS_REFERENCES:
cf. "The Seeds of Love"
cf. "Thyme, It Is a Precious Thing"
cf. "In My Garden Grew Plenty of Thyme"
NOTES: I suspect that this is a reversal of one of the "Thyme" songs (probably a "Garners Gay" version of "Thyme (It Is a Precious Thing)"). There are many similarities. But even if it is such, the changes are enough that we have to list it as a separate song. - RBW
File: CW142
===
NAME: Gown of Green (I), The
DESCRIPTION: Polly agrees "to wear the gown of green" The singer leaves "to fight our relations in North America." Many are killed. Some men foolishly buy their sweethearts toys, rings and posies; "give her the gown of green to wear, and she will follow you"
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 16(106a))
KEYWORDS: courting sex war separation death America lover soldier
FOUND_IN: 
REFERENCES: ()

Roud #1085
BROADSIDES:
Bodleian, Harding B 16(106a), "The Gown of Green" ("As my love and I was walking to view the meadows round"), J. Evans (London), 1780-1812; also Harding B 25(766), Harding B 17(116b), Firth c.14(198), Harding B 11(1098), Harding B 11(2104), Harding B 25(766), "The Gown of Green"
NOTES: The description follows broadside Bodleian Harding B 11(1098).
Roud assigns the same number to "The Gown of Green" (I) and (II). The two are obviously related though there is no overlap in story or evidence that they are fragments of some longer ballad; in fact, the wars are not the same. - BS
(In fact it's just possible that they are the same, though not likely. During the American Revolutionary War, Spain was fighting against Britain; if the hero was a sailor, or just a soldier being transported in a warship, it's just possible that he could have been in a fight with a Spaniard. Alternately, if we reverse the place where he lost the limb, Our Hero could have fought in Wellington's Peninsular Campaign in Spain, then been shipped to America to fight in the War of 1812. That happened to several regiments. - RBW)
File: RcTGoGr1
===
NAME: Gown of Green (II), The
DESCRIPTION: Harry meets a woman and baby. He claims to know her. He reminds her of the day "you wore the gown of green." He has returned from Portugal and Spain with gold and a pension, though he has lost a limb "saving my commander's life." He proposes.
AUTHOR: unknown
EARLIEST_DATE: 18C (broadside, Bodleian Harding B 25(767))
KEYWORDS: love marriage war reunion Spain baby lover sailor soldier
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1085
RECORDINGS:
Jack Norris, "The Gown of Green" (on Voice01)
BROADSIDES:
Bodleian, Harding B 25(767), "The Answer to The Gown of Green" ("As a soldier was walking all on the highway"), J. Grundy (Worcester), 18C; also Harding B 25(766), "Answer to The Gown of Green" ("A sailor was walking upon the high way"); Harding B 17(278b), "Sequel to The Gown of Green" ("As a soldier was walking all on the highway"); Harding B 25(522), "The Disconsolate Maiden"
NOTES: The opening line makes Harry either a soldier or a sailor.
Roud assigns the same number to "The Gown of Green" (I) and (II). The two seem related though there is no overlap in story or evidence that they are fragments of some longer ballad; in fact, the wars are not the same. - BS
(In fact it's just possible that they are the same, though not likely. During the American Revolutionary War, Spain was fighting against Britain; if the hero was a sailor, or just a soldier being transported in a warship, it's just possible that he could have been in a fight with a Spaniard. Alternately, if we reverse the place where he lost the limb, Our Hero could have fought in Wellington's Peninsular Campaign in Spain, then been shipped to America to fight in the War of 1812. That happened to several regiments. - RBW)
File: RcTGoGr2
===
NAME: Gra Geal Mo Chroi: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Gra Geal Mo Chroi (II -- Down By the Fair River)
DESCRIPTION: The singer hears a woman wishing her lover were here. Her lover passes. The singer remarks on her beauty "like a sheet of white paper her neck and breast." He or she promises to prove true to his or her own love.
AUTHOR: unknown
EARLIEST_DATE: 1875 (OLochlainn citing P W Joyce's _Old Irish Folk Music and Songs_)
KEYWORDS: love beauty lover promise
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (4 citations)
Creighton/Senior, pp. 150-151, "Down by the Fair River" (1 text, 1 tune)
Creighton-Maritime, p. 69, "Down By the Fair River" (1 text, 1 tune)
SHenry H582, pp. 238-239, "Gragalmachree" (1 text, 1 tune)
OLochlainn 13, "Gra Geal Mo Chroi" (1 text, 1 tune)
Roud #2329
RECORDINGS:
Mikeen McCarthy, "One Fine Summer's Morning" (on IRTravellers01)
BROADSIDES:
Bodleian, 2806 b.11(148), "Lovely Young Johnny" or "Gra Gal Ma Cree ," H. Such (London), 1863-1885
ALTERNATE_TITLES:
Newry Mountain
NOTES: Is this Laws M23 ["Gay Girl Marie"]? I don't believe so. There is no letter from the lover, and none of the consequences of that letter (some versions of this ballad have a line "Like a sheet of white paper her neck and breast" that may hint at a letter).
The coded name as "Grey Gram o'Chree" (Creighton-Maritime) or "Gra geal mo chroi" (O Lochlainn) is mentioned ("And her name in plain Irish is ....") once or twice, but is not the end of almost every verse as it is in Laws M23. This ballad is about a girl thinking about her lover; it is a collection of floating verses -- connected to that theme -- that I don't find in Laws M23. For example,
The moon it may darken and show us no light
The bright stars of heaven fall down from their height
The rocks may all melt, and the mountains remove
The ships of the ocean may go without sails
The smallest of fishes turn into great whales
In tha middle of the ocean there will groe an apple tree
For good measure, Creighton-Maritime adds "Come all ... Never build your nest on a green hollow tree...." lines and "I lost my own darling by courting too shy."
One point I missed in earlier contrast of this song with "Gay Girl Marie" [Laws M23] is that Laws M23 has a male protagonist ["I am a bold rover ..."] while this song is a woman's story ["If I were an empress ..."] - BS
In earlier editions of the Index, with the improbable title to guide us, however, we did lump them. See additional notes under "Gay Girl Marie" [Laws M23].
It is unfortunate that, apart from Creighton/Senior, almost none of the versions of this were available to Laws.  But Laws does not list the Creighton/Senior text here. So we have now split the songs. - RBW
File: CrMa069
===
NAME: Gra Machree: see Gra-mo-chroi. I'd Like to See Old Ireland Free Once More (File: OLoc063)
===
NAME: Gra-mo-chroi. I'd Like to See Old Ireland Free Once More
DESCRIPTION: "Last night I had a happy dream ... I thought again brave Irishmen Had set old Ireland free" Some modern heroes are named and Father Murphy and the Wexford men of ninety-eight. "It's Gra-mo-chroi, I'd like to see old Ireland free once more"
AUTHOR: unknown
EARLIEST_DATE: 1912 (OLochlainn)
KEYWORDS: rebellion dream Ireland nonballad patriotic
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
1778 - Birth of Robert Emmet
1796 - A French fleet (carrying, among others, Wolfe Tone) sets out for Ireland
May 26, 1798 - Beginning of the Wexford rebellion
May 27, 1798 - The Wexford rebels under Father John Murphy defeat the North Cork militia
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
1803 - Robert Emmet attempts a new rebellion. The revolt is quickly crushed, and Emmet eventually hanged
Nov 24, 1867 - Hanging of the Manchester Martyrs; this year also marked the failed Fenian rising
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 63, "Gra-mo-chroi. I'd Like to See Old Ireland Free Once More" (1 text, 1 tune)
ST OLoc063 (Partial)
Roud #5204
BROADSIDES:
Margaret Barry, "Gra Machree" (on IRMBarry-Fairs)
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: This song mentions many heroes of Irish freedom, most of whom are the heroes of other songs:
For (Daniel) O'Connell, see "Daniel O'Connell (I)" and "Daniel O'Connell (II)."
For Lord Edward (Fitzgerald), the sort-of-leader of the 1798 United Irishmen, see the notes to "The Green Above the Red."
For Wolfe Tone, the Irish Protestant who helped organize the failed invasion of 1796, see especially "The Shan Van Voght."
For Robert Emmet, the rebel against the post-1798 Union, see among others "Bold Robert Emmet, "Emmet's Death," "Emmet's Farewell to His Sweetheart," and "My Emmet's No More."
For Father Murphy and his role in the 1798 rebellion, plus the Battle of Vinegar Hill, see the notes to "Father Murphy (I)" and the references there; also "Sweet County Wexford."
"Allen, Larkin, and O'Brien" were the "Manchester Martyrs," for whom see especially "The Smashing of the Van (I)." - RBW
File: OLoc063
===
NAME: Grace Brown and Chester Gillette [Laws F7]
DESCRIPTION: Gillette is awaiting execution for drowning his sweetheart on a boating excursion. The singer mentions the grief of the mothers
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder execution grief
HISTORICAL_REFERENCES: July 11, 1906 - Murder of Grace Brown
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Laws F7, "Grace Brown and Chester Gillette"
Burt, pp. 32-34, "The Murder of Grace Brown" (1 text, 1 tune)
DT 809, GRACBRWN
Roud #2256
NOTES: This murder also provided the model for Theodore Dreiser's "An American Tragedy" - RBW
File: LF07
===
NAME: Grace Darling (I) (The Longstone Lighthouse)
DESCRIPTION: "Twas on the Longstone lighthouse there dwelt an Irish maid," Grace Darling. At dawn she saw "a storm tossed crew ... to the rocks were clinging." With her father's reluctant help, she launched a boat, rowed out, and "boldly saved that crew."
AUTHOR: unknown
EARLIEST_DATE: 1946 (Ranson); 19C (broadside, Bodleian Harding B 13(240))
KEYWORDS: drowning sea ship storm wreck sailor rescue
HISTORICAL_REFERENCES: Sep 7, 1838 - Grace Darling and her father rescue nine of the crew of Forfarshire (source: Ranson)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 86-87, "The Longstone Lighthouse" (1 text, 1 tune)
Roud #1441
BROADSIDES:
Bodleian, Harding B 13(240), "Grace Darling" ("Twas at the Longstone lighthouse"), unknown, no date; also Harding B 11(4158), "Grace Darling"
CROSS_REFERENCES:
cf. "Grace Darling (II)" (subject) 
cf. "Grace Darling (III)" (subject) 
NOTES: Ranson: "Grace Darling was the daughter of the light-house keeper on one of the Farne Islands (a group of Islands, also called The Staples, seventeen in number) two miles off the N.E. coast of Northumberland.... The song has evidently been adapted for Irish audiences." - BS
File: Ran086
===
NAME: Grace Darling (II)
DESCRIPTION: Grace tells her father to launch the lifeboat in the storm to rescue "the shipwreck'd wanderers from the grave." He answers "'twere worse than madness." At daybreak she calls on him again to launch the boat. They launch the boat and save the crew.
AUTHOR: unknown
EARLIEST_DATE: before 1861 (broadside, LOCSinging sb20150a)
KEYWORDS: drowning sea ship storm wreck sailor rescue
HISTORICAL_REFERENCES: Sep 7, 1838 - Grace Darling and her father rescue nine of the crew of _Forfarshire_. (source: Ranson, p. 87)
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Firth b.28(3a/b) View 8 of 8, "Parody. Grace Darling" ("Oh! dearest dad, the winds are blowing"), G. Ingram and Co. (London), no date
LOCSinging, sb20150a, "Grace Darling" ("Oh! father loved! the storm is raging"), H. De Marsan (New York), 1859-1860
CROSS_REFERENCES:
cf. "Grace Darling (I) (The Longstone Lighthouse)" (subject) and notes there
cf. "Grace Darling (III)" (subject)
NOTES: The description is based on broadside LOCSinging sb20150a.
Broadside LOCSinging sb20150a: 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.
While broadside Bodleian, Firth b.28(3a/b) View 8 of 8 is labelled "parody" it is not comical. Instead it seems a mild paraphrase. - BS
File: BdGrDa02
===
NAME: Grace Darling (III) 
DESCRIPTION: At night in a heavy sea the "Forfarshire" steamer strikes a rock on Longstone Island. "To pieces she flew." Grace Horsley Darling hears the cries and asks her father to go to the rescue. They launch a boat and save nine of sixty.
AUTHOR: unknown
EARLIEST_DATE: 1858 (broadside, Bodleian Firth c.12(126))
KEYWORDS: rescue drowning sea ship wreck father
HISTORICAL_REFERENCES: Sep 7, 1838 - Grace Darling and her father rescue nine of the crew of Forfarshire (source: Ranson)
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #168, p. 1, "Grace Darling" (1 text) 
GreigDuncan1 30, "Grace Darling Our Langoleen" (1 text)
Roud #3811
BROADSIDES:
Bodleian, Firth c.12(126), "Grace Darling" ("I pray give attention to what I will mention"), The Poet's Box (Glasgow), 1858; also Harding B 15(118a), Firth c.12(125), 2806 c.14(25), "Grace Darling"
CROSS_REFERENCES:
cf. "Grace Darling (I) (The Longstone Lighthouse)" (subject) and references there
cf. "Grace Darling (II)" (subject)
NOTES: "Langoleen" is not in the Greig/GreigDuncan1 text. It is not in the Greig #168 article. GreigDuncan1 neither explains it nor says the song title is "editorial." Finally, I don't know what the word means. - BS
Partridge's _Dictionary of Slang and Unconventional English_ defines "langolee" (no terminal n) as a ninteenth century term for "the male member"; maybe this is the reason for the lack of a definition in most of the textbooks. If we assume "langoleen" is the feminine form, then perhaps it's "beloved." Or perhaps I'm speculating out of turn. - RBW
File: GrD1030
===
NAME: Gracie M Parker
DESCRIPTION: Gracie Parker leaves Alberton for Saint Pierre "heavily lumber-laden." In a heavy gale "she struck a sunken rock ... And all on board were drowned." Two bodies wash up on the beach. The drowned crew are named
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ives-DullCare)
KEYWORDS: drowning sea ship storm wreck sailor moniker
HISTORICAL_REFERENCES: Dec 16, 1893 - Schooner Gracie M Parker from Alberton, PEI stranded and wrecked in a storm in St Pierre Harbour under Captain Farrell (Northern Shipwrecks Database) (Note that the ballad has the schooner put to sea on November 15, 1893 so someone is wrong by a month)
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Dibblee/Dibblee, pp. 49-50, "Gracie M Parker" (1 text, 1 tune)
Ives-DullCare, pp. 136-137,254-255, "The Schooner Gracie Parker" (1 text, 1 tune)
Roud #12469
RECORDINGS:
Mrs. Benjamin Smith, "The Schooner Gracie Parker" (on MREIves01)
NOTES: Alberton is on the north west coast of Prince, Prince Edward Island. St Pierre Harbour is on St-Pierre, a French island southwest of Newfoundland. - BS
File: Dib049
===
NAME: Gradh Geal mo cridh: see Bheir Me O (File: DTnheirm)
===
NAME: Grafted into the Army
DESCRIPTION: "Our Jimmy has gone for to live in a tent, They have grafted him into the army... I told them the child was too young, alas! At the Captain's forequarters they said he would pass...." The mother talks of her little boy in the army; she hopes he comes back
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1865
KEYWORDS: soldier mother youth humorous
FOUND_IN: 
REFERENCES: (2 citations)
Silber-CivWar, pp. 68-69, "Grafted into the Army" (1 text, 1 tune)
DT, GRFTRMY*
Roud #6596
File: SCW68
===
NAME: Gragalmachree: see Gra Geal Mo Chroi (II -- Down By the Fair River) (File: CrMa069)
===
NAME: Gramachree
DESCRIPTION: The singer hears the birds singing and courting as he wanders by the banks of Banna. He thinks longingly of Molly, who once said she loved him but now hates him. He says that he will be true for as long as he lives
AUTHOR: George Ogle (1739-1814)? (source: Croker-PopularSongs)
EARLIEST_DATE: 1787 (Scots Musical Museum)
KEYWORDS: love betrayal
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (3 citations)
SHenry H204, pp. 388-389, "Gramachree" (1 text, 1 tune)
O'Conor, p. 122, "Molly, Asthore" (1 text); pp. 158-159, "Gramachree Molly" (1 text)
Croker-PopularSongs, pp. 133-136, "Banna's Banks" (1 text)
ST HHH204 (Full)
Roud #4717
BROADSIDES:
Bodleian, Harding B 25(770), "Gramachree Molly", J. Pitts (London), 1819-1844; also Firth c.26(66), "Molly Ashtore"; 2806 c.8(179), Harding B 11(2435), Harding B 11(2400), "Molly Astore"
LOCSinging, sb30338b, "Molly Asthore", H. De Marsan (New York), 1861-1864  
CROSS_REFERENCES:
cf. "A Maid in Bedlam" (tune)
ALTERNATE_TITLES:
Gra'-mo-chree
Mailigh Mo Store
Molly Asthore (Molly, My Treasure)
Molly Bheag O!
Grai My Chree! (Love of my Heart)
NOTES: This is apparently sometimes credited to Samuel Lover (1797-1868). Since, however, it appeared in the Scots Musical Museum before Lover was even born, we can discount this; I suspect it is a confusion with "Widow Machree."
Sir George Ogle the Younger (c. 1740-1814) was a poet and politician born in county Wexford. He served in the Irish parliament in the 1790s, and was briefly a Tory representative to Westminster. His best-known works are considered to be "Banna's Banks" (in the Index as "The Banks of Banna") and "Molly Astore" (this piece); in this Index he is also contributed "The Hermit of Killarney." - RBW
Broadside LOCSinging sb30338b: 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: HHH204
===
NAME: Grand Conversation on Brave Nelson, The
DESCRIPTION: Heroes discuss Nelson and his victories at Copenhagen and the Nile. He is wounded and dies in the victory at Trafalgar and is returned to be buried in England. A memorial statue is erected in renamed Trafalgar Square at Charing Cross.
AUTHOR: unknown
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 20(61))
KEYWORDS: battle commerce England memorial political
HISTORICAL_REFERENCES: Aug 2, 1798 - Battle of the Nile at Aboukir Bay 
Apr 2, 1801 - Battle of Copenhagen
Oct 21, 1805 - Battle of Trafalgar
1843 - Nelson's Column is erected in Trafalgar Square
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Harding B 20(61), "Grand Conversation on Nelson Arose" ("As some heroes bold, I will unfold, together were conversing"), J. Harkness (Preston), 1840-1866; also Firth c.12(49), Harding B 11(1387), Johnson Ballads 2534, "Grand Conversation on Brave Nelson"
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation Under the Rose" (structure, theme)
NOTES: The theme of commerce benefiting from war gets passing notice in "The Grand Conversation on Napoleon" and is the main theme of "The Grand Conversation Under the Rose." In this broadside it has one verse between the victories at Copenhagen and the Nile, and the final victory and death at Trafalgar:
Many a gallant youth, I'll tell the truth, in action have been wounded
Some left their friends and lovers in despair upon their native shore.
Others never have returned again, but died upon the raging main,
Causing many a mother to cry, my son, and widows to deplore.
When war was raging, it is said, men for their labour were well paid
Commerce and trade was flourishing, but now it ebbs and flows,
And poverty it does increase, tho' Britons say they live in peace,
This grand conversation on brave Nelson arose.
The reference to Trafalgar Square and Nelson's Column assures that "The Grand Conversation on Brave Nelson" was written after "The Grand Conversation of Napoleon." - BS
File: BrdGCoBN
===
NAME: Grand Conversation on Napoleon, The
DESCRIPTION: Consider Napoleon's imprisonment on St Helena. Better to have died at Waterloo than be condemned by England to this "the dreary spot." His defeat at Moscow and betrayal at Waterloo are recounted. We will speak again of him when again we face the foe.
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(1389))
KEYWORDS: battle exile betrayal death commerce France memorial political prisoner Napoleon
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann, p. 192, "The Grand Conversation of Napoleon" (1 fragment)
Moylan 196, "The Grand Conversation on Napoleon" (1 text, 1 tune)
Roud #1189
RECORDINGS:
Tom Costello, "A Grand Conversation on Napoleon" (on Voice08)
BROADSIDES:
Bodleian, Harding B 11(1389), "The Grand Conversation on Napoleon ("It was over that wild beaten track a friend of bold Buonapart")," J. Catnach (London), 1813-1838; also Harding B 19(107), 2806 c.15(104)[some words illegible], "Grand Conversation on the Remains of Napoleon"; also Firth b.34(196), Firth c.16(92), Harding B 11(4086), Firth c.16(91), Harding B 11(1508), Harding B 11(253), "[The] Grand Conversation on Napoleon"; also Harding B 11(1390), "The Grand Conversation on Napoleon Arose"; Harding B 11(254), "The Grand Conversation of Napoleon"
NOTES: Zimmermann p. 192 is a fragment; broadside Bodleian Harding B 11(254) is the basis for the description.
Easily missed in passing is a one-line reference to the benefit commerce has from war: "He caus'd the money to fly wherever he did go." This theme is expanded in "The Grand Conversation on Brave Nelson" and is the main theme of "The Grand Conversation Under the Rose." 
The allusion to England is as reference to the "bunch of roses" (Zimmermann p. 192). An unspoken reference is to Ireland as the "we" in "may our shipping float again to face the daring foes ... we'll boldly mount the wooden walls."
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Grand Conversation on Napoleon" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte speculates that the last line of each verse ("And the grand conversation on Napoleon arose") is a corruption of the last line of each verse of "The Grand Conversation Under the Rose" ("This grand conversation was under the rose"); that is to say, the conversation was sub rosa=secret. - BS
There seems to be a tendency in broadsides to blame Napoleon's failure at Waterloo on betrayal. "Napoleon Bonaparte (III)" blames Marshal Grouchy. This prefers to blame Marshal Ney (1769-1815).
There is some justification for this (as there is for blaming Grouchy, who didn't march to the sound of the guns at Waterloo). Ney's performance in the Waterloo campaign was utterly pitiful. Appointed to command the left wing less than a week before Waterloo, he muffed the Battle of Quatre Bras (June 16, 1815). If he had won, it would have chewed up Wellington's army before Waterloo, making the latter battle easier for the French.
And in muffing Quatre Bras, he also contradicted Napoleon's orders to I Corps commander Jean-Baptiste Drouet Comte d'Erlon. As a result, d'Erlon didn't fight at Quatre Bras -- and didn't fight with Napoleon at the simultaneous battle at Ligny. d'Erlon's presence at Ligny would probably have turned Ligny, which was a tactical win for the French, into a complete strategic victory. Instead, the Prussian losers were able to regroup and show up to support Wellington at Waterloo.
Ney's disastrous performance continued at Waterloo itself, where the Marshal had tactical control of the battlefield. (Napoleon was feeling unwell and played very little role.) Ney did little except put in frontal attack after frontal attack -- and no one understood defensive warfare better than Wellington. If Blucher hadn't shown up, it's possible that Ney's bull-in-a-stainless-steel-plateware-shop style might have worked -- but Blucher's arrival (with Grouchy, who was supposed to watch him, nowhere to be found) doomed Napoleon.
Still, the ultimate fault is Napoleon's. He knew that Ney had all the imagination of a pithed frog. Ney was "the bravest of the brave" -- but he was simply not fit for independent command. (If you want to get a picture of Ney, think George W. Bush: Charming, aggressive, and unable to adapt to new data.) And Napoleon knew it, and he had much better commanders (notably Davout, whom he had made War Minister) available. Napoleon chose the wrong officers, and didn't exercise close control over them, and paid the inevitable price.
As for the idea that Ney sold out Napoleon -- this is a pitiful joke. When Napoleon returned from Elba, Ney led the first substantial body of troops to oppose him. He could have stopped Napoleon on the spot -- but instead rallied to his standard. And, after Napoleon fell, Ney was tried for treason and shot in December 1815. By the time of Waterloo, his only hope was for Napoleon to win. Ney's only "betrayal" lay in accepting a command he wasn't fit to exercise. And that's a crime quite a few others, including many Presidents and Prime Ministers, have been guilty of. - RBW
File: BrdGCoNa
===
NAME: Grand Conversation on O'Connell Arose
DESCRIPTION: Dan O'Connell is dead. His career is reviewed: MP for 18 years, supported the Reform Bill, "left our church and clergy free," opposed slavery, killed Lestaire in a duel. He would have supported Irish unity when the British were fighting in the Crimea.
AUTHOR: unknown
EARLIEST_DATE: before 1862 (broadside, Bodleian Firth c.26(87))
KEYWORDS: death Ireland memorial patriotic political
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
Feb 1, 1815 - Kills D'Esterre in a duel over a political comment made by O'Connell 
1823 - O'Connell's Catholic Association formed to resist the requirement that Irish Catholics pay tithes to the Anglican Church of Ireland.
July 1828 - Daniel O'Connell elected MP.
1829 - Catholic "emancipation," allowing them every political right open to Protestants of equivalent position
1840-1843 - O'Connell led the movement to repeal the act that joined Ireland and Great Britain as the United Kingdom
May 15, 1847 - O'Connell dies
1854-1856 - Crimean War
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Firth c.26(87)[final lines illegible], "Grand Conversation on O'Connell Arose" ("Come all you sons of Erin's land and mourn the loss of noble Dan"), J.O. Bebbington (Manchester), 1858-1861; also 2806 b.10(20)[some lines illegible], 2806 b.10(36), "Grand Conversation on O'Connell Arose"
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
cf. "Ould Father Dan" (subject)
NOTES: O'Connell on slavery: "With respect to the principles of President Tyler on the subject of negro slavery, I am as abhorrent of them as ever I was; indeed, if it was possible to increase my contempt of slave-owners and the advocates of slavery, my sentiments are more intense now than ever they were, and I will avail myself of the first practical opportunity of giving utterance to them, especially in connection with the horrible project of annexing Texas to the United States." (source: "Letter to James Haughton, February 4, 1845" at _Study of Slavery, Resistance, and Abolition_, Yale Center for International and Area Studies site.
Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
This item shows O'Connell as more of a visionary than usual: President Polk (the successor to Tyler) would annex Texas under the pretext of the Mexican War, and that annexation did indeed provoke the American Civil War, because it led to the collapse of the Missouri Compromise and led to the increasingly frantic attempts at conciliation which eventually failed and caused the Union to come apart.
It also shows the higher plane on which O'Connell lived: The Irish leaders of the next generation generally had no qualms against slavery; John Mitchel, indeed, actively advocated it. - RBW
File: BrdGCoOA
===
NAME: Grand Conversation on Sebastopol Arose (I)
DESCRIPTION: The British defeat the Russians at Alma, Balaclava, Inkerman and Sebastopol. British generals and units are named. Incidentally, there was some help by "6,000 sons of France"
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
Oct 25, 1854 - Battle of Balaclava
Nov 5, 1854 - Battle of Inkerman
Sep 9, 1855 - Fall of Sevastopol following an 11 month siege
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Firth c.14(71), "Grand Conversation on Sebastopol Arose" ("You Britons all, both old and young, attend unto my song"), unknown, no date
CROSS_REFERENCES:
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject)
cf. "The Heights of Alma (I)" [Laws J10] (subject: British boasting about the Crimean War)
NOTES: Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
For background on the Crimean War, and the rather inaccurate numbers in this piece, see the notes to "The Heights of Alma (I)" [Laws J10]. - RBW
File: BrdGCSA1
===
NAME: Grand Conversation on Sebastopol Arose (II)
DESCRIPTION: The British and French join Omar Pasha "to seize upon Sebastopol and set poor Turkey free." They defeat the Russians at Alma when Lord Raglan leads the battle with "legions of France by the side of old Britain" and Colin Campbell leads the Highlanders.
AUTHOR: unknown
EARLIEST_DATE: 1966 (Zimmermann)
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 20, 1854 - Battle of Alma
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Harding B 26(224), "Grand Conversation on Sebastopol Arose" ("As the Western powers of Europe, united all together"), unknown, no date
CROSS_REFERENCES:
cf. "The Heights of Alma (I)" [Laws J10] (subject: Battle of Alma)
cf. "The Kilties in the Crimea" (subject)
cf. "The Grand Conversation on Napoleon" (structure)
cf. "The Grand Conversation on Brave Nelson" (structure)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject)
NOTES: Except for the line and rhyme structure and the use of the title in the last line of each verse this ballad seems unrelated to the earlier "Grand Conversation" broadsides. - BS
The Crimean War was hardly fought to "set Turkey free." The Ottoman Empire was a despotism, and remained one -- but it was considered a useful one by the Western powers, since it kept Russia from controlling Constantinople and the straights. Hence the Crimean War.
Omar Pasha (or Omer Pasha; that being the spelling used in Lord Kinross's _The Ottoman Centuries_, p. 493) is described by Kinross as an "impatient general"; he was certainly quite a character. Born in 1806 in Croatia, with the name Michael Lattas, he had been an Austrian army cadet, but then deserted to the Ottomans (see Alan Palmer, _The Crimean War_, p. 55). In October 1853, he had opened the fighting against Russia (see Trevor Royle, _Crimea_, p. 81). In early 1854, though, he hesitated, leaving Silistria (the first major object of the Russian invasion) to its fate. It was the Russians who finally gave up their siege. According to Kinross, p. 498, he had only limited involvement in the siege of Sebastopol, fighting instead in the defence of Eupatoria. This may be in part because the British and French had so little use for the Turks.
He ended up being disgraced for his conduct at Kars in 1855, was rehabilitated in 1861, and died in 1870.
Lord Raglan, a veteran of the Napoleonic Wars, was the original Allied commander in the Crimea; for his story, see the notes to "The Heights of Alma" [Laws J10].
Sir Colin Campbell (1792-1863) was a far better general, but socially inferior; he too fought in the Napoleonic Wars, as a junior officer of brilliant talent, but it took him more than twenty years to gain command of a regiment. The commander of the Highland Brigade, he and it gained fame together in the Crimea. He ended his career by suppressing the Indian Mutiny. For more about him, see "The Kilties in the Crimea." - RBW
File: BrdGCSA2
===
NAME: Grand Conversation Under the Rose, The
DESCRIPTION: Mars and Minerva sit under the rose, considering the rusting implements of war. British peace has followed the war of independence in the States and the defeat of Napoleon in France. "Come stir up the wars, and our trade will be flourishing"
AUTHOR: unknown
EARLIEST_DATE: before 1821 (broadside, Bodleian 2806 c.17(449)
KEYWORDS: war commerce America England nonballad political gods Napoleon
FOUND_IN: Ireland
REFERENCES: (2 citations)
Zimmermann, p. 33, "The Grand Conversation Under the Rose" (1 fragment)
Moylan 197, "The Grand Conversation Under the Rose" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 c.17(449), "Grand Conversation Under the Rose," G. Thompson (Liverpool), 1789-1820; also Firth b.25(353), Johnson Ballads 848, Harding B 11(1391), Harding B 11(1392), Harding B 11(1393), Harding B 11(2479), Harding B 16(106d), Johnson Ballads fol. 27[some words illegible], Firth b.25(84), Johnson Ballads 194, Harding B 17(117b), "The Grand Conversation Under the Rose"; Firth c.16(95), "The Grand Conversation Held Under the Rose"
CROSS_REFERENCES:
cf. "The Land of Liberty" (tune, per broadside Firth c.16(95))
NOTES: Zimmermann p. 33 is a fragment; broadside Bodleian 2806 c.17(449) is the basis for the description. Zimmermann's reference underscores the reliance of commerce on war; after all, the broadside notes, "Napoleon did make the money fly about" [a line shared with "The Grand Conversation on Napoleon"]. The rose may be a symbol for England (cf. "The Bonny Bunch of Roses" [Laws J5]) - BS
The effect of Napoleon on commerce is, at best, a debatable point. War production certainly helped some economies at some time (look what it did for the United States in World War II!).
But the Napoleonic Wars seem to have caused not growth but recession, or at least loss of personal wealth due to inflation, in Britain (see the versions of "Ye Parliaments of England" which blame economic woes on Napoleon). Napoleon's "continental system" was an embargo on British trade which might have proved fatal had it not been so widely flouted; the British government's massive spending on its military sucked capital out of the economy and damaged internal trade. Plus the army and navy required so many men that farming and industrial production suffered; it was the desperate British need to round up sailors for the navy that caused the impressment crisis and led to the War of 1812 with the United States. 
Napoleon helped make the munitions makers rich (and that may be the reference here); historian Arthur Herman, whose outlook never manages to make it much beyond the deck of a navy ship, claims that in the period of the Continental System, "Britain's economy was booming. The wheels of the Industrial Revolution were humming... War had given Britain the biggest economy... in the world" (_To Rule the Waves_, p. 413; compare p. 406). Possibly, if you just count total output. But ordinary people suffered.
For more background on the Continental System and its economic effects, see the notes to "The Ports Are Open." - RBW
File: BrdGCUtR
===
NAME: Grand Coureur, Le
DESCRIPTION: French shanty. Verses tell of the Corsair, which sets out from L'Orient to hunt the English. She runs into bad weather, bad Englishmen, bad food. Finally sinks and the crew save themselves by floating on various unfloatable objects (guns, anchors, etc)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet _Chansons de bord_)
LONG_DESCRIPTION: French shanty. Verses tell of the Corsair, which sets out from L'Orient to hunt the English. She runs into bad weather, bad Englishmen, bad food. Finally sinks and the crew save themselves by floating on various unfloatable objects (guns, anchors, etc). Chorus: "Allons le gars, gai, gai! Allons les gars gaiment! / Let's go, lads, cheerily, cheerily, Let's go lads, so gaily!"
KEYWORDS: foreignlanguage shanty ship wreck
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, pp. 422-424, "Le Grand Coureur" (2 texts-French & English, 1 tune)
File: Hugi422
===
NAME: Grand Dissolving Views (I), The
DESCRIPTION: Singer, by a fireside, sees "a Grand Dissolving View" of poverty on one hand and of famous business men, authors, and monarchs. He hopes in the future rich may see the poor as brothers, and workhouses and prisons will be few.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: poverty death England nonballad political
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Harding B 11(1394), "The Grand Dissolving Views ("While thinking of some past events at home the other night"), unknown, n.d.
CROSS_REFERENCES:
cf. "The Grand Dissolving Views (II)" (subject and form)
NOTES: The first verses of "The Grand Dissolving Views" (I) and (II) are identical; the second verses are almost identical in their portrayal of a poor family and they share one more verse comparing the fates of a swindler and poor thief. The question is "which is the original and which the derivative?" For a date, an 1875 broadside for another song lists "Grand Dissolving Views" as one of the newest songs (NLScotland, RB.m.143(144), "The Harp That Once Through Tara's Halls," The Poet's Box (Glasgow), 1875). 
The famous people cited include London investment banker George Peabody (1795-1869), writers Charles Dickens (1812-1870) and Robert Burns (1759-1796), heiress and philanthropist Angela Georgina Burdett-Coutts (1814-1906), and Queen Victoria (1819-1901) - BS
File: BrdGDV1
===
NAME: Grand Dissolving Views (II), The
DESCRIPTION: Singer, by a fireside, sees "a Grand Dissolving View" of past events as -- a poor worker and his starving family, a swindler going free while a starving orphan goes to jail -- and Irish heroes who "died for love of country; it was an honourable crime"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: poverty death Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Healy-OISBv2, pp. 30-32, "The Grand Dissolving views" (1 text)
BROADSIDES:
Bodleian, Harding B 19(35), "The Grand Dissolving Views" ("While thinking of some past events at home the other night"), unknown, n.d.
CROSS_REFERENCES:
cf. "By Memory Inspired" (subject and references there)
cf. "The Grand Dissolving Views (I)" (subject and form)
NOTES: The first verses of "The Grand Dissolving Views" (I) and (II) are identical; the second verses are almost identical in their portrayal of a poor family and they share one more verse comparing the fates of a swindler and poor thief. The question is "which is the original and which the derivative?" For a date, an 1875 broadside for another song lists "Grand Dissolving Views" as one of the newest songs (NLScotland, RB.m.143(144), "The Harp That Once Through Tara's Halls," The Poet's Box (Glasgow), 1875). 
The heroes cited often each have ballads of their own: executed Father Murphy ["Come All You Warriors," "Father Murphy (I)," "Some Treat of David," "Father Murphy (II) (The Wexford Men of '98)," "Boulavogue"], Robert Emmett ["Emmett's Grave"], Lord Edward ["Edward (III)"], Allen Larkin and O'Brien ["Allen, Larkin and O'Brien"], O'Connell ["Daniel O'Connell (I)," "Erin's King (Daniel Is No More)"), "Kerry Eagle"] and General Meagher ["The Escape of Meagher"]; I have found no song yet for United Irishmen John and Henry Sheares [see now "The Brothers John and Henry Sheares" - RBW], or 18th century orator and member of the Irish parliament Henry Grattan [as "Henry Grattin"] (source: "Henry Grattan" and "Shears Brothers" in _1798 Rebellion_ at the Rathregan National School site). - BS
Several histories I've read have notes about how Irish folklore magnifies some heroes, such as Wolfe Tone and Father Murphy, and ignores the Sheares brothers. The latter are at least mentioned in "The Tree of Liberty," plus the probably-not-traditional "The Brothers John and Henry Sheares."  Gratton earns a brief comment in "Ireland's Liberty Tree," which is mostly about the parliament he built up.
I do think "The Grand Dissolving Views (I)" is the original; (II) looks very much like a local adaption. - RBW
File: BrdGDV2
===
NAME: Grand Falls Tragedy, The
DESCRIPTION: At 3 A.M. a flat-car, loaded with rocks, falls down an incline and crushes three workmen below. The dead workmen are named and their home told.
AUTHOR: unknown
EARLIEST_DATE: 1975 (Lehr/Best)
KEYWORDS: death worker railroading
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 46, "The Grand Falls Tragedy" (1 text, 1 tune)
NOTES: Grand Falls is on TC-1, south of Notre Dame Bay, along the old route of Newfoundland's trans-insular railway. - BS
File: LeBe046
===
NAME: Grand Hotel, The
DESCRIPTION: "There's a place in Vancouver the loggers know well, It's a place where they keep rotgut whiskey to sell. They also keep boarders and keep them like hell, And the name of that place is the Grand Hotel."
AUTHOR: unknown
EARLIEST_DATE: 1949
KEYWORDS: logger drink
FOUND_IN: Canada(West)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 180-181, "The Grand Hotel" (1 text, 1 tune)
DT, GRNDHOTL*
Roud #4547
RECORDINGS:
Stanley G. Triggs, "The Grand Hotel" (on Triggs1)
CROSS_REFERENCES:
cf. "Vilikens and his Dinah (William and Dinah) [Laws M31A/B]" (tune & meter) and references there
cf. "Farewell to Tarwathie" (tune)
NOTES: The ship "Cassiar" (referred to in the third verse) was a coastal steamer whose special duty was to carry loggers back and forth from the camps to Vancouver for sprees.
The Digital Tradition lists this as having "Farewell to Tarwathie" as its tune. Most others list "Sweet Betsy." Both fit. - RBW
File: FJ180
===
NAME: Grand Mystic Order, The
DESCRIPTION: The singer dreams of his initiation into the Orange Institution. He must answer that Joshua took the Israelites unto the Promised Land. His conductor knocks in code on a door. The path through the door is dangerous and he passes other tests.
AUTHOR: unknown
EARLIEST_DATE: mid-19C (Zimmermann)
KEYWORDS: dream ritual religious
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 97, "The Grand Mystic Order" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Brilliant Light" (subject and some phrases)
cf. "The Knight Templar's Dream" (subject)
cf. "The Grand Templar's Song" (subject and some phrases)
cf. "The Blackman's Dream" (subject)
NOTES: "The Loyal Orange Institution was founded after the Battle of the Diamond [at Diamond Crossroads] on September 21, 1795. The 'skirmish' was between the Roman Catholic Defenders and the Protestants of the area.... At the beginning the membership was of the labouring and artisan classes.... In the Rebellion of 1798, the Orangemen were on the side of the Crown and had much to do with the defeat of the United Irishmen.... With the rebellion at an end the lodges were to be less fighting societies, and more political and fraternal clubs.... From 1815, the Institution had been seriously affected, by internal disputes. Many of them were about lodge ritual and the attempts to form higher orders." (source: _The Orange Institution - The Early Years_ at Grand Orange Lodge of Ireland site.)
Zimmermann p. 302: The initiation songs "evoke Moses' rod, the crossing of the Red Sea or the Jordan, and strange wanderings in darkness, barefooted, among terrifying noises, to final illumination." - BS
For the Battle of the Diamond, see the notes to "The Battle of the Diamond," "Bold McDermott Roe," and "The Boys of Wexford." Songs about the Orange Order are too numerous to list.
The statement that the Orangemen were on the side of the British in 1798 is far too simplistic; most of the rebel leadership in 1798 was Protestant -- including Henry Munro (for whom see "General Monroe") and the Presbyterian Henry Joy McCracken (for whom see "Henry Joy McCracken (I)"), who ended up in command of the Ulster rising.
What is true is that the Protestants in Ulster generally did not rise in 1798. Robert Kee, in _The Most Distressful Country_ (being Volume I of _The Green Flag_), pp. 130-131, discusses at length the reasons for this. Probably most important was the fact that they had largely been disarmed in 1797, and they didn't have any remaining organization. And they had been led to expect French intervention, and had so far been disappointed.
Plus they had reason to fear their Catholic colleagues. The United Irishmen, with their Protestant leaders, had tried to "paper over" the split,  but the Wexford rebellion, which was more spontaneous, had shown extremely sharp sectarian divisions (note especially the much-discussed atrocity at Scullabogue, for which see e.g. "Kelly, the Boy from Killane"). Had the Ulster Protestants still had a military organization, they might have joined the Catholics -- but they couldn't really take part as individual rebels. So they fell back on particularism and groups like the Orange Order.
Hence this song. Joshua was, of course, the leader of the Israelites after the death of Moses, who was responsible for the conquest of Palestine. The Bible portrays him as leading a small army to defeat much larger local forces (though if the census figures in Numbers are correct, the Israelites probably outnumbered the whole population of Palestine at the time. Either Numbers is wrong, or the Israelites had overwhelming numeric superiority). Joshua also brought a new religion. He is an obvious symbol for any religious minority with militant intentions. - RBW
File: Zimm097
===
NAME: Grand River, The: see Three Men Drowned (The Grand River) (File: Rick129)
===
NAME: Grand Roundup, The: see The Cowboy's Dream (File: R185)
===
NAME: Grand Saint Pierre, Ouvre Ta Porte (Great Saint Peter, Open Your Door)
DESCRIPTION: French. A Scottish sailor is at heaven's door. St Peter refuses him: sailors belong in Hell with the rest of the demons. If I let you in you will ruin paradise. The sailor says a Scottish sailor would wipe out the devils in Hell. St Peter lets him in.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage humorous religious talltale sailor Devil Hell
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 878, "Grand Saint Pierre, Ouvre Ta Porte" (1 text, 1 tune)
File: Pea878
===
NAME: Grand Templar's Song, The
DESCRIPTION: Grand Templars will be led by Moses's staff and Aaron's rod "to the promised land of God." Moses saw the Burning Bush and became a pilgrim. Noah loved the Free Masons and built the first ship. The singer sees lights and the serpent and finds "the Secret"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: religious ritual
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 130, "The Grand Templar's Song" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Grand Mystic Order" (subject and some phrases)
cf. "The Knight Templar's Dream" (subject)
cf. "The Brilliant Light" (subject)
cf. "Orange and Blue" (Masonic symbolism)
NOTES: The images in Tunney-StoneFiddle seem confused but become clearer when compared with other Masonic songs. For example, the line "The serpent passed me by, I bent unto the ground" are, in "The Brilliant Light" dream sequence: "I cast it [Aaron's rod] on the ground and a serpent it became When he ordered me right courteously to lift it up again. I stooped and it spit fire ... I done as those words commanded and took it by the tail." The burning bush and travels of Moses are themes shared with "The Grand Mystic Order." These images are also in "The Knight Templar's Dream." What seems to have been lost in Tunney-StoneFiddle is a first verse explaining that the images are part of a dream and an indication that Masonic rituals are being described. - BS
The story of Aaron's staff that became a serpent is told in Exodus 7:8fff., I wonder, though, if the reference here isn't to Numbers 21:6fff., where God sends serpents ("fiery serpents," in the King James Bible, though the translation is somewhat uncertain). The Burning Bush is in Exodus 3. The story of Noah is in Genesis 6:9-9:29; nowhere does it state that Noah built the first ship. - RBW
File: TSF130
===
NAME: Grandfather Bryan
DESCRIPTION: Grandfather Bryan dies on St Patrick's day. The singer lists the worthless items he inherits: cloth-leather britches, broomstick with the head of a rake, blanket of cloth patches, a key with no lock .... "I'm fixed in grand style for the winter."
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: death humorous nonballad lastwill
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
O'Conor, p. 121, "Grandfather Brian" (1 text)
Peacock, pp. 55-56, "Grandfather Bryan" (1 text, 1 tune)
Roud #8248
BROADSIDES:
Bodleian, 2806 c.15(113), "My Grandfather Brian", unknown, n.d.; also Harding B 19(41), "My Grandfather Brian"
CROSS_REFERENCES:
cf. "Maurice Crotty" (tune)
NOTES: The first verse of O'Conor has lines close to first verse lines of Opie-Oxford2 155, "My father died a month ago" (" ... died ... And left me all his riches ... And a pair of leather breeches"); the themes are identical (earliest date in Opie-Oxford2 is 1894). - BS
A similar item occurs in Montgomerie-ScottishNR 172, "(My father died a month ago)." - RBW
File: Pea055
===
NAME: Grandfather's Clock
DESCRIPTION: A description of the relations between grandfather and clock. The clock ran for the entire length of the old man's life, celebrating happy occasions and never complaining. "But it stopp'd -- short -- never to go again When the old man died."
AUTHOR: Henry Clay Work
EARLIEST_DATE: 1876
KEYWORDS: technology family nonballad
FOUND_IN: US
REFERENCES: (3 citations)
RJackson-19CPop, pp. 76-79, "Grandfather's Clock" (1 text, 1 tune)
Silber-FSWB, p. 251, "Grandfather's Clock" (1 text)
DT, GRANCLOK*
ST RJ19076 (Full)
Roud #4326
RECORDINGS:
Carolina Buddies, "Grandfather's Clock" (Decca 5142, 1935)
[?] Clark & [Walter] Scanlan, "Grandfather's Clock" (Edison 50979, 1922)
Frank Crumit, "Grandfather's Clock" (Victor 19945, 1926)
Edison Male Quartette, "Grandfather's Clock" (CYL: Edison 8967, 1905)
Chubby Parker, "Grandfather's Clock" (Supertone 9732, 1930)
Tom & Roy, "Grandfather's Clock, Part 1/Part 2" (Montgomery Ward M-4242, 1933)
CROSS_REFERENCES:
cf. "My Grandfather's Cock" (tune, form)
cf. "His Grandfather's Hat" (tune, form)
NOTES: Soon after the Civil War, Henry Clay Work retired from songwriting (presumably because of the poor pay). In 1871, however, the Chicago fire burned down the offices of Root and Cady (the publishing firm), and Chauncy M. Cady asked his friend Work to write some songs to help him re-establish his business.
One of the songs Work turned in was "Grandfather's Clock," which had been gathering dust in his files for some years. The song sold some 800,000 copies, and earned Work about $4,000 in royalties (at that time, easily enough to retire on).
Folklore has it that, until this song was published, floor clocks were just "floor clocks" or "tall clocks." Since then, they have been known as "Grandfather clocks." This strikes me as more reasonable than many folk derivations, but I cannot verify this from any of my linguistic sources.
Incidentally, there was one famous instance of something rather like this actually happening, though I doubt it inspired Work's song. The story is of the famous Captain Cook and his final voyage of exploration. One of the reasons Cook was such a great explorer was that he was among the first officials to actually be able to tell longitude; in recent decades, enough astronomical data had been gathered to make it possible to navigate by the stars --  plus the chronometer (the first timepieces accurate enough to tell time while at sea) had been invented.
True chronometers were still very rare in Cook's time, since they had to be hand-made with incredible accuracy. John Harrison (1693-1776) had invented the device and built a handful; Larcum Kendall had made a handful in imitation of Harrison. Kendall's first machine, known as K-1, was used by Cook on his voyages. And, according to Dava Sobel, _Longitude_ (new edition with a foreward by Neil Armstrong, 2005; I use the 2007 Walker paperback edition), p, 151, "Almost at the instant the captain died in 1779, according to an account kept at the time, K-1 also stopped ticking." - RBW
Parodies of this piece have been common. Paul Stamler tells us of "His Grandfather's Hat," which likely will not make it into this collection: "'His Grandfather's Hat' is a parody of 'Grandfather's Clock,' referring to candidate Benjamin Harrison [elected in 1888, but defeated in 1892], grandson of President William Henry Harrison: 'His grandfather's hat is too big for his head/But Ben puts it on just the same.'" - PJS, RBW
File: RJ19076
===
NAME: Grandma's Advice
DESCRIPTION: The girl is cautioned by her grandmother to be cautious of boys. "They will flatter you and cunningly deceive." But the girl, courted by Johnny Green and Ellis Grove, thinks "If the girls... had been afraid / Grandma herself would have been an old maid"
AUTHOR: unknown
EARLIEST_DATE: 1840 (The Lover's Harmony); supposedly also The [Winchester] Virginia Sentinal and Gazette, March 2, 1795
KEYWORDS: courting youth
FOUND_IN: Britain(England(Lond)) Canada(Mar) US(Ap,MA,MW,NE,SE,So) Ireland
REFERENCES: (17 citations)
Randolph 101, "Grandmaw's Advice" (2 texts, 1 tune)
Eddy 138, "Little Johnny Green" (1 text, 1 tune)
BrownII 194, "Grandma's Advice" (1 text plus a fragment and mention of 3 more)
Scarborough-SongCatcher, pp. 374-375, "Die an Old Maid" (2 texts, with local titles "My Grandmother Lived on Yonder Little Green," (no title); 1 tune on p. 457)
Brewster 44, "Grandma's Advice" (2 texts plus mention of 2 more)
Linscott, pp. 243-245, "My Grandmother Lived on  Yonder Green" (1 text, 1 tune)
Creighton-Maritime, p. 36, "Grandma's Advice" (1 text, 1 tune)
Mackenzie 157, "Little Johnny Green" (1 text, 1 tune)
Spaeth-WeepMore, pp. 159-160, "My Grandmother" (1 text, 1 tune)
SHenry H208, p. 258, "Grandma's Advice" (1 text, 1 tune)
Pankake-PHCFSB, p. 79, "My Grandma's Advice" (1 text)
JHCox 161, "Little Johnny Green" (1 text)
JHCoxIIA, #26, pp. 101-102, "Grandma" (1 text, 1 tune)
DSB2, p. 15, "My Grandmother's Advice" (1 text)
cf. Gardner/Chickering, p. 480, "Little Johnny Green" (source notes only)
DT, GRANYADV*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 209, "Grandmaw's Advice" (1 text)
ST R101 (Full)
Roud #282
RECORDINGS:
Mrs. Wolf, "Grandmama's Advice" (on USWarnerColl01)
BROADSIDES:
LOCSheet, sm1857 610450, "My Grandma's Advice," Horace Waters (New York), 1857; also sm1885 04362, "My Grandma's Advice" (tune)
LOCSinging, sb30329a, "My Grand-Mother's Advice," H. De Marsan (New York), 1864-1878; also as104760, "Grand-Ma's Lesson"; as109120, "My Grand-Mother's Advice!"
CROSS_REFERENCES:
cf. "The Birken Tree"
cf. "She Loves Coffee and I Love Tea" (floating lyrics)
NOTES: Broadside LOCSinging sb30329a: 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: R101
===
NAME: Grandmaw's Advice: see Grandma's Advice (File: R101)
===
NAME: Grandmother's Chair
DESCRIPTION: After the singer's grandmother died, her will was found to grant large sums to several siblings, but to the singer, only granny's old armchair. He is far from content, but takes the chair home -- and eventually discovers a fortune hidden inside
AUTHOR: unknown
EARLIEST_DATE: 1880 (sheet music)
KEYWORDS: money death hiding
FOUND_IN: Britain(Scotland(Aber)) US(MW,SE,So) Canada(Mar)
REFERENCES: (7 citations)
GreigDuncan3 705, "Grandmother's Chair" (1 text, 1 tune)
Randolph 467, "Granny's Old Arm Chair" (2 texts, 1 tune)
Randolph/Cohen, pp. 360-362, "Granny's Old Armchair" (1 text, 1 tune -- Randolph's 467A)
Warner 100, "My Grandmother's Chair" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 373-374, "Grandmother's Old Armchair" (1 text; tune on p. 457)
Ives-DullCare, pp. 123-125,252, "The Old Arm Chair" (1 text, 1 tune)
Spaeth-WeepMore, pp. 204-206, "The Arm Chair" (1 text, 1 tune)
ST R467 (Partial)
Roud #1195
RECORDINGS:
[Clarence] Ashley & [Gwen] Foster, "The Old Armchair" (Vocalion 02647, 1934)
Crockett's Kentucky Mountaineers, "Granny's Old Arm Chair" (Crown 3188/Montgomery Ward M-3026 [as Harlan Miner's Fiddlers], 1931)
Frank Crumit, "Granny's Old Arm-Chair" (HMV [UK] B-4059, 1932)
Pete Daley's Arkansas Fiddlers, "Granny's Old Armchair" (Varsity 5078, n.d.)
Charlie Parker & Mack Woolbright, "The Old Arm Chair" (Columbia 15694-D, 1931; rec. 1927)
Williamson Bros. & Curry, "The Old Arm Chair" (OKeh 45146, 1927)
BROADSIDES:
Bodleian, Firth b.28(4a/b) View 3 of 8, "Grandmother's Chair" ("My grandmother she at the age eighty-three"), R. March and Co. (London), 1877-1884; also Harding B 20(62), "Grandmother's Old Arm-chair"
ALTERNATE_TITLES:
The Old Arm Chair
NOTES: Warner notes that this piece was printed twice in 1880 -- once, under the title "Grandmother's Chair," credited to John Read, and the other, "Grandma's/Granny's Old Arm Chair," attributed to Frank B. Carr. No definitive information about the author has been forthcoming.
Cohen, however, notes sheet music from 1841, credited to Eliza Cook (words) and William Clifton (music), but cites Spaeth to the effect that it was composed by Henry Russell (credited with singing it in the Cook/Clifton printing) in 1840.
Scarborough claims that it is of "British origin," but cites no evidence. - RBW
See one version of "Grandma's Old Arm-Chair" [Sheet Music: digital id sm1880 02996], published in Boston in 1880, attributed to Frank B Carr, at the Library of Congress American Memory site. 
There are three versions of an entirely different song as "The Old Arm Chair" beginning "I love it, I love it, and who shall dare, To chide me for loving that old arm chair." This is probably the Cohen reference since the words are attributed to Eliza Cook in two cases and the music is attributed to William Clifton and sung by Henry Russell ([Sheet Music: digital id sm1841 380380], published in New York in 1841), music attributed to Henry Russell ([Sheet Music: digital id sm1840 370920], published in Boston in 1840) and with no music attribution ([Sheet Music: digital id sm1842 381990], published in Baltimore in 1842); all three are at the Library of Congress American Memory site. This is also the song in three "[The] Old Arm[-/ ]Chair" broadsides [America Singing: digital id as110050/sb30397a/as110060] at the Library of Congress American Memory site.
As to Frank B Carr, here is a note from John Hill in the DigiTrad discussion of "Fields of Athenry": "Finding the published song isn't always the end of the story. Someone recently asked if I could find the words to 'Granny's old arm chair'. I found them in the collection of the Library of Congress. Written by Frank B. Carr 'America's Motto vocalist' (whatever that was) published in 1880 in Boston. Then about 3 weeks later (by accident) I found the same song in the same collection written by John Reid. pub 1881 Boston. There were other songs by John Reid but no other by Frank B. Carr. So was the later Publication the real writer and maybe the earlier one only the performer (Although he claimed to be the writer) What was odd was they were both published in the same town... " - BS 
File: R467
===
NAME: Grandmother's Old Armchair: see Grandmother's Chair (File: R467)
===
NAME: Granemore Hare, The
DESCRIPTION: The boys from Maydown hunt a hare. The hare sings about the the strategy of the chase and how she has been trapped by the dogs. Dying, she blames McMahon for bringing Coyle and his dogs, changing the way the hunt had been carried out all these years.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: death hunting animal dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 42, "The Granemore Hare" (1 text, 1 tune)
Roud #2883
RECORDINGS:
Patsy Flynn, "The Grangemore Hare" (on IRHardySons)
CROSS_REFERENCES:
cf. "The Hare of Kilgrain" (theme: fatal hare hunt) 
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
NOTES: Granemore and Maytown are in County Armagh. - BS
File: MorU042
===
NAME: Granite Mill: see The Burning of the Granite Mill [Laws G13] (File: LG13)
===
NAME: Granny and the Golden Ball: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Granny Will Your Dog Bite?
DESCRIPTION: "Chicken in the bread tray, Scratching out the dough, (Granny/Auntie) will your dog bite? No, chile, no." Other verses may also be about chickens or involve questions: "Auntie, will your oven bake?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird chickens food nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 158, "Chicken in the Bread Tray" (1 text)
Scarborough-NegroFS, p. 194, (no title) (1 short text)
Roud #6389
RECORDINGS:
Floyd County Ramblers, "Granny, Will Your Dog Bite?" (Victor V-23759, 1930/Timely Tunes 1561)
File: Br3158
===
NAME: Granny's Old Arm Chair: see Grandmother's Chair (File: R467)
===
NAME: Granny's Old Armchair: see Grandmother's Chair (File: R467)
===
NAME: Granua's Lament for the Loss of her Blackbird Mitchel the Irish Patriot
DESCRIPTION: Granua sings "My Blackbird's banished to a foreign isle ... John Mitchel brave is my Blackbird's name," tried with Reilly and Meagher and sentenced by Baron Lefroy to be transported for 14 years. O'Connell died in '47. Mitchel was transported in '48
AUTHOR: unknown
EARLIEST_DATE: 1848 (Zimmermann)
KEYWORDS: transportation trial Ireland patriotic bird lament
HISTORICAL_REFERENCES: May 27, 1848 - Judge Thomas Lefroy sentences John Mitchel (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 60, "Granua's Lament for the Loss of her Blackbird Mitchel the Irish Patriot" (1 text)
BROADSIDES:
Bodleian, Harding B 11(389), "The Blackbird" ("Come all you Irishmen both great and small"), H. Such (London), 1863-1885; also 2806 b.10(56), "The Blackbird"
CROSS_REFERENCES:
cf. "John Mitchel" (subject: John Mitchel)
NOTES: From National Library of Scotland commentary on broadside NLScotland RB.m.143(013), "Shiel's Rights of Man": "Granua (also spelt Grainne). The daughter of the mythical Irish warrior and folk hero, Finn McCool, Granua is also used as a symbol for Ireland - much like the figure of Britannia is employed as a symbol for Great Britain." - BS
For background on Mitchel, see the notes to "John Mitchel." - RBW
File: Zimm060
===
NAME: Granuaile
DESCRIPTION: "Poor Old Granuaile," bound in chains, in deep distress, mourns the loss of the old heroes and avengers. Dan O'Connell says "I have got the bill to fulfil your wishes.... Her voice so clear fell on my ear"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 3, "Granuaile" (1 text, 1 tune)
Healy-OISBv2, pp. 33-34, "A New Song Called Granuaile" (1 text, probably this though printed without stanza divisions)
Roud #3034
CROSS_REFERENCES:
cf. "Granuwale" (theme)
cf. "Old Granny Wales (Granny O'Whale, Granua Weal)" (subject of Granuaile)
cf. "Sheila Nee Iyer" (aisling format)
cf. "Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)" (aisling format)
cf. "Eileen McMahon" (aisling format)
cf. "Erin's Green Shore" [Laws Q27] (aisling format)
cf. "Erin's Lament for her Davitt Asthore" (aisling format)
cf. "Poor Old Granuaile" (aisling format)
cf. "The Rights of Man" (aisling format)
cf. "The Blackbird of Avondale" or "The Arrest of Parnell" (theme)
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
NOTES: Two similar but different broadsides:
Bodleian, Harding B 19(25), "Granauile" ("One morning fair to take the air and recreate my mind"), J.F. Nugent & Co. (Dublin), 1850-1899
Bodleian, Johnson Ballads 507A, "Granawail" ("[Come] all you Irish hero's that's craving for liberty"), E. Hodges (London), 1855-1861
"Granuaile O'Malley (Or Grace O'Malley, or Gr.inne Ni Mhaille or Gr.inne Uaile) is among the most illustrious of O'Malley ancestors. She was a 'Sea Queen' and pirate in the 16th century." (Source: The Official Web Site of The O'Malley Clan Association)
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, "Granuaile" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte: "The older Gaelic poets when they wished to write on the wrongs that Ireland has suffered at the hands of the English since the invasion of Ireland in 1169, they often adopted the type of poem called 'The Aisling'." He goes on to describe the 'aisling' and shows that Granuaile is typical of the pattern. - BS
Patrick C. Power's _A Literary History of Ireland_ associates the aisling in particular with Aodhagan O Rathaille (c. 1670-c. 1730), and notes on p. 97 that "If any form of verse can be described as typically 18th century, then the aisling deserves this title. Essentially, the aisling means vision and the poetry... known as 'aislings' are essentially vision poems. The first poems of this kind appeared during the end of the 16th century."
By the eighteenth century, he adds, a formula had been fixed: "The poet goes out walking and meets a beautiful lady. He then describes her dress and appearance and asks her who she is. She is generally the personification of Ireland and she promises early deliverance from the foreign yoke and the return of the Stuarts to the English throne.... Aisling-poetry was always closely connected with the Jacobite movement and is mainly escapist in mode. It often abounds in classical allusions."
Power would technically deny this song Aisling-hood, since the "last aislings were written in the early 19th century and even still referred to the Stuart prince." The references to Daniel O'Connell obviously changes the picture, but the form fits -- this might be called a neo-aisling. Especially since it's in English.
Granuaile seems to have inspired a whole family of these neo-aislings, in fact -- enough that it might be called a sub-genre at least. See "The Rights of Man" and "Poor Old Granuaile," ; compare also "Erin's Green Shore" [Laws Q27] and "Erin's Lament for her Davitt Asthore."
For more on aislings, see Ben Schwartz's note to "Eileen McMahon."
The _Oxford Companion to Irish History_ gives Granuaile O'Malley's dates as c. 1530-c. 1603, observes that she was married twice and imprisoned 1577-1579 -- and notes that, on the whole, she strove for peaceful relations with the English.
Daniel O'Connell (1775-1847) was an Irish patriot who worked vigorously for Catholic freedom. He did not take part in the 1798 rebellion, but promoted Irish and Catholic rights for many years, and in 1829 saw Britain lift the ban on Catholics in parliament. One of the greatest of the peaceful Irish leaders, his tragedy is that eventually neither side trusted him. For more about his history, see the various songs named for him. - RBW
File: OLoc003
===
NAME: Granuwale
DESCRIPTION: Granuale "the distress of Erin she sorely lamented." Irish men had fought for old England but England, in turn, "oppressed poor old Granuale." She hopes for help in "some strange nation" but mourns the loss of the green Linnet banished to St Helena
AUTHOR: unknown
EARLIEST_DATE: first half 19C (Zimmermann)
KEYWORDS: Ireland patriotic Napoleon
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo, after which Napoleon seeks sanctuary with the British and ends up exiled on St. Helena
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 29, "The New Granuwale" (1 text, 1 tune)
Moylan 204, "The New Granuwale" (1 text)
CROSS_REFERENCES:
cf. "Erin's Green Shore" [Laws Q27] (theme)
cf. "Poor Old Granuaile" (theme)
cf. "Granuaile" (theme)
cf. "Erin's Lament for her Davitt Asthore" (theme)
cf. "The Blackbird of Avondale" or "The Arrest of Parnell" (theme)
NOTES: Granuaile is sometimes a standin for Ireland.
"Granuaile O'Malley (Or Grace O'Malley, or Grainne Ni Mhaille or Grainne Uaile) is among the most illustrious of O'Malley ancestors. She was a 'Sea Queen' and pirate in the 16th century." (Source: The Official Web Site of The O'Malley Clan Association)
Zimmermann p. 55: "At the time of the United Irishmen, Granu Waile standing for Ireland was already celebrated by broadsides in English." 
For another example of Napoleon as the Green Linnet see "The Green Linnet" - BS
File: Zimm029
===
NAME: Grassy Islands
DESCRIPTION: "I'm gwine away to leave you, O-o-o-o-o! I'm gwine away to the grassy islands, O-o-o-o-o!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: travel separation
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 207, "Grassy Islands" (1 fragment, 1 tune)
File: ScNF207A
===
NAME: Grat for Gruel
DESCRIPTION: "There was a weaver o' the north, And O but he was cruel; The very first nicht that he was wed, He sat and grat for gruel." The wife explains that gruel cannot be had; he will have it if she must cook it in the wash-pot and he must eat it with a trowel
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Jimmy McBeath)
KEYWORDS: humorous food marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Kennedy 202, "Grat for Gruel" (1 text, 1 tune)
DT, GRUELL*
Roud #935
RECORDINGS:
Jimmy McBeath, "Gruel" (on FSB3)
NOTES: Kennedy describes this tune as a "variant" on The Lincolnshire Poacher. There are points of similarity, but "variant" probably implies a degree of similarity not justified by the facts of the case (among other things, "Grat for Gruel" has a chorus). - RBW
No chorus in "The Lincolnshire Poacher"? What's "'Tis my delight on a shiny night/In the season of the year"? Chopped liver? - PJS
Picky, picky. "Poacher" has a single long-line chorus; "Grat for Gruel"  four short lines related to the verse. - RBW
File: K202
===
NAME: Grave of the Section Hand, The
DESCRIPTION: "They laid him away on the brow of the hill, Outside of the right-of-way." The section hand's many years of service are recalled. His grave will guard the track. The place of the burial is briefly described.
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: death railroading burial
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 129, "The Grave of the Section Hand" (1 text)
Roud #9584
File: Dean129
===
NAME: Grave of Wolfe Tone, The
DESCRIPTION: "In Bodenstown churchyard there is a green grave ... Once I lay on that sod -- it lies over Wolfe Tone." He wakes to the sound of students and peasants who come to the grave to raise a simple monument "fit for the simple and true"
AUTHOR: Thomas Davis (source: Moylan)
EARLIEST_DATE: 1845 (_The Nation_, according to Moylan)
KEYWORDS: patriotic political Ireland burial
HISTORICAL_REFERENCES: Nov 10, 1798 - Wolfe Tone (1763-1798) condemned to execution; he cuts his own throat to avoid hanging as a criminal (his request to face a firing squad had been denied)
FOUND_IN: Ireland
REFERENCES: (5 citations)
O'Conor, p. 39, "The Grave of Wolfe Tone" (1 text)
OLochlainn-More 32, "The Grave of Wolfe Tone" (1 text, 1 tune)
Moylan 121, "The Grave of Wolfe Tone" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, p. 244, "Tone's Grave"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 481-482, "Tone's Grave" (1 text)
Roud #9313
RECORDINGS:
Liam Clancy, "In Bodenstown's Churchyard" (on IRLClancy01)
BROADSIDES:
Bodleian, Harding B 26(690), "Wolfe Tone's Grave!", Haly (Cork), 19C
CROSS_REFERENCES:
cf. "Emmett's Grave" (tune, broadside Bodleian Harding B 26(690))
NOTES: Given Ireland's recent history, it's ironic to note that Wolfe Tone was a Protestant. For the history of the events that led to his execution, see the notes to "The Shan Van Voght." - 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, "Bodenstown Churchyard" (on Franke Harte and Donal Lunny, "1798 the First Year of Liberty," Hummingbird Records HBCD0014 (1998)) - BS
File: OCon039
===
NAME: Graveyard, The
DESCRIPTION: "Who gwine to lay this body, Member, O shout glory, And who gwine to lay this body, O ring Jerusalem." "O call all the members to the graveyard." "O graveyard, ought to know me." "O, grass grow in the graveyard."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad burial
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 15-16, "The Graveyard" (1 text, 1 tune)
Roud #11844
File: AWG015B
===
NAME: Gray Cat on the Tennessee Farm
DESCRIPTION: About life  on a Tennessee farm. All the singer wants is a "baby in the cradle and a pretty girl to rock it," plus meat in the sack, sugar in the gourd, a tub of lard. Ch: "Big cat spit in the little kitten's eye/Little cat, little cat, don't you cry...."
AUTHOR: Uncle Dave Macon, more or less
EARLIEST_DATE: 1927 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Disjointed verses about life on a small farm in the Tennessee Hills. Singer says all he wants is a "baby in the cradle and a pretty girl to rock it," along with meat in the sack, sugar in the gourd, and a big tub of lard. Chorus: "Big cat spit in the little kitten's eye/Little cat, little cat, don't you cry/I do love liquor and I will take a dram/I'm gonna tell you, pretty Polly Ann"
KEYWORDS: farming drink nonballad baby family animal
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Uncle Dave Macon, "The Gray Cat on the Tennessee Farm" (Vocalion 5152, 1927)
New Lost City Ramblers, "Grey Cat on the Tennessee Farm" (on NLCR06)
CROSS_REFERENCES:
cf. "One Fine Day" (floating lyrics)
cf. "Mary, She Did Dream a Dream" (lyrics)
File: RcGCotTF
===
NAME: Gray Mare, The [Laws P8]
DESCRIPTION: The miller gains Kate's love and is offered a large dowry. He also demands her father's gray mare. The father turns him out of the house for asking too much. When he later meets Kate, she tells him she wants no part of the man who preferred a mare to her
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(45))
KEYWORDS: courting dowry marriage
FOUND_IN: US(MW,NE) Canada(Mar,Newf) Britain(Scotland,England(North,West),Wales) Ireland
REFERENCES: (16 citations)
Laws P8, "The Gray Mare"
Belden, pp. 235-236, "The Gray Mare" (1 text plus mention of 1 more)
Eddy 63, "Young Rogers, The Miller" (1 text, 1 tune)
Gardner/Chickering 160, "My Father's Gray Mare" (1 text)
Greenleaf/Mansfield 26, "Rogers the Miller" (1 text)
Peacock, pp. 278-279, "The Gray Mare" (1 text, 1 tune)
Ives-NewBrunswick, pp. 53-56, "Roger the Miller" (1 text, 1 tune)
Creighton-SNewBrunswick 79, "Roger the Miller" (1 text, 1 tune)
Manny/Wilson 89, "Roger the Miller" (1 text, 1 tune)
Botkin-SoFolklr, p. 718, "Young Rogers the Miller" (1 text, 1 tune)
SHenry H90, pp. 365-366, "The Grey Mare" (1 text, 1 tune)
Kennedy 144, "Young Roger Esquire" (1 text, 1 tune)
LPound-ABS, 34, p. 80, "My Father's Gray Mare" (1 text)
Flanders/Brown, pp. 62-64, "Gay Jemmie, The Miller" (1 text, 1 tune)
DT 339, GREYMARE*
ADDITIONAL: _Sing Out_ magazine, Volume 40, #2 (1995), pp, 104-105, "John Roger the Miller" (1 text, 1 tune, from the singing of John W. Collier)
Roud #680
RECORDINGS:
Bob Atcher, "Young Rogers the Miller" (Columbia 20483, 1948)
Stanley McDonald, "Roger the Miller" (on Miramichi1)
BROADSIDES:
Bodleian, Harding B 28(45), "The Farmer's Grey Mare" ("Young Roger the miller, went a courting of late"), W. Armstrong (Liverpool), 1820-1824; also Harding B 25(1647), "Roger the Miller"; Harding B 11(1435), Harding B 11(1434), "Grey Mare"; Harding B 25(1645), 2806 c.16(50), "Roger the Miller and the Grey Mare"; Harding B 16(316b), Firth c.18(216), "Young Roger and the Gray Mare"; Harding B 11(4390), "Young Roger and the Grey Mare "
ALTERNATE_TITLES:
Young Jimmy the Miller
Young Johnny the Miller
Tid the Gray Mare
File: LP08
===
NAME: Grazier Tribe, The
DESCRIPTION: "Oh, ye toilers of this nation, I hope you will draw near... My pen I take to hand To try to describe a grazier tribe That now infests this land." The singer laments the British controls on Irish production and the corruption of the system
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: Ireland poverty hardtimes crime
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 21-22, "The Grazier Tribe" (1 text, 1 tune)
OLochlainn 78, "The Grazier Tribe" (1 text, 1 tune)
Roud #2998
RECORDINGS:
Straighty Flanagan, "The Grazer Tribe" (on Voice05)
NOTES: It appears that this song refers to the period of time around the famines, when many Irish smallholders were displaced and their properties converted into large estates to graze animals rather than grow crops.
The "graziers" are, of course, the members of the English government who were devouring Ireland's subsistence.
It should be noted that, economically, this made sense. Ireland is not good country for growing crops; there isn't enough sun. It is excellent country for pastoral industries. The problem is, there were too many Irish to be supported by herding. They needed to wring every calorie they could out of the soil.
The charges in this song are technically correct; England heavily restricted Irish commerce and instituted a system of officialdom that severely restricted Irish freedom.
It should be noted, however, that this was the way all of Europe treated its colonies (including the British colonies in North America). The real problem was not the economic policies (though these did produce much poverty); rather, it was the sullen relationship between the Irish and their masters, as well as the strained relations between Catholics and Protestants -- a problem worsened by the English anti-Catholic statutes. 
Understanding and compassion could have made a bad situation much better -- but that was sadly lacking. - RBW
File: PGa021
===
NAME: Greasy Cook, The (Butter and Cheese and All, The Cook's Choice)
DESCRIPTION: The singer keeps company with a cook. One day she is about to send him off with cheese and butter when the master comes in. He hides in the chimney; the fire melts cheese and butter and sets them afire. The master douses him; he flees to a chorus of jeers
AUTHOR: unknown
EARLIEST_DATE: 1920 (Greenleaf/Mansfield)
KEYWORDS: cook courting food humorous
FOUND_IN: Britain(England(South)) Ireland Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 108, "Butter and Cheese and All" (1 text)
Peacock, pp. 251-252, "Butter and Cheese" (1 text, 1 tune)
Copper-SoBreeze, pp. 236-237, "The Cook's Choice" (1 text, 1 tune)
Kennedy 129, "The Greasy Cook" (1 text, 1 tune)
Roud #510
RECORDINGS:
Harry Cox, "The Greasy Cook" (on HCox01)
Sam Larner, "Butter and Cheese" (on SLarner02)
CROSS_REFERENCES:
cf. "The Boatsman and the Chest" [Laws Q8] (plot) and references there
NOTES: This and similar songs are sometimes traced back to a story in Boccaccio (seventh day, second story: Gianella, Peronella, and her husband). But the story is really one of the basic themes of folktale, and doubtless predates Boccaccio as well as these songs. - RBW
File: CoSB236
===
NAME: Greasy Grimy Gopher Guts
DESCRIPTION: "Great (big) gobs of greasy, grimy gopher guts...." The singer lists a variety of available non-delicacies, and laments, "And me without a spoon."
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: food parody
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 133, "Greasy Grimy Gopher Guts" (1 text, tune referenced)
DT, GOPHRGTS
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" (tune)
NOTES: People swear this is a folk song. I haven't heard it, but I can't prove them wrong. - RBW
File: PHCFS133
===
NAME: Great American Bum, The (Three Jolly Bums)
DESCRIPTION: "Come all you jolly jokers if you want to have some fun And listen while I relate the tale of a great American bum." The singer rejoices getting maximum results from minimum work: "I am a bum, a jolly old bum, and I live like a royal Turk...."
AUTHOR: Harry "Haywire Mac" McClintock
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: rambling begging work
FOUND_IN: US Australia
REFERENCES: (5 citations)
Fahey-Eureka, pp. 192-193, "The Two Professional Hums" (sic; see note) (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 293-295, "Two Professional Hums" (1 text)
Sandburg, p. 183, "Shovellin' Iron Ore"; 192, "We Are Four Bums" (1 text plus a fragment, 2 tunes)
Gilbert, pp. 184-185, "The Great American Bum" (1 text)
Silber-FSWB, p. 50, "The Great American Bum" (1 text)
Roud #9833
RECORDINGS:
Vernon Dalhart, "The Bum Song" (Columbia 1488-D, 1928)
Dick Holmes, "The Bum Song" (Oriole 1324, 1928)
Eddie Kirk, "Bum Song" (Edison 52384, 1928)
Frank Luther, "The Bum Song"  (Brunswick 254/Brunswick 4029, 1928)
Frank Marvin, "The Bum Song" (Romeo 719/Cameo 8296 [as Lazy Larry], 1928
Harry "Mac" McClintock, "The Bum Song" (Victor 21343, c. 1928) (Decca 5640, 1939)
Hobo Jack Turner [pseud. Ernest Hare] "The Bum Song" (Harmony 705-H/Diva 2705-G/Velvet Tone 1705-V, 1928)
"Weary Willie", "The Bum Song"  (Perfect 12461/Pathe 32382, 1928; this is, surprisingly, not the same recording as the one by "Lazy Larry")
Pete Wiggins, "The Bum Song" (OKeh 41092, 1928)
SAME_TUNE:
Vernon Dalhart, "The Bum Song No. 2" (CYL: Edison [BA] 5653, n.d.); Vernon Dalhart & Co., "The Bum Song, No. 2" (Edison 52472, 1929)
Jerry Ellis [pseud. for Jack Golding] "Bum Song #2" (Champion 15646, 1928; Supertone 9342 [as Weary Willie], 1929)
Harry "Mac" McClintock, "The Bum Song, No. 2" (Victor 21704, 1928) (Decca 5689, 1939)
Carson Robison Trio, "Bum Song No. 5" (Pathe 32477, 1929; Perfect 12571, 1930)
ALTERNATE_TITLES:
The Bum Song
NOTES: "Hum" is Australian slang for "bum"; the Australian version abounds in such localizations. - RBW
File: FaE192
===
NAME: Great American Flood Disaster, The
DESCRIPTION: "A terrible disaster Has come upon our land, Down where the Mississippi flows On her way so grand." People are enjoying life along the Mississippi when a great storm and floods come to bring ruin
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: flood river disaster
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 120-121, "The Great American Flood Disaster" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Mighty Mississippi" (theme)
File: MCB120
===
NAME: Great Big Dog
DESCRIPTION: "Great big dog come a-runnin' down de river, Shook his tail an' jarred de meadow. Go 'way, ole dog, go 'way, ole dog, You shan't have my baby. Mother loves you, Father loves you, Ev'ybody loves Baby. Mother loves you...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: lullaby dog animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 157-158, "Great Big Dog" (1 short text, 1 tune)
File: ScNF157C
===
NAME: Great Big Nigger Sittin' on a Log: see Mourner, You Shall Be Free (Moanish Lady), which has this chorus though the verses are from everywhere (File: San011)
===
NAME: Great Big Sea Hove in Long Beach, A
DESCRIPTION: "A great big sea hove in Long Beach... And Granny Snooks she lost her speech." "Me boot is broke, me frock is tore... But George Snooks I do adore." "Oh, fish is low and flour is high... So Georgie Snooks he can't have I."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Doyle)
KEYWORDS: humorous nonballad sea hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (5 citations)
Blondahl, p. 11, "Great Big Sea Hove in" (1 text, 1 tune)
Fowke/Johnston, pp. 176-177, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Doyle2, p. 27, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Doyle3, p. 25, "A Great Big Sea Hove in Long Beach" (1 text, 1 tune)
Lomax-FSNA 77, "A Great Big Sea" (1 text, 1 tune)
Roud #4426
CROSS_REFERENCES:
cf. "The Gaberlunzie Man" (tune & meter)
cf. "Kate's Big Shirt" (tune)
NOTES: Fowke suggests this song dates from the 1930s, when Newfoundland sailors received poor pay for their fish but had to pay high prices for flour. Long Beach is a town on the east coast of Newfoundland. - RBW
File: FJ176
===
NAME: Great Big Taters in Sandy Land
DESCRIPTION: "Big yam taters in de sandy lan', Sandy bottom, sandy lan'." "Sift your meal an' save de bran, Mighty good livin' in de sandy lan'." The singer describes farming and courting in "de sandy lan'," and describes some of the local characters
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: farming nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 236-237, "Sandy Lan'" (1 text, 1 tune)
Roud #7909
NOTES: Alan Lomax says this is the same tune as "Sally Anne," and close to "Sally Goodin." Paul Stamler, who knows all three as fiddle tunes, concedes a relationship to "Sally Anne" but not "Sally Goodin." Based on the versions I've heard, I agree -- but I've only heard bluegrass versions of "Sandy Land," so that proves very little.
The final verse of the _American Ballads_ text is "Sal's Got a Meatskin..."  -- but of course this may be a Lomax insertion.... - RBW
File: LxA236
===
NAME: Great Change Since I Been Born: see Things I Used To Do (File: San482)
===
NAME: Great Elopement to America, The
DESCRIPTION: Mick courts Nancy Keays, "a rich farmer's daughter." Her father will not agree to the marriage. With her 500 pounds they elope. Her father searches through Ireland without success and posts a reward for their arrest, but they are safe in America.
AUTHOR: unknown
EARLIEST_DATE: 19C (broadside, Bodleian 2806 c.8(158))
KEYWORDS: courting elopement emigration manhunt escape America Ireland father
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, 2806 c.8(158), "The Great Elopement to America" ("Farewell to old Ireland the land of my fathers)," Haly (Cork), 19C
CROSS_REFERENCES:
cf. "M'Kenna's Dream" (tune, broadside Bodleian Harding B 26(201))
cf. "The Gallant Farmers' Farewell to Ireland" (words, and references there)
cf. "William and Phillis" (plot)
File: BrTGETA
===
NAME: Great Getting Up Morning: see In that Great Gettin' Up Morning (File: LxU106)
===
NAME: Great Gittin' Up Mornin': see In that Great Gettin' Up Morning (File: LxU106)
===
NAME: Great God A'mighty
DESCRIPTION: A chopping song with story. "He's a-choppin de new ground (x3), Great God a'mighty." The singer describes his axe blade, boasts of his ability, and discusses arguments with the captain
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: prisoner chaingang work
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 79-82, "Great God A'mighty" (1 text, 1 tune)
Roud #15571
RECORDINGS:
Texas state farm prisoners, "Chopping in the New Ground" (on NPCWork)
CROSS_REFERENCES:
cf. "Choppin' Charlie" (lyrics)
NOTES: This shares many of its verses, and its setting, with "Choppin' Charlie." But "Choppin' Charlie" has a plot of sorts, and "Great God A'mighty" is just a chopping song, so I very tentatively split them. - RBW
File: LxA079
===
NAME: Great God, I'm Feelin' Bad
DESCRIPTION: "Great God, I'm feelin' bad, I ain't got the man I thought I had."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: separation nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Sandburg, p. 238, "Great Gawd, I'm Feelin' Bad" (1 short text, 1 tune)
File: San238
===
NAME: Great Grand-dad
DESCRIPTION: "Great grand-dad when the West was young, Barred his door with a wagon tongue." He raised 21 boys without any trouble -- but now there's a great-grandson, and of course youth being what it is, *that* one gives trouble
AUTHOR: unknown
EARLIEST_DATE: 1931 (Larkin)
KEYWORDS: father children family
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 482, "Great Grand-dad" (1 text, 1 tune)
BrownII 266, "Great Granddad" (1 text)
Larkin, pp. 83-85, "Great Grand-dad" (1 text, 1 tune)
Roud #4446
RECORDINGS:
John White, "Great Grand Dad" (Domino 4440, c. 1929; on MakeMe)
CROSS_REFERENCES:
cf. "Old Grandma"
NOTES: You mean it isn't just the current generation of old people who complain about the young? :-) - RBW
File: R483
===
NAME: Great Judgment, The
DESCRIPTION: "I dreamt that the great judgment morning Had dawned and the trumpet had blown...." The singer describes the scene before God's throne "as the lost was told of their fate" and the poor, widows, and orphans rewarded. The rich man's money does not save him
AUTHOR: unknown
EARLIEST_DATE: 1925 (Randolph)
KEYWORDS: religious death Hell
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 618, "The Great Judgment" (2 texts, 2 tunes)
Roud #4731
File: R618
===
NAME: Great Northern Line, The
DESCRIPTION: "My love he is a teamster, a handsome man is he... With his little team of bullocks on the Great Northern Line." The singer describes her handsome, hard-driving, hard-swearing, flirting, madly inventive teamster love
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: work Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 273, "The Great Northern Line" (1 text)
CROSS_REFERENCES:
cf. "The Knickerbocker Line" (tune & meter)
File: MA273
===
NAME: Great Round-Up, The: see The Cowboy's Dream (File: R185)
===
NAME: Great Ship Went Down, The (Titanic #16)
DESCRIPTION: "Titanic was a ship... Oh, it was a pleasure trip." "Titanic was her name, Atlantic was her fame, she sank about five hundred miles from shore, 1600 were at sea... went down an angry wave to rise no more." 1600 die in the "angry wave."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Cofer Brothers)
KEYWORDS: sea wreck family disaster death
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Cowboy Loye and Just Plain John, Old Time Ballads & Cowboy Songs (no date but internal evidence dates it after 1932), pp 43-44, "Titanic"
RECORDINGS:
Cofer Brothers, "The Great Ship Went Down" (OKeh 45137, 1927)

NOTES: The Cofer Brothers version of this is so generic that it might almost be a rewrite of one of the other songs, but the Cowboy Loye version has the interesting feature of mentioning Mr. and Mrst. Isidore Strauss -- the second richest couple on the ship after John Jacob Astor. I haven't met this in any other _Titanic_ song. It is also unusual in that it doesn't shove a moral down your throat.
Thanks to John Garst for help with the Loye text.
For an extensive history of the _Titanic_, with detailed examination of the truth (or lack thereof) of quotes in the _Titanic_ songs, see the notes to "The Titanic (XV)" ("On the tenth day of April 1912") (Titanic #15) - RBW
File: RcGSWD
===
NAME: Great Silkie of Sule Skerry, The [Child 113]
DESCRIPTION: A lady mourns that she knows not her son's father. He appears at her bedside, revealing that he is a silkie. He prophesies that she shall marry a "gunner," who will shoot both him and her son.
AUTHOR: unknown
EARLIEST_DATE: 1852
KEYWORDS: selkie seduction
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (9 citations)
Child 113, "The Great Silkie of Sule Skerry" (1 text)
Bronson 113, "The Great Silkie of Sule Skerry" (1 version, though only the fifth stanza is proper to the tune)
Leach, pp. 321-323, "The Great Silkie of Sule Skerry" (2 texts)
OBB 31, "The Great Silkie of Sule Skerry" (1 text)
Friedman, p. 27, "The Great Silkie of Sule Skerry" (2 texts, 1 tune) {Bronson's (#1)}
PBB 74, "The Great Silkie of Sule Skerry"; 75, "Sealchie Song" (1 text)
Hodgart, p. 69, "The Great Silkie of Sule Skerry" (1 text)
Silber-FSWB, p. 219, "The Great Silkie" (1 text)
DT 113, SILKIE1* SILKIE2*
Roud #197
RECORDINGS:
Art Thieme, "The Great Silkie of Sule Skerry" (on Thieme06)
NOTES: The tune to which this ballad is most often sung nowadays was composed by James Waters in the late 1950s. It was also used by Pete Seeger as the melody for his setting of Nazim Hikmet's poem about Hiroshima, "I Come and Stand at Every Door." -PJS
The fullest collection of texts and tunes for this piece is probably that of Alan Bruford, who in "The Grey Silkie" (originally published in _Scottish Studies_ 18, 1974; also available in E. B. Lyle, ed., _Ballad Studies_) prints, in tolerably incomprehensible form, eight texts or fragments and two tunes.
Bruford also discusses the relationship of the song to "The Play o de Lathie Odivere" (best known now perhaps in Gordon Bok's adaption "The Play of the Lady Odivere"), having much to say, and little of it good, about this piece first published by Walter Traill Dennison in _The Scottish Antiquary_ in 1894. Bruford doesn't quite say so, but it appears that he believes Dennison's piece to be a forgery built upon a small core of traditional material. - RBW
File: C113
===
NAME: Great Speckled Bird, The
DESCRIPTION: "What a beautiful thought I am thinking Concerning the great speckled bird." The bird, though attacked by other birds, "is one with the great church of God." The bird's success is promised when God comes on the bird's wings
AUTHOR: unknown
EARLIEST_DATE: 1936 (Aurora Advertiser)
KEYWORDS: religious Bible bird
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 621, "The Great Speckled Bird" (1 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 435-437, "The Great Speckled Bird" (1 text, 1 tune -- Randolph's 621A)
Silber-FSWB, p. 368, "The Great Speckled Bird" (1 text)
DT, GRTSPCKL* GRTSOCK2*
Roud #7444
RECORDINGS:
Roy Acuff & his Smoky Mountain Boys (OKeh 04252 [as Roy Acuff & his Crazy Tennesseans], 1938; Columbia 20031, c. 1945; Columbia 37005, 1947; rec. 1936)
Hall Brothers, "The Great Speckled Boatman" (Bluebird, unissued, 1938)
Holiness Church congregation, "Great Speckled Bird" (on MMOKCD)
Jack & Leslie, "The Great Speckled Bird" (Decca 5555, 1938)
Charlie Monroe's Boys, "The Great Speckled Bird" (Bluebird B-7862, 1938)
Morris Brothers, "The Great Speckled Bird" (Bluebird B-7903, 1938)
SAME_TUNE:
Roy Acuff, "Great Speckle Bird No. 2" Roy Acuff & his Smoky Mountain Boys (OKeh 04374, 1938; Columbia 20032, c. 1945; Columbia 37006, 1946; rec. 1937)
Roy Hall & his Blue Ridge Entertainers, "Answer to Great Speckled Bird" (OKeh 4771, prob. 1939; recorded 1938; listed as Vocalion 04771/Conqueror 9184 in Lornell, _Virginia's Blues, Country & Gospel Records 1902-1943_)
NOTES: Usually credited to Roy Acuff (who certainly popularized it); however, a 1936 printing in the Aurora, Missouri _Advertiser_ precedes Acuff's 1937 copyright, and there is a claim that it was written around 1934 by Guy "Uncle George" Smith. And some of Randolph's informants would date the song much earlier.
The image of the "great speckled bird" comes from Jeremiah 12:9 in the King James Bible ("Mine heritage is unto me as a speckled bird, the birds round about are against her"). This is not, however, a very apt translation of a difficult Hebrew original (which mentions, seemingly as a single subject, a hyena and a bird of prey; the ancient Greek version reads "My inheritance is a hyena's cave"); most modern versions render the verse in a way not parallel to the KJV. - RBW
File: R621
===
NAME: Great Storm Pass Over, A
DESCRIPTION: A hurricane passes over Andros Island; for three days the sun is blotted out. The singer fixes his heart on Jesus; while many are crippled, wounded, or killed, he is spared. He tells sinners that the time of judgement is coming; they had better pray
AUTHOR: "Tappy Toe" (nickname, real name unknown; Andros Island sponger)
EARLIEST_DATE: 1935 (recording, men from Andros Island)
KEYWORDS: warning death disaster storm Caribbean Jesus
HISTORICAL_REFERENCES: 1929 - The Bahamas are devastated by a hurricane with little or no advance warning. Many deaths and much damage results
FOUND_IN: Bahamas
REFERENCES: ()

Roud #15622
RECORDINGS:
Unidentified men from Andros Island, "A Great Storm Pass Over" (AAFS 504 A, 1935; on LomaxCD1822-2)
CROSS_REFERENCES:
cf. "Run Come See" (subject)
NOTES: While the storm described is the same one described in "Run Come See," this is an independent song. - PJS
File: RcAGSPO
===
NAME: Great Titanic, The: see The Titanic (I) ("It Was Sad When That Great Ship Went Down") [Laws D24] (Titanic #1) (File: LD24)
===
NAME: Greedy Gled o' Mains, The
DESCRIPTION: "There lives a farmer in this place" known for his greed. In all weather he greedily drives his crew. He is too smart for "poor silly folk" round about. "Grab a' ye can is aye the plan Wi' the greedy gled o' Mains."
AUTHOR: unknown
EARLIEST_DATE: 1901 (GreigDuncan3)
KEYWORDS: greed commerce farming nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 358, "The Greedy Gled o' Mains" (1 text)
Roud #5903
CROSS_REFERENCES:
cf. "The Glead" (subject?)
NOTES: GreigDuncan3 glossary p. xlii: "gled,glead" is translated as "kite,hawk"
GreigDuncan3: "John Milne published this song in 1901 (Milne, p. 9) and commented: '[This song] was popular in the first thirty years of the [nineteenth century].'"
This song begins "There lives a farmer in this place His name ye nead na speire." GreigDuncan3 says nothing to solve the mystery for this song or for "The Glead." It seems likely to me that both songs are about the same person.
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Mains of Pitfour (358) is at coordinate (h5,v0) on that map [roughly 28 miles N of Aberdeen] - BS
File: GrD3356
===
NAME: Greedy Harbour
DESCRIPTION: "Down in Greedy Harbour we went one time; We shipped on board with old man Ryme; The skipper and I could not combine, With him I spent a very short time." The singer buys and loses a punt, dresses a cow in silks, and drinks turpentine thinking it wine
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: humorous nonballad talltale
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 127, "Greedy Harbour" (1 text, 1 tune)
Leach-Labrador 114, "Grady's Harbour" (1 text, 1 tune)
Roud #6344
File: GrMa127
===
NAME: Green Above the Red, The
DESCRIPTION: When the English red has been above the Irish green our fathers rose to set the green above the red. Heroes are named. Irish green is banned now but "we vow our blood to shed, Once and forever more to raise the green above the red"
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian 2806 b.10(118))
KEYWORDS: Ireland nonballad patriotic political rebellion
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, p. 58, "The Green Above the Red" (1 text)
Healy-OISBv2, pp. 125-126, "The Green Above the Red" (1 text)
ST OCon058 (Partial)
BROADSIDES:
Bodleian, 2806 b.10(118), "The Green Above the Red" ("Full often when our fathers saw the Red above the Green"), H. Such (London), 1863-1885; also Harding B 11(1411), Harding B 11(1412), "The Green Above the Red"
NOTES: The "Lord Edward" of some texts is Lord Edward Fitzgerald (1763-1798), one of the leaders of the United Irishmen and the last one to retain his liberty after the government cracked down (March 12). He doesn't seem to have been particularly smart, and was eventually wounded and captured (May 19); he died in prison of the effects of his wound. For more about him, see the notes to "Edward (III) (Edward Fitzgerald)."
For Wolfe Tone, see, e.g., the notes to "The Shan Van Voght."
Patrick Sarsfield, made Earl of Lucan by James II, was one of the Irish around the time of the Boyne; for his story, see "After Aughrim's Great Disaster."
My guess is that "Owen" is Owen Roe O'Neill (c. 1582-1649), nephew of Red Hugh O'Neill; he served for a time in the Netherlands, then fought against the English in Ireland in the 1640s, though he did not cooperate very well with other Nationalist leaders. For background on his career, see the notes to "General Owen Roe." - RBW
File: OCon058
===
NAME: Green Banks of Banna, The
DESCRIPTION: "By the green banks of Banna I wander alone Where the river runs softly by sweet Portglenone." The singer recalls the day her lover said he must leave her. She laments his long absence. She will be happy once he returns
AUTHOR: Maud Houston?
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: love separation
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H233, pp. 287-288, "The Green Banks of Banna" (1 text, 1 tune)
Roud #3818
NOTES: Sam Henry attributed this to Maud Houston, but only in one of his copies. In any case, it's the sort of thing anyone might scrap together from traditional pieces. - RBW
File: HHH233
===
NAME: Green Bed, The: see Johnny the Sailor (Green Beds) [Laws K36] (File: LK36)
===
NAME: Green Brier Shore (II), The
DESCRIPTION: "Oh, then I can court little and I can court long, and I'll court an old sweetheart till the new one comes along. I'll kiss them and court them...." Nancy and Willie declare their love and lamenting her rich parents' disapproval of Willie.
AUTHOR: unknown
EARLIEST_DATE: 1962 (Fowke/MacMillan)
KEYWORDS: love courting floatingverses
FOUND_IN: Canada(Ont)
REFERENCES: (2 citations)
Fowke/MacMillan 68, "Green Brier Shore, The" (1 text, 1 tune)
DT 329, GRNBRIR2*
Roud #549
CROSS_REFERENCES:
cf. "The New River Shore (The Green Brier Shore; The Red River Shore)" [Laws M26] (lyrics)
cf. "Lovely Willie" [Laws M35] (lyrics)
cf. "Way Down the Ohio" (lyrics)
NOTES: Though it has the same title, it does not have the story line of the Laws M26, "Green Brier (Red River or New River) Shore"  [though Roud lumps them, and I'm almost tempted to do the same until and unless more versions of this form show up - RBW].In fact there is precious little story line at all, the verses all describe Nancy and Willie declaring their love for each other and lamenting her rich parents disapproval of Willie.
Has a completely unrelated and lighthearted first verse which could also function as a chorus, "Oh, then I can court little and I can court long, and I'll court an old sweetheart till the new one comes along. I'll kiss them and court them -- keep their mind at ease. But when their back is turning I'll court who I please."
Fowke states that it seems to be a composite, borrowing verses from several other songs, including the other "Green Brier Shore" and "Lovely Willie." - SL
File: FowM068
===
NAME: Green Brier Shore, The: see The New River Shore (The Green Brier Shore; The Red River Shore) [Laws M26] (File: LM26)
===
NAME: Green Broom
DESCRIPTION: Old broom-cutter tells his lazy son to get to work cutting broom. The boy does, then takes it to market to sell. A lady hears him, and has him brought in, where she proposes marriage to him. They wed, as the lady sings his praises.
AUTHOR: unknown
EARLIEST_DATE: 1720 (Pills to Purge Melancholy, under the title "The Jolly Broom-Man: Or the unhappy BOY turn'd Thrifty')
KEYWORDS: love marriage work worker courting
FOUND_IN: Britain(England(All),Scotland(Aber)) Ireland Canada(Newf)
REFERENCES: (9 citations)
Stokoe/Reay, pp.  104-105, "Broom, Green Broom" (1 text, 1 tune)
Sharp-100E 49, "Green Broom" (1 text, 1 tune)
Kennedy 223, "Green Brooms" (1 text, 1 tune)
Karpeles-Newfoundland 76, "Green Broom" (1 text, 1 tune)
SHenry H147, p. 474, "Green Broom" (1 text, 1 tune)
Baring-Gould-MotherGoose #120, pp. 98-99, "(There was an old man, and he liv'd in a wood)" (first half of the song only)
Montgomerie-ScottishNR 166, "(There was an old man)" (1 fragment)
DT, GRNBROOM* GRNBROM2*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #139, "Green Broome" (1 text)
Roud #379
RECORDINGS:
Sam Larner, "Green Broom" (on SLarner02)
Sean McDonagh, "Green Brooms" (on FSB3)
BROADSIDES:
Bodleian, 2806 c.17(156), "The Green Broom," W. Armstrong (Liverpool), 1820-1824; also Harding B 16(108a), Firth b.26(294), Firth b.25(38), Firth c.18(205), "Green Brooms"; Harding B 28(93), "Jack and His Brooms"
ALTERNATE_TITLES:
Jack and His Brooms
NOTES: Found in _Gammer Gurton's Garland_, according to Sharp, and also in _Pills to Purge Melancholy_. -PJS
Not to be confused with "The Broomfield Hill," also sometimes found under the title "Green Broom." - RBW
File: ShH49
===
NAME: Green Bushes, The [Laws P2]
DESCRIPTION: The singer courts a girl he meets by chance, offering her fine clothes if she will marry him. Although clothes do not interest her, she is willing to marry, even though she is already pledged. Her former love arrives and comments bitterly on her falseness
AUTHOR: unknown
EARLIEST_DATE: 1845 (in the play "The Green Bushes" by Buckstone); before 1839 (broadside, Bodleian Johnson Ballads fol. 30)
KEYWORDS: courting love clothes infidelity
FOUND_IN: US(NE,SE) Canada(Mar,Newf) Britain(Scotland,England(Lond,South)) Ireland
REFERENCES: (16 citations)
Laws P2, "The Green Bushes"
Sharp-100E 40, "Green Bushes" (1 text, 1 tune)
Meredith/Anderson, pp. 173-174, "Green Bushes" (1 text, 1 tune)
SharpAp 126, "Green Bushes" (1 text, 1 tune)
Sharp/Karpeles-80E 48, "Green Bushes" (1 text, 1 tune -- a composite version)
Copper-SoBreeze, pp. 240-241, "Down by the Green Bushes" (1 text, 1 tune)
Kennedy 156, "Green Bushes" (1 text, 1 tune)
SHenry H143, p. 395, "The Green Bushes" (1 text, 1 tune)
Ord, p. 147, "Green Bushes" (1 text)
Greenleaf/Mansfield 30, "The Green Bushes" (1 text, 1 tune)
Karpeles-Newfoundland 84, "Green Bushes" (1 text, 1 tune)
Creighton-NovaScotia 19, "Green Bushes" (1 text, 1 tune)
Flanders/Brown, pp. 246-247, "Way Down by the Green Bushes" (1 text)
MacSeegTrav 66, "Green Bushes" (2 texts, 2 tunes)
Darling-NAS, pp. 134-135, "The Green Bushes" (1 text)
DT 491, GREEBUSH*
Roud #1040
RECORDINGS:
Geoff Ling, "The Green Bushes" (on Voice01)
BROADSIDES:
Bodleian, Johnson Ballads fol. 30, "Among the Green Bushes, &c," J. Catnach (London), 1813-1838; also Firth c.18(145), "The False Lover" ("As I was a walking one morning in May"), unknown, handwritten note "1827"; Harding B 11(52), Harding B 17(4b), Harding B 11(51), Harding B 11(53), "The False Lover"; Harding B 11(52), Harding B 17(4b), Harding B 11(51), Harding B 11(53), Firth c.18(147), "Among the Green Bushes"; 2806 b.10(80), Harding B 11(3102), "Down by the Green Bushes"; Firth c.18(146), Harding B 20(64), Johnson Ballads 512, 2806 c.8(194), 2806 d.31(71), 2806 c.17(157), Harding B 11(1416), Harding B 11(1889), Harding B 18(220), "Green Bushes" [same as LOCSinging as104920]; cf. Bodleian, Firth c.18(79), "Nut Bushes" ("As I walked out cne [sic] evening"), unknown, n.d.; also 2806 c.13.310, "The Nut Bushes" (partially illegible)
LOCSinging, as104920, "The Green Bushes," J. Andrews (New York), 1853-1859 [same as Bodleian Harding B 18(220)]; also sb10147a, as101350, "The Green Bushes"
CROSS_REFERENCES:
cf. "The Cutty Wren" (tune)
cf. "Farewell to Tarwathie" (tune)
cf. "Queen of the May" (theme)
cf. "The Shepherd's Lament" (theme, floating lyrics)
cf. "False Mallie" (theme: a man driven "mad" by a woman's infidelity) 
cf. "Lovely Annie" (one verse and theme: a man driven "mad" by a woman's infidelity)
NOTES: Not to be confused with the song called "Behind the Green Bush" in Huntington. The latter appears to be derived from a minstrel piece (the lovers are "Damon" and "Pastora"), and does not appear to be traditional.
The broadside text "The Nut Bushes" is very like some versions of this song, but with a somewhat different ending, which Ben Schwartz describes as follows: "Singer meets Molly who is singing that she is to meet her lover below the nut bushes. He promises fine clothes if she will marry. She refuses. Her lover comes. Singer is frantic at losing Molly. His Captain threatens to send him to Bedlam."
As Ben says, "The Captain threatening the singer with Bedlam convinces me that the singer is a sailor; 'Molly' rejecting a sailor bound to Bedlam" is the plot line of 'False Mallie.' However, 'Nut Bushes' shares neither text nor structure with that ballad. The last verse -- the only one to name Molly and the only one to mention Bedlam -- is shared almost word for word with 'Lovely Annie'; the significant differences are the committer ('Captain' vs 'master') and the name of the woman." On that basis, I'm treating "Nut Bushes" as a redaction of this song, and filing it here because there is little evidence it exists in tradition. - RBW
Broadside LOCSinging as104920: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
One of the Bodleian broadsides, Johnson Ballads fol. 30, has the written date "1827" though the printer is not known. In any case, broadside Bodleian Johnson Ballads fol. 30 predates the 1845 play by Buckstone. - BS
Or at least its publication; Buckstone was not a very successful author, though certainly prolific. The Londoner (1802-1879), who was an actor as well as a writer, is credited by _The New Century Handbook of English Literature_ (ed. Clarence L. Barnhart with William D. Haley, revised edition, Meredith Publishing, 1967) with "200 melodramas and farces," but Larousse's Biographical Dictionary counts only 150, none of them being of any note. (My quick check revealed the names of only three pieces by Buckstone, and none of the contents.)
Buckstone did do a tour of the U. S. in 1840; it is thus possible that he introduced the British song in America. - RBW
File: LP02
===
NAME: Green Carpet
DESCRIPTION: "On the green carpet here we stand, Take your true love by the hand, Take the one whom you profess To be the one whom you love best." "Oh what a beautiful choice you've made... Give her a kiss, and send her away, And tell her she can no longer stay."
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: playparty marriage love nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 46-47, "On the Green Carpet" (1 text, 1 tune, which seems to mix "Green Carpet" and "Oats and Beans")
File: Lins46
===
NAME: Green Cockade, The
DESCRIPTION: In 1782 the Volunteers "won for Ireland full free trade" in return for Irish aid. In 1789 the Volunteers surrounded King William's statue "proclaiming Ireland should be free." But "the Irish divided, the English gained And Ireland once again was chained"
AUTHOR: unknown
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: England Ireland patriotic political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 4, "The Green Cockade" (1 text, 1 tune)
BROADSIDES:
Bodleian, 2806 b.9(266), "The Green Cockade," unknown, n.d.
CROSS_REFERENCES:
cf. "The Shamrock Cockade" (subject of the 1782 Volunteers)
cf. "The Song of the Volunteers" (subject of the 1782 Volunteers)
cf. "The Dungannon Convention" (for that event)
NOTES: Moylan p. 1: "On St Patrick's Day, 1778, the first company of Belfast Volunteers was formed in response to the danger of a possible war between Britain and France. [According to Peter and Fiona Somerset Fry, _A History of Ireland_, p. 186, the year was 1777, though few other companies formed until 1778.] The movement spread like wildfire and soon there were companies in all parts of Ireland. At their height they numbered 100,000 members. By the following year they had become politicized and swung their weight behind the so-called Patriot Party, those in favour of legislative independence from the British parliament and the removal of impediments to Irish commerce."
[Moylan lists the following] Irish Volunteer Society protests
February 15, 1782 - Volunteer Convention in Dungannon, Co. Tyrone
September 8, 1783 - Volunteer Convention in Dungannon, Co. Tyrone
November 4, 1779 - Volunteers parade at "the site, at the time, of an equestrian statue of King William. They had signs fixed to their cannon which read 'Free Trade or This'." - BS
For more on the Volunteers and their effect on Anglo-Irish relations, see the notes to "The Song of the Volunteers." The references to Irish unity accomplishing much are quite accurate; even before Grattan's Parliament (for which see "Ireland's Glory") gave Ireland a measure of independence, the Irish had shown that they could sometimes act on their own -- Mike Cronin, _A History of Ireland_, p. 94 writes that the Irish "could, when they operated as a single block, defeat the will of the British Parliament"; he notes on pp. 93-98 several instances of this in the period 1750-1780. But he also notes that they were usually not united, and when not united, the British could almost always manipulate the results to ther own ends. And then, of course, came 1798, and the whole thing fell down. - RBW
File: Moyl004
===
NAME: Green Corn (I): see Black-Eyed Susie (Green Corn) (File: R568)
===
NAME: Green Corn (II): see Hot Corn, Cold Corn (I'll Meet You in the Evening) (File: R267)
===
NAME: Green Fields and Meadows, The: see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Green Fields of America (I), The
DESCRIPTION: The singer bids farewell to Ireland. His parents weep to leave but he wants a trouble-free life in America with no taxes or tithes. We must follow "our manufacturies" across the Atlantic. "The landlords and bailiffs" have driven us from home.
AUTHOR: unknown
EARLIEST_DATE: before 1863 (broadside, Bodleian Harding 2806 b.10(70))
KEYWORDS: emigration farewell poverty America
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-StoneFiddle, pp. 156-158, "The Green Fields of Canada" (1 text, 1 tune)
DT, GRNFLDA3* GRNCANAD
Roud #2290
RECORDINGS:
Paddy Tunney, "The Green Fields of Amerikay" (on IRPTunney01); "The Green Fields of Canada" (on Voice04); "Green Fields of Canada" (on IRPTunney02)
BROADSIDES:
Bodleian, 2806 b.10(70), "Green Fields of America" ("Farewell to the land of Shillelagh and shamrock"), H. Such (London), 1849-1862; also Harding B 11(1413), Harding B 11(3626), Harding B 11(2600), "Green Fields of America"
CROSS_REFERENCES:
cf. "The Emigrant's Farewell" (theme)
NOTES: Many versions of this song note that there are "no taxes or tithes to devour up our wages" in America. While this obviously is not true (America always had at least some taxes, even if only on the sale of taxable items), the freedom from the tithe was very important. For many years, Irish Catholics were charged a tithe which went to the (Anglican) Church of Ireland. Ireland was not entirely freed of the tithe until the mid-nineteenth century, though after 1838 it was up to the landlords to administer it. - RBW
File: DTgrncan
===
NAME: Green Fields of America (II), The: see The Emigrant's Farewell (File: HHH743)
===
NAME: Green Fields of Canada, The: see The Green Fields of America (File: DTgrncan)
===
NAME: Green Fields Round Ferbane, The
DESCRIPTION: "I curse the day that I sailed away From my dear little Isle so green." The singer recalls his youth and some friends he'll see no more. "The lust for gold it soon grows cold." "I'll turn my face from this awful place" and go home to stay.
AUTHOR: John Mary Doyle (1896-1969) (source: notes to IRHardySons)
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: homesickness emigration return Ireland gold
FOUND_IN: Ireland
REFERENCES: ()

Roud #17891
RECORDINGS:
Big John Maguire, "The Green Fields of Ferbane" (on IRHardySons)
File: RcGFRFe
===
NAME: Green Flag of Erin
DESCRIPTION: An song favoring "De Valera" over Colonel Lynch and his supporters, who "our country have sold" for the East Clare MP seat. The rest of the song is about "the banner of freedom, The Green White and Gold," the flag of tbe "republic we'll have"
AUTHOR: unknown
EARLIEST_DATE: 1974 (IRClare01)
KEYWORDS:  Ireland nonballad patriotic political
HISTORICAL_REFERENCES: 1917 - Eamon De Valera defeats Patrick Lynch in the East Clare MP bi-election
FOUND_IN: Ireland
REFERENCES: ()

Roud #18469
RECORDINGS:
Michael Flanagan, "Green Flag of Erin" (on IRClare01)
CROSS_REFERENCES:
cf. "DeValera Election Song" (subject)
NOTES: Notes to IRClare01: "The East Clare by-election of 1917 played a vital part in the movement towards Irish independence.... Newly released from prison and having narrowly avoided execution for his part in the Rebellion, Eamon De Valera easily took the seat." - BS
Not only was De Valera elected to the British parliament on July 11, 1917, but he was even elected to a seat that had formerly been held by the brother of John Redmond, the leader of the Irish Nationalist party (i.e. the moderate Irish faction); see Terry Golway, _For the Cause of Liberty_, p. 251. This was the third in a series of by-elections in which pro-Republic candidates defeated "Nationalist" (moderate) candidates (see Peter and Fiona Somerset fry, _A History of Ireland_, pp. 296-296).  It was one of the first major tokens of the shift in feeling in Ireland from a desire for Home Rule to a desire for something less dependent on the British government. - RBW
File: RcGrFlEr
===
NAME: Green Flag, The
DESCRIPTION: "Hibernia's sons, the patriot band" are united, patriotic, and hope the time will come to punish the English "landlords, absentees, and knaves" "Hibernia then will raise her head, The green flag wide extending ... Justice then begins her reign"
AUTHOR: unknown
EARLIEST_DATE: 1796 (_Paddy's Resource_(Philadelphia), according to Moylan)
KEYWORDS: England Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 10, "The Green Flag" (1 text, 1 tune)
File: Moyl010
===
NAME: Green Flowers O
DESCRIPTION: Anna Lee wonders whether "God forgot in his creating hours" to create flowers "with petals tinged of green." She finds one. The singer has never seen another.
AUTHOR: unknown
EARLIEST_DATE: 1959 (NFOBlondahl03)
KEYWORDS: flowers religious
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Omar Blondahl, "Green Flowers O" (on NFOBlondahl03)
NOTES: Blondahl03 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "Green Flowers O" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
There is a biological reason why flowers aren't green: Most pollinators (bees, hummingbirds, etc.) are programmed to seek non-green colors when looking for nectar. A green flower would attract little attention -- and so the mutation, even if successful in other regards, would likely die out. - RBW
File: RcGrFloO
===
NAME: Green Garden: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: Green Grass
DESCRIPTION: "A dis, a dis, a green grass, A dis, a dis, a dis, Come all you pretty fair maids, And dance along with us." The singer goes a-roving, takes a girl by the hand, and promises her a prince. If the prince dies, she shall have another. All clap hands.
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: playparty courting dancing nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Baring-Gould-MotherGoose #645, p. 256, "(A dis, a dis, a green grass)"
Montgomerie-ScottishNR 62, "(A dis, a dis, a green grass)" (1 text)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #215, "Green Grass" (1 text)
Roud #1381
CROSS_REFERENCES:
cf. "Walking on the Green Grass"
NOTES: Roud lumps this with "Walking on the Green Grass," apparently on the basis that they're both playparties about green grass. They look distinct to me. - RBW
File: BGMG645
===
NAME: Green Grass Grew All Round, The: see The Rattling Bog (File: ShH98)
===
NAME: Green Grass Growing All Around, The: see The Rattling Bog (File: ShH98)
===
NAME: Green Grass It Grows Bonnie: see I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny) (File: K157)
===
NAME: Green Grassy Slopes, The
DESCRIPTION: "I'm going to speak ... of the deeds that were done by King William, On the green grassy slopes of the Boyne." "Praise God for sending us King William." "If ever our service is needed" we "will join, And fight, like valiant King William"
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (2 citations)
OrangeLark 3, "The Green Grassy Slopes" (1 text, 1 tune)
Graham, p. 22, "The Green Grassy Slopes of the Boyne" (1 text, 1 tune)
NOTES: For the Battle of the Boyne, see "The Battle of the Boyne (I)"; for the political background, see also "The Vicar of Bray." - RBW
File: OrLa003
===
NAME: Green Grave, The: see The Unquiet Grave [Child 78] (File: C078)
===
NAME: Green Gravel
DESCRIPTION: "Green gravel, green gravel, Your (bank/grass) is so green; The fairest young damsel I ever have seen." Usually a short lyric of praise for a girl, then a report that the girl's love is dead
AUTHOR: unknown
EARLIEST_DATE: 1894 (Gomme)
KEYWORDS: courting death river playparty
FOUND_IN: US(MW,NE,SE,So) Ireland
REFERENCES: (7 citations)
Randolph 532, "Green Gravel" (2 short texts plus an excerpt, 1 tune)
SHenry H48b, p. 10, "Green Gravel" (1 text, 1 tune)
Hammond-Belfast, p. 10, "Green Gravel" (1 text, 1 tune)
Flanders/Brown, p. 188, "Green Gravel" (1 text)
Linscott, pp. 10-11, "Green Gravel" (1 text, 1 tune)
DT, GRNGRAVL*
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, p. 79
ST R532 (Full)
Roud #1368
RECORDINGS:
Pratt family, "Green Gravels" (on Ritchie03)
CROSS_REFERENCES:
cf. "A Trace-Boy on Ligoniel Hill" (tune)
NOTES: Usually tells of a girl whose young man was slain (in the Napoleonic wars?), but in the Ozarks it's a playparty. The Beers Family sings a version in which the young man survives and returns to the girl -- but I wonder if they didn't write that.
Randolph was told that the song "reflects the Irish Catholic's hatred of the Masonic fraternity," but the only evidence I've seen for this is the mention of "free masons" (or corruptions thereof) in a few texts.
By the time Linscott picked it up, it had become a singing game -- and she reports that it wasn't very popular because "it called for little energy or imagination." She thought it described the process of laying out the dead, but there is no hint of that in her words.
The "Green gravel" refrain may perhaps be from a nursery rhyme from Halliwell (see Baring-Gould-MotherGoose #326, p.177):
Around the green gravel the grass grows green,
And all the pretty maids are plain to be seen;
Wash them with milk, and clothe them with silk,
And write their names with a pen and ink. - RBW
Also collected and sung by David Hammond, "Green Gravel" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959))
Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland": "Irishmen like to think that the mysterious name ['Green Gravel'] is a folk rationalization of 'An Glas Gaibhlinn,' the name of a fabulous Irish cow whose milk never ran dry." - BS
File: R532
===
NAME: Green Green: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Green Green Rocky Road: see Rocky Road (Green Green) (File: CNFM154)
===
NAME: Green Grow the Laurels (II): see Lovely Willie [Laws M35] (File: LM35)
===
NAME: Green Grow the Leaves
DESCRIPTION: "O green grow the leaves on the (hawthorn) tree, Some grow high and some grow low; With this wrangling and this jangling We never shall agree, And the tenor of our song goes merrily."
AUTHOR: unknown
EARLIEST_DATE: 1912 (Leather)
KEYWORDS: nonballad playparty
FOUND_IN: Britain(England(West))
REFERENCES: (1 citation)
Leather, p. 206, "Marden Forfeit Song" (1 text, 1 tune)
ST Leath206 (Full)
Roud #2121
NOTES: This seems to be known mostly as a singing game, but Leather reports that her version, which has a counting-down chorus, was sung as a forfeit -- that is, if you missed one of the numbers, you had to drink a penalty. Hence her title. - RBW
File: Leath206
===
NAME: Green Grow the Lilacs: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Grow the Rashes (II): see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Grow the Rashes, O
DESCRIPTION: "There's naught but care on ev'ry han' In ev'ry hour that passes, O." In praise of women and love: "Green grow the rashes, O... The sweetest hours that e'er are spent Are spent amang the lasses, O." Other texts may be more explicitly bawdy
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1794
KEYWORDS: love courting nonballad seduction bawdy
FOUND_IN: Britain(Scotland) Canada(Mar)
REFERENCES: (5 citations)
Creighton-SNewBrunswick 98, "Green Grow the Rashes O" (1 fragment consisting of the chorus, 1 tune)
Scott-BoA, pp. 97-99, "Green Grow the Rushes O" (1 text, 1 tune)
Silber-FSWB, p. 160, "Green Grow The Rashes, O" (1 text)
DT, GRRASH* (the standard version) GRRASH1* (bawdy)
ADDITIONAL: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #45, pp. 43-44, "Green grow the Rashes" (1 text, 1 tune, from 1784-1785)
ST SBoA097 (Full)
Roud #2772
BROADSIDES:
Bodleian, Johnson Ballads fol. 25, "Green Grow the Rashes," J. Catnach (London), 1813-1838
NLScotland, RB.m.168(207), "Green Grow the Rashes," J. Pitts (London), 1820-1844
NOTES: Not to be confused with the ritual/religious "Green Grow the Rushes, O." - RBW
Broadside NLScotland, RB.m.168(207): the imprint "Pitts, Printer, Wholesale Toy and Marble Warehouse, 6, Great St. Andrew Street, Seven Dials" is dated "between 1819 and 1844" at Bodleian Library site Ballads Catalogue; date shown is NLScotland "probable period of publication."
Creighton-SNewBrunswick is from the chorus as in the description above. - BS
File: SBoA097
===
NAME: Green Grow the Rushes (III): see Lovely Willie [Laws M35] (File: LM35)
===
NAME: Green Grow the Rushes O (II): see Green Grow the Rashes, O (File: SBoA097)
===
NAME: Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You)
DESCRIPTION: Cumulative song with religious themes e.g., "I'll sing you three-o/Green grow the rushes-o/What is your three-o/Three for the Hebrew children/Two, two, the lily-white babes/clothed all in green-o/One is one and all alone and evermore shall be so."
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sandys, _Christmas Carols--Ancient and Modern_)
KEYWORDS: ritual cumulative religious nonballad
FOUND_IN: Britain(England,Scotland),US(Ap,MA,MW,NE,SE,So) Canada(Newf)
REFERENCES: (18 citations)
SharpAp 207, "The Ten Commandments" (5 texts, 3 tunes)
Sharp-100E 97, "The Ten Commandments" (1 text, 1 tune)
Randolph 605, "The Twelve Apostles" (1 text, 1 tune)
Randolph/Cohen, pp. 425-429, "The Twelve Apostles" (1 text, 1 tune -- Randolph's 605)
BrownII 50, "The Dilly Song" (2 texts; the first starts with the number 5!)
JHCoxIIB, #17, pp. 159-162, "The Twelve Apostles" (1 text, 1 tune, somewhat conjectural)
Flanders/Brown, pp. 83-85, "The Twelve Apostles" (2 texts, 2 tunes)
Gardner/Chickering 150, "The Twelve Apostles" (1 text)
Fuson, p. 187, "Scripture in the Nursery" (1 text)
Abrahams/Foss, pp. 74-75, "I'll Sing You One Ho!" (1 text, 1 tune)
Kennedy 88, "Dus Ha My A Gan Dhys (Come and I Will Sing You)" (1 Cornish text, 1 tune)
Greenleaf/Mansfield 41, "The Twelve Apostles" (2 texts)
Peacock, pp. 800-801, "The Twelve Apostles" (1 text, 1 tune)
Karpeles-Newfoundland 89, "The Twelve Apostles" (1 text, 1 tune)
Lehr/Best 23, "Come and I Will Sing You" (1 text, 1 tune)
Silber-FSWB, p. 359, "Green Grow the Rushes" (1 text)
DT, GRNRUSH* (see also GRNRUSH2) GRNRUSH5
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928, notes to #258, ("What will be our twelve, boys") (1 text)
Roud #133
RECORDINGS:
Patrick Gaffney, "Green Grow the Rushes Oh" (Columbia 350-D, 1925)
CROSS_REFERENCES:
cf. "Children Go Where I Send Thee" (theme and structure)
cf. "Eleven to Heaven" (theme and structure)
ALTERNATE_TITLES:
Singing the Ten Commandments
Holy Babe
NOTES: This is a song cluster extending as far as the Jewish Passover service, but whether it passed from there to folk song or vice versa is hard to say. -PJS (Sharp and Marson connects it with the Hebrew ritual "Counting the Omer/Song of the Kid" ; Newell links it to the Passover chant "Echod Mi Yodea," a connection supported by Cohen;  Archer Taylor tried to link it to Sanskrit roots! - RBW)
[Compare also the American piece "Children Go Where I Send Thee." Botkin prints a text of that song] from a 1942 field recording and remarks:
"The present cumulative song is a version of 'The Carol of the Twelve Numbers' (often known as 'The Dilly Song'). There is a good deal of variation in the symbolism of the twelve numbers, and in the present song their significance has often been lost.
"For texts and notes, see 'The Twelve Apostles,' by Phillips Barry, _Bulletin of the Folk-Song Society of the Northeast_, Number 9 (1935), pp. 3-4; 'Ballads and Songs,' by George Lyman Kittredge, _Journal of American Folklore_, Volume XXX (July-September, 1917), pp. 335-337; 'The Carol of the Twelve Numbers,' by William Wells Newell, ibid., Volume IV (July-September, 1891), pp. 215-220; and 'The Carol of the Twelve Numbers,' by Leah Rachel Clara Yoffie, _Southern Folklore Quarterly_, Volume IV (June, 1940), pp. 73-75." - NR
Not to be confused with Burns's "Green Grow the Rashes-O," or with the "Green Grows the Laurel/Lilacs" family.
The Cornish words printed by Kennedy are by Talek and Ylewyth; they are translated from an English version, though Kennedy lists versions in other languages.
Some people consider this to be a variation of "Children Go Where I Send Thee"; since I'm not sure, I split them.
It might be noted that, although the sense of this song is religious, many of the references are in no sense Biblical. The following annotated version will demonstrate the point:
I'll sing you one, O
Green grow the rushes, O
What is your one, O
One is one and all alone and evermore shall be so. -- Refers to God or Jesus or both
Two, two, lily-white boys, clothed all in green, O -- Non-biblical
Three, three, the rivals -- Who knows what this refers to? Not explicitly Biblical. The "three" may be the Trinity
Four for the gospel makers -- Matthew, Mark, Luke John
Five for the symbols at your door -- ritual, not Biblical. (Though five could represent the five books of Moses)
Six for the six proud walkers -- Got me  (Brown A has "Firemen in the boat." Which doesn't help. Brown B has "ferrymen in the boat," which sounds rather like Charon)
Seven for the seven stars in the sky -- I'd blame this on J.R.R. Tolkien if it weren't so old. :-) (These would be the Pleiades, important to agricultural peoples as a sign of spring and planting season. - PJS)
Eight for the April rainers -- Another ritual oddity (Brown: Eight archangels. Most traditions say there are *seven* archangels, though the Bible doesn't name them all and the Koran gives a different list. The figure eight might be the seven plus an unknown "head of the order")
Nine for the nine bright shiners -- Ditto (Brown: Nine is the night that the star shone bright!)
Ten for the Ten Commandments -- Ex. 20:2-17; Deut. 5:6-21
Eleven for the eleven who went to heaven -- The Twelve Disciples (Matt. 10:2-4; Mark 3:16-19; Luke 10:14-16; Acts 1:13), less Judas Iscariot
Twelve for the twelve Apostles -- same as the above, with either Judas or Matthias (Acts 1:23-26) added. - RBW
File: ShH97
===
NAME: Green Grow The Rushes, Oh! (II -- Singing Game)
DESCRIPTION: "Green grow the rushes, oh! (x2), Kiss her quick and let her go, Never mind the weather if the wind don't blow." "Though she wears a checkered gown, He and she must both kneel down...." "Give her a kiss and send her away."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Linscott)
KEYWORDS: playparty courting nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 11-13, "Green Grow the Rushes, Oh!" (1 text, 1 tune)
NOTES: Linscott describes this as a kissing game, and seems to link it to the "Green Grows the Laurel" family. In fact it seems to partake of many other songs ("Green Grow the Rushes," "Hop High Ladies," etc.), and the mix is complex enough that I gave it its own entry. - RBW
File: Lins011
===
NAME: Green Grows the Laurel (Green Grow the Lilacs)
DESCRIPTION: The singer laments, "I once had a sweetheart but now I have none." (S)he wrote him a letter; the reply says to stop writing. (His/her) very looks are full of venom. (S)he wonders why men and women love each other
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Firth c.18(245))
KEYWORDS: love rejection parting
FOUND_IN: US(Ap,MW,NE,Ro,SE,So) Ireland Britain(Scotland,England) Canada(Mar,Newf,Ont)
REFERENCES: (21 citations)
Belden, pp. 490-491, "Green Grows the Laurel" (2 texts plus mention of 1 more)
Randolph 61, "The Orange and Blue" (3 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 118-121, "The Orange and Blue" (1 text, 1 tune -- Randolph's 61A)
BrownIII 280, "Red, White, and Blue" (3 texts with an interesting assortment of green-growing flowers); also probably 282, "I Sent My Love a Letter" (3 texts, of which "B" is clearly this; "A" is "Down in the Valley" and "C" is a mess with some "Down in the Valley" verses and others about Lulu; it's not clear which Lulu)
Chappell-FSRA 77, "Green Frows the Laurel" (1 text)
Scarborough-SongCatcher, pp. 331-332, "The Orange and the Blue" (3 texts, all short, with local titles "Red, White and Blue," "Green Grows the Laurel," "Green Grows the Laurel"; 2 tunes on pp. 445-446)
SharpAp 156, "Green Grows the Laurel" (1 text, 1 tune)
Kennedy 158, "Green Grows the Laurel" (1 text, 1 tune)
SHenry H165a+b, p. 260, "Green Grow the Rashes (Green Grows the Laurel)" (2 texts, 2 tunes, though both are strongly mixed with something like "If I Were a Fisher"); also H624, p. 349, "I Am a Wee Laddie, Hard, Hard Is My Fate" (1 text, 1 tune, also probably a composite of this and something else)
Gardner/Chickering 29, "Green Grows the Laurel" (2 texts; the "A" text is probably mixed with some other lost love song)
Peacock, pp. 454-455, "Green Grows the Laurel" (1 text, 1 tune)
Creighton-NovaScotia 20, "I Wrote My Love a Letter" (1 text, 1 tune)
Ives-NewBrunswick, pp. 29-30, "Green Grows the Laurel" (1 text, 1 tune)
Flanders/Brown, pp. 113-114, "Green Grows the Laurel" (1 text, 1 tune)
Ord, p. 182, "Green Grows the Laurel" (1 text); also p. 187, "The Rose and the Thyme" (1 text, mostly "I Wonder What Is Keeping My True Love Tonight" but with several verses which probably belong here)
BrownII 130, "Sweet William and Nancy" (1 text, mostly "William and Nancy (II) (Courting Too Slow)" [Laws P5] but mixed with this song and other material)
Lomax-FSNA 170, "Green Grows the Laurel" (1 text, 1 tune)
JHCox 139, "The Green Laurels" (2 texts)
MacSeegTrav 62, "Green Grows the Laurel" (2 texts, 2 tunes)
Silber-FSWB, p. 165, "Green Grow the Lilacs" (1 text)
DT, GREENGRO* GRENGRO2* WEELADDY* (the last being the mixed Sam Henry version)
Roud #279
RECORDINGS:
Mary Delaney, "Green Grows the Laurel" (on IRTravellers01)
Louie Fuller, "Green Grow the Laurels" (on Voice15)
Marie Hare, "Green Grows the Laurel" (on MRMHare01)
Mike Kent, "The Nightengale" (on NFMLeach)
Tex Ritter & his Texans, "Green Grow the Lilacs" (Capitol 206, 1945)
Jeannie Robertson, "Green Grow the Laurels" (on FSB1)
BROADSIDES:
Bodleian, Firth c.18(245), "I Changed the Green Willow for the Orange and Blue", W.S. Fortey (London), 1858-1885
CROSS_REFERENCES:
cf. "Will Ye Gang, Love"
cf. "The German Clockwinder" (tune)
cf. "The Ploughboy (I)" (lyrics)
cf. "The Blackbird and Thrush" (lyrics)
cf. "If I Were a Fisher" (floating lyrics)
cf. "I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny)" (lyrics)
cf. "The Yellow Handkerchief (Flash Company)" (floating lyrics)
cf. "I've Travelled This Country (Last Friday Evening)" (floating lyrics)
cf. "The Rue and the Thyme (The Rose and the Thyme)" (floating lyrics)
cf. "A Warning to Girls" (floating lyrics)
cf. "Loved by a Man" (floating lyrics)
NOTES: A legend has it that Mexicans call Americans "Gringos" because, during the Mexican War, the yanquis sang "Green Grow the Lilacs" so often. The term "gringo" is much older than this, however. - RBW
Leach does not explain why the title of this cut on NFMLeach is "The Nightengale."
"Cupid's Garden" (I) includes the following lines: "For I mean to live a virgin, And still the Laurel wear" (see, for example, Bodleian broadside Harding B 20(119)). In the language of flowers laurel stands for "perfidy"; the spurge laurel stands for "coquetry" 
In Louie Fuller's Voice15 version each verse lists another seducer: the singer, a sailor and a pageboy.
Mary Delaney's version on IRTravellers01 adds verses I haven't seen before: "Now me mamma she blames me For courting too young, She may blame my small beauty And my flattering old tongue. She may blame my small beauty And my dark rolling eye, If my love is not for me And sorry am I." and "Oh then, thank God, agraghy, The case could be worse, I got money in my pocket And gold in my purse, When my baby is born I can pay for a nurse, And I'll pass as a maiden In a strange countery." - BS
File: R061
===
NAME: Green Hills of Antrim, The
DESCRIPTION: "Oh, dark was the day when I sailed from Cushleake And crossed the wild ocean, my fortune to seek." The singer's new land has beautiful birds and high mountains, but he misses home and Mary Machree "where the green hills of Antrim sweep down to the sea"
AUTHOR: Words: Canon Barnes
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: homesickness emigration separation derivative
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H606, p. 208, "The Green Hills of Antrim" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Mountains of Mourne" (tune, lyrics)
File: HHH606
===
NAME: Green Island Shore: see All Around Green Island's Shore (File: Doy65)
===
NAME: Green Laurels, The: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Green Linnet, The
DESCRIPTION: "Curiosity bore a young native of Erin To view the gay banks of the Rhine" where he sees a "young empress" looking for her "green linnet." She recounts his exploits and says she will search until she finds him
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 227); c.1830 (Zimmermann)
KEYWORDS: Napoleon love separation bird
HISTORICAL_REFERENCES: 1769 - Birth of Napoleon Bonaparte
1798 - Napoleon's Egyptian campaign. When his fleet is destroyed at the Battle of the Nile, he is forced to abandon the troops there
1809 - Napoleon divorces his first wife Josephine; he marries Maria Louisa of Austria in 1810
1814 - Napoleon exiled to Elba
June 18, 1815 - Battle of Waterloo
1821 - Death of Napoleon on Saint Helena
FOUND_IN: Canada(Newf,Ont) Ireland
REFERENCES: (6 citations)
Huntington-Whalemen, pp. 211-214, "The Green Linnet" (1 text, 1 tune)
Peacock, pp. 458-460, "The Green Linnet" (1 text, 1 tune)
O'Conor, pp. 10-11, "The Green Linnet" (1 text)
Zimmermann 30, "The Green Linnet" (2 texts, 1 tune)
Moylan 201, "The Green Linnet" (1 text, 1 tune)
DT, GRENLINN*
Roud #1619
RECORDINGS:
O. J. Abbott, "The Green Linnet" (on Abbott1)
BROADSIDES:
Bodleian, Johnson Ballads 227, "Maria Louisa Lamentation. The Green Linnet," J. Catnach (London), 1813-1838; also Harding B 11(2326), Harding B 11(2327)[some illegible words], Harding B 11(3877), "Maria Louisas Lamentation"; Harding B 11(934), "Maria Louisa's Lamentation for the Green Linnet"; Harding B 25(1217)[largely illegible], "Maria Louisa's Lamentation"; Harding B 11(1421), 2806 b.11(72), 2806 c.17(158), 2806 c.18(134), "The Green Linnet" ("Curiosity bore a young native of Erin")
LOCSinging, as104930, "The Green Linnet," J. Andrews (New York), 1853-1859
CROSS_REFERENCES:
cf. "The Royal Eagle" (theme: Napoleon)
NOTES: This song is curiously confused. The speaker seems to be Maria Louisa of Austria, Napoleon's second wife (it can hardly be his first wife Josephine; she died before Waterloo) -- but surely she would know her husband's career better than she seems to.
This apart from the fact that theirs was a political marriage, and neither party seems to have had any real affection for the other. (Napoleon died with the name of his first wife Josephine on his lips, and Maria Louisa, once Napoleon was exiled, quickly became involved with other men.) - RBW
The ballad is recorded on one of the CD's issued around the time of the bicentenial of the 1798 Irish Rebellion. See:
Franke Harte and Donal Lunny, "The Green Linnet" (on Franke Harte and Donal Lunny, "My Name is Napoleon Bonaparte," Hummingbird Records HBCD0027 (2001))
Harte on the bird theme here: "The Irish have throughout history attributed the names of animals, and of birds in particular, to their various leaders... During the Jacobite period the Stuart Pretender was known as the 'Royal Blackbird' [a symbol of course shared by the Scots - RBW], Dan O'Connell was known as the 'Kerry Eagle,' and Charles Stewart Parnell was known as the 'Blackbird of Avondale;' so that it would not be strange for an Irish singer to find Napoleon Bonaparte referred to as the 'Royal Eagle,' or as in this song, the 'Green Linnet.'"
Broadside LOCSinging as104930: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: SWMS211
===
NAME: Green Mossy Banks of the Lea, The [Laws O15]
DESCRIPTION: The young man, driven by "curiosity," roams the world. In Ireland he falls in love with a girl at first sight. He gains her father's approval by saying that he is rich. The two are married, and the American lad settles down on the banks of the Lea
AUTHOR: unknown
EARLIEST_DATE: before 1835 (broadside, Bodleian Firth b.26(498))
KEYWORDS: rambling love courting marriage
FOUND_IN: US(MA,MW) Canada(Mar,Newf) Britain(England) Ireland
REFERENCES: (9 citations)
Laws O15, "The Green Mossy Banks of the Lea"
OLochlainn-More 98, "The Green Mossy Banks of the Lee" (1 text, 1 tune)
FSCatskills 31, "The Green Mossy Banks of the Lea" (1 text, 1 tune)
Gardner/Chickering 70, "The Green Mossy Banks of the Lea" (1 text, short and full of odd distortions, e.g. the girl is "beautified" rather than "beautiful")
Peacock, pp. 523-524, "The Green Mossy Banks of the Lea" (1 text, 1 tune); p. 600, "The Sweet Mossy Banks of the Wey" (1 text, 1 tune)
Leach-Labrador 24, "American Stranger" (1 text, 1 tune)
Lehr/Best 47, "The Green Mossy Banks of the Lea" (1 text, 1 tune)
Mackenzie 47, "Green Mossy Banks of the Lea" (1 text, 1 tune)
DT 477, MOSSYLEA MOSSYLE2
Roud #987
RECORDINGS:
Anita Best and Pamela Morgan, "The Green Mossy Banks of the Lee" (on NFABestPMorgan01)
Tony Wales, "The Green Mossy Banks of the Lea" (on TWales1)
BROADSIDES:
Bodleian, Firth b.26(498), "The Green Mossy Banks of the Lea," G. Walker (Durham), 1797-1834; also Harding B 11(2224), Firth c.18(95), Harding B 11(1426), Firth c.18(86), Firth b.27(321), Johnson Ballads 1227, Johnson Ballads 1400, Harding B 11(1423), Harding B 11(1424), Harding B 11(1427), Harding B 11(1429), Harding B 11(1425), Harding B 11(1640), Firth b.26(65), Harding B 11(4030), Harding B 11(1430), Firth b.25(300), Johnson Ballads 341, "The Green Mossy Banks of the Lea"; Harding B 26(232), Harding B 26(231), "The Green Mossy Banks of the Lee"
CROSS_REFERENCES:
cf. "Miss Green" (tune)
File: LO15
===
NAME: Green Mountain: see The Streams of Lovely Nancy (File: VWL098)
===
NAME: Green Mountain Boys, The: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: Green on the Cape: see Green Upon the Cape (File: PGa091)
===
NAME: Green Peas, Mutton Pies
DESCRIPTION: "Green peas, mutton pies, Tell me where my Jeannie lies, And I'll be with her ere she rise, And cudle her to my bosom." "I love Jeannie over and over, I love Jeannie among the clover; I love Jeannie and Jeannie loves me; That's the lass that I'll go wi."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: food courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 77, "(Green Peas, Mutton Pies)" (1 short text)
Roud #13204
File: MNSR077
===
NAME: Green Plaid, The
DESCRIPTION: Lord Lennox's Edinburgh regiment marches through Dumfries. One man would roll a lass in his green plaid. He says they have orders "each man to have a wife." She says her mamma would not approve. They leave for Minorca. She wishes she had gone with them.
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan1)
KEYWORDS: courting parting army clothes Scotland mother soldier
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 90, "The Green Plaid" (3 texts, 3 tunes)
Roud #5793
ALTERNATE_TITLES:
Lord Lennox' Men
Minorca
NOTES: GreigDuncan1: "The 25th Regiment of Foot (The Edinburgh Regiment), under the command of Lord George Henry Lennox, was based in Dumfries, Annan, and Kirkcudbright from the middle of 1767 until February 1768. In the latter year it embarked for Minorca where it served until 1775." - BS
File: GrD090
===
NAME: Green Shores of Fogo, The
DESCRIPTION: "Our barque leaves this harbour tomorrow." The singer is leaving Fogo and Katie "my fortune I'm after seeking In a far distant land o'er the sea"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: grief love parting nonballad lyric emigration
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, p. 522, "The Green Shores of Fogo" (1 text, 1 tune)
DT, SHORFOGO
Roud #6335
RECORDINGS:
Ken Peacock, "Green Shores of Fogo" (on NFKPeacock)
CROSS_REFERENCES:
cf. "The Blooming Bright Star of Belle Isle" [Laws H29] (tune)
NOTES: Peacock states "This native love lyric is patterned on a much older Irish song entitled The County I'm Leaving Behind." I considered marking this derivative but I have not seen the base text. - BS
Roud does lump them, but Joe Hickerson, in his notes to "Drive Dull Care Away, Volume 1," says merely that it "seems to be based on" the Irish song. That's separate enough for me. - RBW
File: Pea522
===
NAME: Green Sleeves: see Greensleeves (File: ChWI239)
===
NAME: Green Upon the Cape
DESCRIPTION: "I'm a lad that's forced an exile From my own native land... I'm a poor distressed croppy For the green upon my cape." The boy goes to Belfast, bids farewell to his parents, and sets out by ship for Paris. He hopes to return to a free Ireland
AUTHOR: William Michael Watson (source: GreigDuncan1)
EARLIEST_DATE: before 1879 (broadside, LOCSinging as10165a); c.1800 (Zimmermann)
KEYWORDS: Ireland soldier exile
FOUND_IN: Ireland Britain(Scotland(Aber))
REFERENCES: (6 citations)
PGalvin, pp. 91-93, "Green Upon the Cape" (1 text, 1 tune)
Zimmermann 21A, "Green On My Cape" (1 text, 1 tune)
Moylan 32, "Green Upon the Cape" (1 text)
GreigDuncan1 143, "The Wearing of the Green" (1 text)
Healy-OISBv2, pp. 126-127, "(A Much Admired Song Called) Green on the Cape" (1 text)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 15-17, 511-512, "Green Upon the Cape"
Roud #5773
BROADSIDES:
Bodleian, 2806 c.8(47), "Green on the Cape," unknown, n.d.
LOCSinging, as10165a, "Wearing of the Green," H. De Marsan (New York), 1864-1878; also as101650, as10165a, "Green on the Cape"
CROSS_REFERENCES:
cf. "The Wearing of the Green (I)"
NOTES: Galvin lists this as a "Northern variant of 'The Wearing of the Green,'" but the sheet music makes it obvious that this is forced; there aren't enough notes in the melody for the lyrics.
Clearly the singer is one of the "Wild Geese" who fled Ireland. The Wild Geese often formed "Irish Brigades" in foreign countries; this seems to be the case here.
The first migration of the Wild Geese came after the Boyne and the succeeding battles (roughly 1691-1700), but this song, despite its reference to Cromwell, probably refers to the second migration, as the young man left via Belfast. - RBW
It's not certain that broadside LOCSinging as10165a predates the other LOCSinging entries; it is the only one I can come close to dating. Its text seems corrupt. All three LOCSinging entries have Bonaparte promising to send a fleet "to pull the orange down," but only the De Marsan text has him promise as well to "guillotine their leaders, As well as 'King and Queen.'" In the broadside Bodleian 2806 c.8(47) the exile goes to New York and meets "Meagher, Walsh and Kelly" who promise to "send a convoy with you."
Broadside LOCSinging as10165a: 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: PGa091
===
NAME: Green Valley: see Yon Green Valley (File: K168)
===
NAME: Green Wedding, The: see Katharine Jaffray [Child 221] (File: C221)
===
NAME: Green Willow Tree (I), The: see The Golden Vanity [Child 286] (File: C286)
===
NAME: Green Willow Tree (II), The: see In My Garden Grew Plenty of Thyme (File: R090)
===
NAME: Green Willow, The
DESCRIPTION: Phoebe accuses William. "She said he had deceived her" Usual "All Around My Hat" complaints. She fears dying a maiden. William claims his deception "was only to try if you were true" They marry and live happily as an example for young lovers.
AUTHOR: unknown
EARLIEST_DATE: 1953 (Creighton-Maritime)
KEYWORDS: love marriage lie
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 81, "All Around My Hat" (1 text, 1 tune)
Roud #567
BROADSIDES:
Bodleian, Harding B 11(1432), "The Green Willow," J. Catnach (London), 1813-1838; also Firth c.18(133), Harding B 11(1433), "The Green Willow"
CROSS_REFERENCES:
cf. "All Around My Hat" ("All around my hat" lyrics)
NOTES: Creighton-Maritime pp. 80-81 words fit "All Around My Hat" but the tune is not the standard tune. On the other hand, Creighton-Maritime p. 81 has the standard "All Around My Hat" tune but, what seems to me to be, a different theme.
Broadside Harding B 11(1432) matches Creighton-Maritime p. 81 but replaces the line "But since it is my fortune that I must Marry an old man" with "But since 'tis my misfortune that I must die a maiden." The description for "The Green Willow" is from a more complete but undated broadside Bodleian Firth c.18(133). - BS
File: CrMa081
===
NAME: Green Woods o' Airlie, The
DESCRIPTION: "The bonniest lass in a' the countryside Has fa'en in love wi' the plooman laddie But little did she think her heart was betrayed At the fit o' the green woods o' Airlie." After some laments over him, he comes back to her and they are married
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 111-112, "The Green Woods o' Airlie" (1 text)
Roud #3324
File: Ord112
===
NAME: Greenback Dollar
DESCRIPTION: Categorized by a lost love theme ("Don't forget me, little darling") and the line(s) "I don't want your greenback dollar; I don't want your watch and chain." Many versions say that the couple cannot marry because of parental opposition
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Weems String Band)
KEYWORDS: love separation family floatingverses
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 733, "Don't Forget Me, Little Darling" (4 texts, 2 tunes, but only "A" and "B" are this song; "D" is "Don't Forget Me, Little Darling"; "C" is probably composite)
Randolph/Cohen, pp. 504-505, "Don't Forget Me, Little Darling" (1 text, 1 tune -- Randolph's 733A)
DT, GBDOLLAR*
Roud #3420
RECORDINGS:
Callahan Bros., "Greenback Dollar" (Conqueror 8682, 1936)
[Clarence] Ashley & [Gwen] Foster, "Greenback Dollar" (Vocalion 02554, c. 1933)
J. E. Mainer's Mountaineers, "Greenback Dollar" (Bluebird B-6090 [as Daddy John Love?], 1935) 
Weems String Band, "Greenback Dollar" (Columbia 15300-D, 1928) [see notes]
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4] (plot)
cf. "The Silver Dagger (I)" [Laws G21] (plot)
cf. "Rye Whiskey"
cf. "I Don't Want Your Millions, Mister" (tune)
cf. "Don't Forget Me, Little Darling (I)" (plot, floating lyrics)
SAME_TUNE:
Dixon Brothers, "Greenback Dollar - Part 2" (Bluebird B-6462, 1936)
J. E. Mainer's Mountaineers, "Answer to 'Greenback Dollar'" (Bluebird B-7151/Montgomery Ward M-7301, 1937)
Wiley, Zeke & Homer, "Greenback Dollar - Part 3" (Bluebird B-7426, 1938)
NOTES: Most versions of this appear to be pastiches of floating verses -- or at least floating themes. The mention of the "greenback dollar" is so characteristic, however, that I decided to classify this as a separate song. - RBW
This should not be confused with the fiddle tune of the same name, nor the folk-revival song with the chorus "I don't give a damn about a greenback dollar/Spend it as fast as
I can"; the former is a popular fiddle tune, while the latter was composed by Hoyt Axton. Neither is any relation to this song. - PJS
We might note that the line "I don't want your greenback dollar" might have originated in a context not related to a rejected lover: The first "greenbacks" -- i.e. paper money unbacked by gold -- were issued during the Civil War, and they did depreciate significantly, with an average exchange rate of about three greenbacks for two gold dollars, but it sometimes fell to about two to one when Union forces seemed to be in particular trouble.
George Lineberry, the husband of the grand-niece of "Uncle Dick" Weems and "Uncle Frank" Weems, offers what is probably the final word on the matter:
"The Weems String Band (Perry County, TN) traveled to Memphis, TN in 1928 where Columbia was recording groups for the potential '1928 version American Idol.' (NOT).
"[Their] musical numbers were instrumental -- not vocal arrangements. However, Columbia wanted lyrics, i.e. no lyrics -- no record.  So the Weems String Band went back to the hotel, created some lyrics (kind of) for their two songs: 'Greenback Dollar' and 'Davy' (sometimes referred to as 'Davy, Davy'). The lyrics met the minimum requirement, but both songs remained basically instrumentals.
The next day they returned to Columbia's 'studio' and recorded both songs, resulting in their only record."
In the case of "Greenback Dollar," it appears that other hillbilly musicians (presumably operating under the same "get some words or get lost" imperative) proceeded to supply their own lyric grafts to produce the confusion of words found in the recording list. - RBW
File: R733
===
NAME: Greenfields (How Tedious and Tasteless the Hours)
DESCRIPTION: "How tedious and tasteless the hours When Jesus no longer I see; Sweet prospects, sweet birds, and sweet flowers Have all lost their sweetness to me. The midsummer sun shines but dim, The fields strive in vain to look gay...."
AUTHOR: John Newton?
EARLIEST_DATE: 1779? (published with tune in 1808 in the Missouri Harmony)
KEYWORDS: religious Bible nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 625, "How Tedious and Tasteless the Hours" (1 text, 1 tune)
Sandburg, p. 154, "Greenfields" (1 text, 1 tune)
Roud #3385
RECORDINGS:
Old Harp Singers of Eastern Tennessee, "Greenfields" (on OldHarp01)
CROSS_REFERENCES:
cf. "Delights in Christ (tune)"
cf. "Edgefield" (same words, different tune)
NOTES: The uncertainty about the authorship of this hymn derives from the fact that many early sources do not credit it. The earliest record seems to be _The Original Sacred Harp_, which credits John Newton in his book _Olney Hymns_, 1779. The tune is "Delights in Christ." - PJS, RBW
(The Missouri Harmony version, to the tune "Greenfields," precedes the Sacred Harp publication, but with no author listed. Note that there is another tune, "Greenfield," in the Missouri Harmony; it's not the same. The Missouri Harmony also sets the words to the tune "Harpeth.")
Moderns, of course, will know it (if at all) to the tune "Greenfields." The Sacred Harp also sets this to the tune "Edgefield," by J. T. White, but that version seems less popular.
For background on JohN Newton, see the notes to "Amazing Grace." - RBW
File: San154
===
NAME: Greenhorn, The
DESCRIPTION: Recitation; a greenhorn arrives in the lumber camp and makes friends with everyone except Joe Bonreau, the camp bully. The greenhorn doesn't respond until Joe talks about the greenhorn's girlfriend, after which he proceeds to wipe the floor with Joe
AUTHOR: Probably Marion Ellsworth
EARLIEST_DATE: 1941 (Beck)
LONG_DESCRIPTION: Recitation; a greenhorn arrives in the lumber camp, and although he's quiet and doesn't smoke, drink or chew tobacco, he makes friends with everyone except Joe Bonreau, the camp bully, who teases him without mercy. The greenhorn doesn't respond until Joe makes remarks about the greenhorn's girlfriend, after which the greenhorn proceeds to wipe the floor with him. All approve, and Joe shakes his hand, saying to the speaker, "I guess, Jack, you was right/When I start in to rile that kid/I was fool with dynamite."
KEYWORDS: lumbering fight logger recitation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 103, "The Greenhorn" (1 text)
Roud #8882
NOTES: This, like the other pieces probably written by Ellsworth, does not seem to have entered oral tradition. - PJS
File: Be103
===
NAME: Greenland (The Whaler's Song, Once More for Greenland We Are Bound)
DESCRIPTION: "Again for Greenland we are bound To leave you all behind." The singer describes the trip to the Greenland whaling grounds -- and the return, where they "see our sweethearts and our wives All waiting on the pier." The singer will return next year
AUTHOR: unknown
EARLIEST_DATE: 1903 (GreigDuncan1)
KEYWORDS: whaler travel return reunion sailor
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (4 citations)
Greig #85, p. 1, "The Whaler's Song" (1 text)
GreigDuncan1 10, "Greenland" (7 texts, 8 tunes)
Ord, pp. 317-318, "The Whaler's Song" (1 text, 1 tune)
DT, GRNLNDBD GRNLNDB2*
Roud #970
RECORDINGS:
A. L. Lloyd, "Greenland Bound" (on Lloyd9)
ALTERNATE_TITLES:
Once More for Greenland
File: Ord317
===
NAME: Greenland Disaster (I), The
DESCRIPTION: A sealing expedition leaves St. John's for the ice fields and all is well. When the men reached the ice, a storm comes up and freezes them. There are 25 dead and 23 missing. The singer concludes by hoping his audience will pray with him.
AUTHOR: Mrs. John Walsh ?
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Doyle2, pp. 40-41, "The Greenland Disaster" (1 text, 1 tune)
Greenleaf/Mansfield 146, "The Greenland Disaster" (1 text, 1 tune)
Blondahl, p. 79, "The Greenland Disaster" (1 text, 1 tune)
Ryan/Small, pp. 46-51, "The Greenland Disaster (1)," "The Greenland Disaster (2)"  (2 texts, 2 tunes)
ST Doy40 (Partial)
Roud #4080
CROSS_REFERENCES:
cf. "The Greenland Disaster (II -- Sad Comes the News)" (subject)
cf. "The Greenland Disaster (III -- Miscellaneous)" (subject)
NOTES: Horace Beck in his book _Folklore and the Sea_ (Mystic Conn.: Mystic Seaport Museum, 1985), p. 208 gives a brief account of sealing disasters in Newfoundland that he obtained from George A. England, _Vikings of the Ice_ (London, 1924) pp. 54-59. - SH
This song is item dD34 in Laws's Appendix II. Laws knew only the version in Greenleaf/Mansfield; obviously it is more popular than he thought.
The versions of this song are very diverse; Blondahl's, e.g., tells the story of the disaster in detail, while Doyle's is a bit briefer on that account but spends many stanzas detailing the names of the dead. Some of this may be caused by the vast numbers of Greenland Disaster poems floating about; Ryan/Small have four probably non-traditional versions in addition to the two traditional forms (this and "The Greenland Disaster (II)." - RBW
File: Doy40
===
NAME: Greenland Disaster (II -- Sad Comes the News), The
DESCRIPTION: "Sad comes the news from over the sea...." The Greenland sails for the ice in March, and soon finds seals. At the end of March, a blinding snowstorm begins. The men on the ice freeze, and many are never found.
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 926-927, "The Greenland Disaster" (1 text, 1 tune)
Ryan/Small, pp. 50-51, "The Greenland Disaster (3)" (1 text, 1 tune)
ST RySm050 (Partial)
Roud #6465
CROSS_REFERENCES:
cf. "The Greenland Disaster (I)" (subject)
cf. "The Greenland Disaster (III -- Miscellaneous)" (subject)
NOTES: The Greenland incident produced several poems; Ryan and Small have no fewer than seven items on the tragedy, though their first two are both versions of "The Greenland Disaster (I)" and the last four appear to be non-traditional.
Based on Peacock's text, this is distinguished from the more-common "Greenland Disaster (I)" partly by being in triple time, partly by te first line quoted, and also by an inaccurate date (March 31 rather than March 21). - RBW
File: RySm050
===
NAME: Greenland Disaster (III -- Miscellaneous), The
DESCRIPTION: Catchall entry, for all poems about the Greenland Tragedy not covered by the other pieces on the subject. The Greenland goes to the ice, and 48 men are frozen or lost as a heavy storm traps them away from the ship
AUTHOR: various, some unknown
EARLIEST_DATE: 1898 (variiuus poems in the Harbour Grace Standard)
KEYWORDS: storm disaster death hunting
HISTORICAL_REFERENCES: Mar 21, 1898 - Greenland disaster
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 53, "Written in Memory of the 48 Men Who Lost Their Lives in the S. S. Greenland Sealing Disaster of Monday, March 21st, 1898 (4)"; p. 54, "The Greenland Disaster (5)"; pp. 55-56, "The Greenland Disaster (6)"; pp. 57-58, "The Greenland Disaster (7)" (4 texts)
CROSS_REFERENCES:
cf. "The Greenland Disaster (I)" (subject)
cf. "The Greenland Disaster (II -- Sad Comes the News)" (subject)
NOTES: The poems cited here are not one piece, but I've lumped them because there are so many of them, none traditional. These pieces are to be strongly distinguished from The Greenland Disaster (I) and (II), which *are* traditional. - RBW
File: RySm052
===
NAME: Greenland Fishing: see The Greenland Whale Fishery [Laws K21] (File: LK21)
===
NAME: Greenland Whale Fishery, The [Laws K21]
DESCRIPTION: The singer and his companions (are forced by poverty to) sign on a whaler. They spot a whale. The whale is harpooned, but sinks the boat and escapes. Five crewmen are killed. The captain regrets the loss of whale and/or crew. At last they leave Greenland
AUTHOR: unknown
EARLIEST_DATE: 1820 (_The Mavis_, according to Greig); before 1825 (broadside, Bodleian 2806 c.17(160))
KEYWORDS: ship whale whaler death
FOUND_IN: US(MA,MW,NE) Britain(England(South,Lond),Scotland(Aber)) Bahamas Canada(Newf)
REFERENCES: (21 citations)
Laws K21, "The Greenland Whale Fishery"
Belden, pp. 104-105, "The Greenland Whale Fishery" (1 text)
Huntington-Whalemen, pp. 9-10, "The Whalefish Song" (1 text, 1 tune, without reference to the drowned men); pp. 11-12
Colcord, pp. 151-152, "Greenland Fishery" (1 text, 1 tune)
Harlow, pp. 223-227, "The Whale," "The Greenland Whale" (2 texts, 2 tunes)
Leach, pp. 707-708, "The Greenland Whale Fishery" (1 text)
Peacock, pp. 147-148, "Whaling Song" (1 text, 1 tune)
Karpeles-Newfoundland 42, "The Greenland Fishery" (1 text, 1 tune)
Friedman, p. 401, "The Greenland Whale Fishery" (1 text, 1 tune)
OBB 169, "The Greenland Fishery" (1 text)
FSCatskills 95, "Bound for the Stormy Main" (1 text, 1 tune)
PBB 81, "The Greenland Whale" (1 text)
Greig #85, pp. 2-3, "The Greenland Fishery"; Greig #87, p. 2, "The Greenland Fishery" (2 texts) 
GreigDuncan1 9, "The Greenland Fishery" (10 texts, 8 tunes)
Vaughan Williams/Lloyd, pp. 50-51, "The Greenland Whale Fishery" (1 text, 1 tune)
Shay-SeaSongs, pp. 122-123, "The Whale" (1 text, 1 tune, plus a fragment from _Moby Dick_ which may well be derived from this song)
Scott-BoA, pp. 142-144, "The Greenland Whale Fishery" (1 text, 1 tune)
Lomax-FSNA 32, "The Greenland Whale Fishery" (1 text, 1 tune)
Botkin-AmFolklr, pp. 832-833, "Greenland Fishery" (1 text, 1 tune)
Silber-FSWB, p. 94, "Greenland Fisheries" (1 text)
DT 321, GREENLAN* GRENLAN2* GRNFISH* GRENFIS4*
Roud #347
RECORDINGS:
Almanac Singers, "Greenland Fishing" (Rec. 1941, unissued at the time; on AlmanacCD1)
A. L. Lloyd, "The Greenland Whale Fishery" (on Lloyd9)
David Pryor: "When the Whale Get Strike" [fragment] (AAFS 512 A1, 1935; on LomaxCD1822-2)
Pete Seeger, "The Greenland Whalers" (on PeteSeeger10)
BROADSIDES:
Bodleian, 2806 c.17(160), "Greenland Whale Fishery" ("In eighteen-hundred and twenty-three"), W. Armstrong (Liverpool), 1820-1824; also Firth c.13(67), Firth c.13(68), Firth c.13(69), Firth c.13(71), Harding B 11(90), Harding B 11(3307), Harding B 11(958), Harding B 25(778), "Greenland Whale Fishery"
CROSS_REFERENCES:
cf. "The Barrack's Song" (form)
ALTERNATE_TITLES:
Greenland
Whale-Fishing
NOTES: [Lloyd cites a blackletter printing of this piece from before 1725.]
In 1830, the English whaling fleet moved from the right-whale grounds off Greenland to Baffin Bay, and thence to the grounds off Hawaii and Peru. The whalers' songs nonetheless continued to refer to the Greenland grounds. - PJS
File: LK21
===
NAME: Greenmount Smiling Ann
DESCRIPTION: The singer sees a beautiful girl, "Greenmount smiling Ann." He sees a young man in green approach her. They go off together; the birds sing and the swans glide along with them. He is assured they are "joined in Hymen's ban."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: love husband wife bird marriage beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H182, pp. 464-465, "Greenmount Smiling Ann" (1 text, 1 tune)
Roud #4457
File: HHH464
===
NAME: Greenock Railway, The
DESCRIPTION: Paddy pays a fare on the Greenock Railway to Glasgow. He enters a box and fights an upper-class man who says he is in the wrong fare class. He fights and escapes to work the harvest and return to Ireland, or is taken by a peeler and serves three months.
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30407a)
KEYWORDS: violence travel escape technology Scotland humorous police railroading
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 290, "The Greenock Railway" (2 texts, 2 tunes)
Roud #5833
BROADSIDES:
Bodleian, Harding B 11(823), "Paddy on the Railway" ("A paddy once in Greenock town"), H. Such (London), 1863-1885; also 2806 c.15(276),"Paddy on the Railway"; Harding B 11(2925), 2806 b.11(250), Harding B 11(2924), "Paddy on the Railway" ("Paddy one day from Greenock town")
LOCSinging, sb30407a, "Paddy on the Railway," H. De Marsan (New York), 1864-1878 
NLScotland, L.C.Fol.178.A.2(086), "Paddy on the Railway," unknown, c.1870; also SSSSSS, "X" 
CROSS_REFERENCES:
cf. "The Iron Horse (I)" (theme: country folk ride the railroad)
NOTES: If the description has not made it clear, this is another song about the country man confused by "wonders" of "civilization" for "never one in the county of Clare, Ever saw or heard of a Railway."
Sir Robert Peel established the Royal Irish Constabulary in 1812 and its success led, in 1829, to the Metropolitan Police Act for London. Originally the term "Peeler" applied to the London constabulary. (source: _Sir Robert "Bobby" Peel (1788-1850)_ at Historic UK site.)
GreigDuncan2 texts are fragments; broadside Bodleian Harding B 11(823) is the basis for the description.
Broadside LOCSinging sb30407a: 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: GrD2290
===
NAME: Greens
DESCRIPTION: "Greens, greens, good old (collard/culluhed) greens, I eats 'em in the mornin', I eats 'em in the night, I eats 'em all the time; They make me feel just right."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: food nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Sandburg, p. 347, "Greens" (1 fragment, 1 tune)
Pankake-PHCFSB, p. 8, "Collard Greens" (1 text, tune referenced)
Roud #4491
CROSS_REFERENCES:
cf. "Turnip Greens" (theme)
NOTES: It's not clear whether the Sandburg and Pankake songs are the same (about all they have in common are the phrase "good old collard greens") -- but both are fragments; it seems pointless to separate them.
The Pankakes have another song, "Turnip Greens," which may spring from the same, er, roots. - RBW
File: San347
===
NAME: Greensleeves
DESCRIPTION: A song of a man rejected by "Lady Greensleeves," whom he describes as "all my joy" and "my delight." He offers various gifts and honors if she will return to him and complains about what he has already spent upon her.
AUTHOR: unknown
EARLIEST_DATE: 1580 (Stationer's Register; the first surviving printing is from _A Handful of Pleasant Delights_,1584, and we first find the tune in 1652)
KEYWORDS: love courting rejection
FOUND_IN: Britain
REFERENCES: (6 citations)
Leather, p. 137, "Handkerchief Dance [Greensleeves]" (1 tune, with dance instructions but no text)
Chappell/Wooldridge I, pp. 239-242, "Green Sleeves" (1 text, 1 tune)
Silber-FSWB, p. 140, "Greensleeves" (1 text)
Fuld-WFM, p. 259, "Greensleeves"
ADDITIONAL: Norman Ault, _Elizabethan Lyrics From the Original Texts_, pp. 86-89, "A New Courtly Sonnet of the Lady Greensleeves" (1 text)
DT, GRNSLVS* GRNSLV3*
ST ChWI239 (Full)
RECORDINGS:
Pete Seeger, "Greensleeves"  [probably instrumental] (on PeteSeeger47)
CROSS_REFERENCES:
cf. "O Shepherd, O Shepherd" (tune)
cf. "The Lord of Lorn and the False Steward" [Child 271] (tune)
cf. "What Child Is This?" (tune)
SAME_TUNE:
At Rome there is a most fearful rout/New Song of Lulla By (BBI ZN331)
You traitors all that doo deuise, to hurt our Queen in trewcherous wise/A warning to all false Traitors.. [execution of 14 traitors, Aug. 1588] (BBI ZN3138)
Good Lord what a wicked world is this/A most excellent godly new Ballad  (BBI ZN1009)
NOTES: I have heard that green sleeves betokened a prostitute, and that this song is about a young man who yearned for a woman he could not marry because of her occupation. Kelly Eberhard informs me of a contrary legend, that green sleeves betokened English royalty. (I wonder, in all seriousness, if green sleeves did not betoken a "queen," which means of course both the female member of the ruling family and a prostitute.)
The actual origin of this tune is unknown (some have credited it to Henry VIII!), but it became popular almost instantly after its registration. Shakespeare mentions it twice in "The Merry Wives of Windsor" (II.i.57 and V.v.18); Chappell lists many other mentions from before 1600. Ault notes that the title was registered to Jones (who would later print the _Handful of Pleasant Delights_ version) on Sept. 3, 1580 -- and, that, on the same day, another printer registered "The Lady Greenesleeve's Answer to Donkyn her friend," implying that the piece was already well enough known to draw knock-offs.
Whether the piece ever really took a place in the traditional repertoire is another matter. - RBW
The words perhaps [did] not [become traditional], but the tune certainly did, being found in various forms as a morris dance, a country dance ("Green Sleeves and Yellow Lace") and two carols ("What Child Is This," of course, and "Dame Get Up and Bake You Pies"). -PJS
File: ChWI239
===
NAME: Greenwood Laddie, The
DESCRIPTION: Singer describes the beauty of her greenwood laddie. Her parents oppose the match because he has no riches, but she says "the more that they slight you, the more I'll invite you". She would still cherish him if she had the gold of the Indies or of Africa.
AUTHOR: unknown
EARLIEST_DATE: 1952 (recorded from Charles Boyle)
KEYWORDS: love beauty gold money lyric nonballad lover father mother
FOUND_IN: Ireland
REFERENCES: (2 citations)
Kennedy 130, "The Greenwood Laddie" (1 text, 1 tune)
Tunney-StoneFiddle, p. 137, "The Greenwood Laddie" (1 text, 1 tune)
Roud #2123
RECORDINGS:
Robert Cinnamond, "The Greenwood Laddie" (on IRRCinnamond02)
Paddy Tunney, "Greenwood Laddie" (on IRPTunney01)
CROSS_REFERENCES:
cf. "The Banks of the Bann (I)" [Laws O2] (lyrics)
NOTES: In 1909 Joyce collected "The Greenwood Lad," but only the tune, and without seeing it I won't cite it as Earliest Date. This is similar in tone to "Banks of the Bann," and even shares a verse, but it's otherwise different enough that I split them without question. - PJS
Kennedy speculates that this might be somehow connected with a Gaelic song, and that the youth's "green-ness" might have political significance. Which strikes me as a rather forced interpretation. - RBW
File: K130
===
NAME: Greenwood Siding, {The): see The Cruel Mother [Child 20] (File: C020)
===
NAME: Greer County: see Starving to Death on a Government Claim (The Lane County Bachelor) (File: R186)
===
NAME: Greer's Grove
DESCRIPTION: Johnny intends to spend the night with Nancy but her cronies beat him and take his money. Next day his mother and neighbors comment on his appearance. He denies being beaten. Fellows, beware of Nancy.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond02)
KEYWORDS: courting sex fight humorous
FOUND_IN: Ireland
REFERENCES: ()

ST RcGrrGrv (Full)
Roud #7004
RECORDINGS:
Robert Cinnamond, "Down By Gruyer's Groves" (on IRRCinnamond02)
NOTES: The description is based on John Moulden's transcription from IRRCinnamond02 included in the Traditional Ballad Index Supplement. - BS
File: RcGrrGrv
===
NAME: Gresford Disaster, The
DESCRIPTION: 242 miners and three rescuers died in the Gresford mine explosion. The management is accused of destroying the fireman's records to cover criminal negligence. "Down there in the dark they are lying; they died for nine shillings a day"
AUTHOR: unknown
EARLIEST_DATE: 1952
KEYWORDS: disaster death mining
HISTORICAL_REFERENCES: Sept 22, 1934 - explosion of the Gresford pit mine (in Denbyshire) kills 265 miners and three rescuers
FOUND_IN: Britain
REFERENCES: (3 citations)
MacColl-Shuttle, pp. 11-12, "The Gresford Disaster" (1 text, 1 tune)
PBB 116, "The Gresford Disaster" (1 text)
DT, GRESFORD
Roud #3089
RECORDINGS:
Mrs. A. Cosgrave, "The Gresford Disaster" (on FSB3)
File: PBB116
===
NAME: Grey Cat Kittled in Charlie's Wig, The
DESCRIPTION: "The grey cat's kittled in Charlie's wig (x2), There's one of them living and two of them dead, The grey cat's kittled in Charlie's wig"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: animal childbirth
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 40, "(The grey cat's kittled in Charlie's wig)" (1 short text)
Roud #13024
File: MSNR040
===
NAME: Grey Cock, The, or, Saw You My Father [Child 248]
DESCRIPTION: Man bids his love to let him in. After some hours of lovemaking, he tells her he must depart when the cock crows (or before). She hopes the cock will not crow soon, but it crows early. She learns that her lover is a ghost, and may never return
AUTHOR: unknown
EARLIEST_DATE: 1769 (Herd)
LONG_DESCRIPTION: Man comes to his lover's window, bidding her open and let him in. They spend the night in lovemaking; toward dawn, he tells her he must leave when the cock crows for day. She prays the cock not to crow too soon, but the cock in fact crows early. She remarks her lover's cold lips and skin, realizing he has returned to her dead. As he leaves, she asks when she will see him again; he replies with impossibilities ("When the fish they fly, love, and the sea runs dry, love/And the rocks they melt in the heat of the sun") -- i.e., at the Judgment Day.
KEYWORDS: love sex farewell death dialog nightvisit paradox supernatural lover ghost
FOUND_IN: Britain(England(South,West),Scotland) US(Ap,SE) Canada(Mar,Newf) Ireland
REFERENCES: (12 citations)
Child 248, "The Grey Cock, or, Saw You My Father" (1 text)
Bronson 248, "The Grey Cock, or, Saw You My Father" (16 versions)
SharpAp 36, "The Grey Cock" (1 text, 1 tune) {Bronson's #6}
BarryEckstormSmyth pp. 310-313, "The Grey Cock" (1 text plus Joyce's version of "The Lover's Ghost")
Leach, pp. 611-612, "The Grey Cock" (2 texts)
Warner 90, "Pretty Crowin' Chicken" (1 text, 1 tune)
Creighton/Senior, pp. 83-85, "The Grey Cock" (2 texts, 2 tunes) {Bronson's #11, #13}
Karpeles-Newfoundland 21, "The Lover's Ghost" (2 texts, 2 tunes)
Vaughan Williams/Lloyd, pp. 52-53, "The Grey Cock, or The Lover's Ghost" (1 text, 1 tune) {Bronson's #16}
Hodgart, p. 148, "The Grey Cock" (1 text)
SHenry H699, pp. 383-384, "The Bonny Bushes Bright" (1 text, 1 tune)
DT 248, GREYCOCK*
ST C248 (Full)
Roud #179
RECORDINGS:
Robert Cinnamond, "Fly Up My Cock" (on IRRCinnamond02)
Cecilia Costello, "The Grey Ghost" (on FSB5 [as "The Grey Cock"], FSBBAL2) {Bronson's #16}
A. L. Lloyd, "The Lover's Ghost" (on Lloyd1) (on Lloyd2, Lloyd3)
Ewan MacColl and Peggy Seeger, "The Grey Cock" (on ENMacCollSeeger02)
CROSS_REFERENCES:
cf. "Night Visiting Song" (motif)
cf. "A Waukrife Minnie" (motif)
cf. "Rise Up Quickly and Let Me In (The Ghostly Lover)" (motif)
cf. "Willie's Fatal Visit" [Child 255] (motif)
NOTES: [Of Bronson's sixteen versions,] only one is of the Night Visiting Song type and one of the I Once Loved a Lass type. - AS
Hugh Shields wrote an article, "The Grey Cock: Dawn Song or Revenant Ballad?" (reprinted in E. B. Lyle, _Ballad Studies_, pp. 67-92) which argues that, in its original form, this was an "alba" or "dawn song" rather than a revenant ballad.
The problem with the hypothesis, as even Shields grudgingly admits, is that this type of song is literally unknown in English (it's associated primarily with the Iberian peninsula, though James J. Wilhelm, _Medieval Song_, p. 107, claims that the oldest Dawn Song is the Provencal "En un vergier sotz folha s'albespi," and Wilhelm prints several other dawn songs from France, and even a few from Germany).
Shields never ever really defines the form, giving only a few footnotes, one pointing to a German article on Chaucer's _Troilus_. Looking at the examples in Wilhelm (there are several more found among the Provencal songs), it appears that the characteristic of the form is two young people, forbidden to meet, still coming together at night and having to part before dawn. Though there are also "religious" alba songs, presumably in praise of the light, and a few other things. All of them, however, are art or minstrel songs, not folk songs.
The former type of alba song, obviously, resembles "The Grey Cock" -- but the motivations are entirely different, and so, generally, is the outcome; in the alba songs, the light simply threatens to reveal the lovers, while it threatens the ghost's very existence in the English ballad. I incline to think the similarity, if there is one, is coincidental -- i.e. "The Grey Cock" may be an alba song, but it is not from the tradition of alba songs. 
I should probably note, though, that the Provencal examples cited come mostly from the twelfth and thirteenth centuries -- i.e. some of them come from the time when England ruled large parts of Provence. Henry II had Provencal troubadours in his entourage (perhaps the most famous of all, Bertran de Born, c. 1140-1214, had a part in the quarrels between Henry and his son Henry the Young King, and wrote a lament for the latter). So the form could have been introduced into England at the time -- if you believe that it could have survived the conversion into English and then have lasted until modern times.
There is a nursery rhyme verse which is probably related to this, though it might also have been influenced by "Lady Isabel and the Elf-Knight" or something similar:
Oh, my pretty cock, oh, my handsome cock,
I pray you, do not crow before day,
And your comb shall be made of the very beaten gold,
And your wings of the silver so gray. (Baring-Gould-MotherGoose #852, p. 320.) - RBW
The nine-verse Costello version [Vaughan Williams/Lloyd] of "The Grey Cock" begins with five verses often found in "Rise Up Quickly and Let Me In (The Ghostly Lover)," including the distinguishing lines
Saying, "I'll be guided without a stumble...."
"....Disturbing me from my long night's rest?"
"It is your own true love, pray don't discover..."
"....For I am wet after my long night's journey,
Besides I'm wet love unto the skin."
followed by the "where is the blushes" verse from "Willy O!", two bribery and betrayal verses from Child 248, and ends with the "when the fish they fly" verse from "I Will Put My Ship In Order"; Ewan MacColl's version of the Costello text adds one more verse from "Willy O!" 
Perhaps a revenant "The Grey Cock" was closer to the P.W. Joyce version and the two closely related Karpeles-Newfoundland texts; that ballad also concludes with the "when the fish they fly" verse. There the distinguishing lines include
"And where is your bed, my dearest love," he said,
"And where are your white Holland sheets?
And where are the maids, oh my darling dear," he said,
"That wait upon you whilst you are asleep?"
"The clay it is me bed, my dearest dear," she said,
"The shroud is my white Holland sheet.
And the worms and creeping things are me servants, dear," she said,
"That wait upon me whilst I am asleep."
(Joyce's text, unlike Karpeles's, reverses the sex of the parties.) Or maybe that is another independent set of ballads.
Child's notes to "The Grey Cock, or, Saw You My Father?" refer to a ballad without a ghost theme ended prematurely by a crowing cock: "The cock is remiss or unfaithful, again, in a little ballad picked up by Burns in Nithsdale, 'A Waukrife Minnie,' Cromek, Select Scottish Songs. You can read the text of the 1789 poem at Burns Country site.
Robert Cinnamond's version on IRRCinnamond02, like Child, Johnson, SHenry and BarryEckstormSmyth, have no ghostly elements. At the end, as in SHenry, the woman is deserted by a man who would just rather not be married. My own inclination, without getting into the "alba" controversy, is to believe that the ghostly versions, like Costello, Vaughan Williams/Lloyd and MacColl, have imported the ghost from entirely different ballads. - BS
File: C248
===
NAME: Grey Goose, The
DESCRIPTION: "Last Monday morning, Lord, Lord, Lord... My daddy went a-hunting... for de grey goose." The goose is found and killed; it takes six weeks to fall, and six weeks to pluck, and six weeks to cook... It cannot be cut, and comes back to life and flies away
AUTHOR: unknown
EARLIEST_DATE: 1933 (recording, Washington "Lightnin'")
KEYWORDS: talltale bird cook hunting
FOUND_IN: US(So)
REFERENCES: (7 citations)
Lomax-FSUSA 5, "The Grey Goose" (1 text, 1 tune)
Lomax-ABFS, pp. 242-243, "De Grey Goose" (1 text, 1 tune)
Jackson-DeadMan, pp. 95-97, "Grey Goose" (1 text, 1 tune)
Botkin-AmFolklr, pp. 907-908, "The Grey Goose" (1 text, 1 tune)
Greenway-AFP, pp. 109-110, "Grey Goose" (1 text)
Silber-FSWB, p. 403, "The Gray Goose" (1 text)
DT, GRAYGOOS
Roud #11684
RECORDINGS:
James "Iron Head" Baker, "The Grey Goose" (AFS 207B, 1933) (AFS 205 A3, 1934; on LC03)
Augustus "Track Horse" Haggerty & group, "The Grey Goose" (AFS 223 A2, 1933) 
Lead Belly, "The Grey Goose" (on GrowOn2)
Pete Seeger, "Gray Goose" (on PeteSeeger05); "Grey Goose" (on PeteSeeger08, PeteSeegerCD02)
Washington "Lightnin'," "The Gray Goose" (AFS 182 A, 1933)
CROSS_REFERENCES:
cf. "The Derby Ram" (theme)
cf. "The Sucking Pig" (theme)
cf. "The Worderful Crocodile" (theme)
cf. "T'Owd Yowe wi' One Horn" (theme)
cf. "Home, Happy Home"
NOTES: Paul Stamler writes, "[This song and 'Home, Happy Home'] are so close that it might be better to call [the latter] an Alternate Title." I have no knowledge of "Home, Happy Home." Anyone know more? - RBW
"Home, Happy Home" was collected, almost certainly from white informants, by Garry Harrison in southern Illinois, probably in the 1970s. - PJS
John Greenway sees this as similar to "Cutty Wren." Once again, I don't see it. - RBW
File: LxU005
===
NAME: Grief Is a Knot
DESCRIPTION: Willie leaves Mary for another girl. Mary goes to her deathbed and sends for Willie who promises to take care of their baby. The baby dies too and is buried with Mary.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Peacock)
KEYWORDS: infidelity sex burial death baby lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 673-674, "Grief Is a Knot" (1 text, 1 tune)
Roud #9803
File: Pea673
===
NAME: Grigor's Ghost
DESCRIPTION: Grigor loves his rich cousin Katie. Her father arranges for Grigor's impressment. He is killed near Fort Niagara; the finger with her ring is cut off. His ghost appears to Katie without the finger. She dies. The father is left "bereft of all joys."
AUTHOR: unknown
EARLIEST_DATE: 1825 (Buchan, _Gleanings of Scotch, English, and Irish Scarce Old Ballads_, according to GreigDuncan2)
KEYWORDS: grief love ring army battle parting death America Scotland father servant soldier ghost
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 340, "Grigor's Ghost" (2 texts, 1 tune)
Roud #4600
CROSS_REFERENCES:
cf. "On One Thursday's Evening" (tune, according to GreigDuncan2)
NOTES: This is a long ballad and many elements were left out of the description. Among them: Grigor, whose father had been exiled, was taken in and poorly used as a servant by his uncle MacFarlane; Katie is courted by wealthy suitors; her mother overhears their meeting and reports it to MacFarlane; when Grigor and Katie part she asks to be allowed to accompany him in the army but Grigor refuses and she gives him a ring; after Katie dies of grief the mother dies the same night. 
According to the ballad, Grigor is killed near Fort Niagara July 30, 1759, four days after the battle there. - BS
The battle of Fort Niagara was part of William Pitt's grand strategy of 1758-1759 for the French and Indian War, in which he attacked the French in Canada on many fronts. The most notable of these campaigns was that of James Wolfe against Quebec, for which see "Brave Wolfe" [Laws A1].
The Niagara campaign took place some weeks before that, and in some ways was even more decisive (because the French had no real chance to reverse the result; they could have retaken Quebec). The British had already accomplished one of the objectives for which they had started the war: They had taken the fort at the confluence of the Allegheny and Monongahela rivers, the site of the future Pittsburg (see Walter R. Borneman, _The French and Indian War_, Harper-Collins, 2006, pp. 187-192). This allowed British resettlement of much of western Pennsylvania, from which they had been driven after Braddock's Defeat (for which see the song of the same name). But if the British could capture Fort Niagara, they could cut off Quebec (and, hence, European France) from the trans-Appalachian areas.
John Prideaux, newly appointed brigadier general, was given 3000 troops and sent up the Mohawk River to take the fort. (Borneman, p. 193). He was joined by about a thousand Iroquois at Oswego (see Fred Anderson, _Crucible of War: The Seven Years' War and the Fate of Empire in British North America_, 2000; I use the 2001 Vintage Books edition; pp. 330-331). This was significant for the British, because the Iroquois had been fairly quiet until then, and most other tribes supported the French. Prideaux therefore left a thousand British and American troops at Oswego to guard his communications and rebuilt the fort there, and rowed the rest of the troops to a point near the mouth of the Niagara River (Borneman, p. 194).
Fort Niagara, built in 1725 near the mouth of the Niagara and much improved in the years since, was well-built and well-situated for most purposes, with water on three sides and a strong wall on the fourth. But it was undermanned; the officer in charge thought that the threat was over for the year, and had sent most of his garrison off to other duties (Anderson, p. 355). His reasons were valid, but the conclusions were wrong; when the British showed up, the fort was manned by only about 500 men (fewer than 200 French regulars and about 300 locals). Plus it was vulnerable to artillery fire from a high point nearby (Borneman, p. 195). Prideaux put his troops there on July 7, 1759 and began a siege.
On July 20, Prideaux was killed by his own artillery (Anderson, p. 336, Borneman, p. 196). On July 23, before the English command could properly be reorganized, the French troops that had earlier left the fort returned. But, disregarding advice from the locals, the 1500 or so men marched right into an ambush and were slaughtered on July 24 (Borneman, p. 198; Anderson, p. 337, says that the Indians in the relief column pulled out, so it was perhaps only 600 Frenchmen who went to their doom. Either way, the relief expedition failed). With no further hope of rescue, Fort Niagara surrendered on July 25 (Anderson, p. 337; Borneman, p. 199).
The battle broke the back of the French position west of the Appalachians. For the moment, New France (what we now would call Quebec) still stood, but it had no real supply line to the southwestern forts. French settlements in places like Michigan and Illinois were cut off from contact with the French government. Few were actually attacked, but they could be taken any time the British wanted them.
The last sputter of the Niagara campaign came as the French attacked Oswego on the supply line to Fort Niagara (Borneman, pp. 202-203). This was a complete fiasco for the French, but perhaps this was the attack in which Grigor was killed. - RBW
File: GrD2340
===
NAME: Grizzly Bear (Grizzely Bear)
DESCRIPTION: "Oh that grizzely, grizzely, grizzely bear, Tell me who was that grizzely bear. Oh Jack o' Diamonds was that grizzely bear." The singer describes the grizzely bear (and how his family tries to avoid and/or hunt it)
AUTHOR: unknown
EARLIEST_DATE: 1951 (sung by convicts of Negro Prison Camp Worksongs)
KEYWORDS: nonballad hunting animal
FOUND_IN: US(So)
REFERENCES: (3 citations)
Courlander-NFM, p. 106, "Grizzly Bear" (1 text)
Jackson-DeadMan, pp.184-192, "Grizzly Bear" (4 texts, 2 tunes)
Silber-FSWB, p. 402, "Grizzly Bear" (1 text)
Roud #16673
RECORDINGS:
Texas state farm prisoners, "Grizzly Bear" (on NPCWork, FMUSA) [Jackson believes the lead singer here is Joseph "Chinaman" Johnson]
NOTES: Courlander suggests the "Grizzly Bear" was a convict whose appearance was so wild that he resembled a bear. As most if not all versions seem to come from prisoners, this is at least possible. But several of the prisoners Jackson spoke to thought it was a warden, Carl Luther McAdams, considered very strict but fair and sometimes known as "the Bear." Still others mentioned a Joe Oliver who predated McAdams.
Jackson notes that some scholars consider "the bear" to be a homosexual convict, but observes that the prisoners he talked to rejected that interpretation completely.
Jackson's versions of the song vary widely; the two sung by Benny Richardson actually have plots of sorts, and Jackson calls them ballads -- though they're pretty vague, just a sort of travelogue. - RBW
File: CNFM106A
===
NAME: Grogal McCree: see Gay Girl Marie [Laws M23] (File: LM23)
===
NAME: Ground for the Floor (I)
DESCRIPTION: At day's end, the singer (a shepherd) makes his way home, where he sits content. He praises the cottage, though he has "nothing but ground for my floor." He sleeps well, rising cheerfully to his work and playing his pipe; he has no high ambitions
AUTHOR: unknown
EARLIEST_DATE: 1904 (Sharp)
KEYWORDS: home farming work music nonballad sheep shepherd worker
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (1 citation)
Kennedy 250, "Ground for the Floor" (1 text, 1 tune)
Roud #1269
RECORDINGS:
George Maynard, "The Sun Being Set" (on Maynard1); "Ground for the Floor" (on Voice20)
CROSS_REFERENCES:
cf. "Ground for the Floor (II)" (subject)
File: RcGftF
===
NAME: Ground for the Floor (II)
DESCRIPTION: The singer has "a neat little cottage with ground for the floor" surrounded by brambles and thorns. He is happy with his dog and gun, a three-legged stool, a fire on the ground, bed of straw, and one guinea in the pocket of his only suit.
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 11(3660))
KEYWORDS: home nonballad
FOUND_IN: 
REFERENCES: ()

Roud #1269
BROADSIDES:
Bodleian, Harding B 11(3660), "Ground for the Floor" ("I lived in a wood for a number of years"), J. Evans (London), 1780-1812; also Harding B 11(3659), Harding B 16(108b), Harding B 11(1437), Harding B 11(1438), Harding B 11(1439), Firth c.19(212), Harding B 28(81), Harding B 11(321), Harding B 25(781), "Ground for the Floor"
CROSS_REFERENCES:
cf. "Ground for the Floor (I)" (subject)
NOTES: The description is from broadside Bodleian Harding B 11(3660). Roud assigns the same number to this and "Ground for the Floor" ("The sun being set"); while they are about the same general subject and share a single phrase, I don't see how they are related. - BS
File: RcGftFl2
===
NAME: Ground Hog
DESCRIPTION: A family goes ground hog hunting, catches one, cooks and eats it with great enjoyment. Almost anything can happen in the process as verses float in and out.
AUTHOR: unknown (credited on the Norris recording to Harold Gray)
EARLIEST_DATE: 1911
KEYWORDS: hunting food humorous animal family
FOUND_IN: US(Ap,SE,So)
REFERENCES: (14 citations)
Randolph 413, "The Ground-Hog Song" (2 texts, 1 tune)
BrownIII 221, "The Ground Hog" (3 texts plus a fragment and indirect mention of 2 more)
Wyman-Brockway I, p. 30, "The Ground Hog" (1 text, 1 tune)
Warner 123, "Groundhog" (1 text, 1 tune)
Lomax-FSUSA 8, "Ground Hog" (1 text, 1 tune)
Lomax-FSNA 131, "Groundhog" (1 text, 1 tune)
Lomax-ABFS, pp. 271-274, "Groun' Hog" (1 text, 1 tune)
Botkin-AmFolklr, pp. 893-895, "Groun'-Hog" (1 text, 1 tune)
SharpAp 231, "The Ground Hog" (1 text, 1 tune)
MHenry-Appalachians, pp. 5-6, "Ground Hog" (1 text)
JHCox 176, "Ground Hog Song" (1 text)
Pankake-PHCFSB, pp. 56-57, "Groundhot" (1 text, 1 tune)
Silber-FSWB, p. 402, "Groundhog" (1 text)
DT, GRONDHOG*
Roud #3125
RECORDINGS:
Almanac Singers, "Ground Hog" (General 5018B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Seena Helms, "Groundhog" (on HandMeDown2)
Homer & Jethro, "Groundhog" (King 596, 1947)
Vester Jones, "Groundhog" (on GraysonCarroll1)
New Lost City Ramblers, "Groundhog" (on NLCR16)
Land Norris, "Ground Hog" (OKeh 40096, 1924)
Frank Proffitt, "Groundhog" (on Proffitt03)
Jack Reedy & his Walker Mountain String Band, "Ground Hog" (Brunswick 221, 1928; on CrowTold02, LostProv1)
Pete Seeger, "Ground Hog" (on PeteSeeger07, PeteSeeger07b) (on PeteSeeger08, PeteSeegerCD02)
Doc Watson, Arnold Watson & Gaither Carlton, "Ground Hog" (on Watson01)
File: R413
===
NAME: Groundhog: see Ground Hog (File: R413)
===
NAME: Group of Jolly Cowboys, A: see The Wandering Cowboy [Laws B7] (File: LB07)
===
NAME: Groves of Blackpool, The
DESCRIPTION: "Now de war, dearest Nancy, is ended." The Cork City Militia return home to a grand reception and local brew. Their band plays "Boyne Water" and "Croppies Lie Down." It's good to be back among the tanners and glue-boilers "in de Groves of de Pool"
AUTHOR: Richard Alfred Milliken (1767-1816) (source: Moylan)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: rebellion drink music soldier home
FOUND_IN: 
REFERENCES: (2 citations)
Moylan 61, "The Groves of Blackpool" (1 text, 1 tune)
Croker-PopularSongs, pp. 168-173, "The Groves of Blackpool" (1 text)
ALTERNATE_TITLES:
De Groves of de Pool
NOTES: The text mimics the local accent by replacing "th" by "d" with occasional other translations ("because" becomes "bekase," "pretty" becomes "purty," "murder" becomes "murther," "educated" becomes "edicated," ....). 
Moylan: "A song from the loyalist side ... commemorates the activities of the North Cork Militia who became notorious, during the period when Wexford was under martial law, for the enthusiasm and brutality with which they carried out their duties." Moylan quotes Sparling's caracterization (from _Irish Minstrelsy_ p. 504): "In 1798 Milliken was unenviably notorious for 'zeal and efficiency' as a yeoman."
Croker-PopularSongs: "The Cork Militia were especially Orange. They suffered severely in the Rebellion of 1798...." 
Croker believes the last verse - a toast to the tanners and glue-boilers "in de Groves of de Pool" - is the work of John Lander rather than "honest Dick Millikin." - BS
According to the brief biography in Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 791, Milliken (or Millikin, as she spells it) lived and died in Cork; she gives his death date as 1815. He is known almost exclusively for his poem "The Groves of Blarney," which if nothing else had quite a vogue in the broadside press; see its entry. In this index, see also "The River Lee." - RBW
File: Moyl061
===
NAME: Groves of Blarney
DESCRIPTION: "The groves of Blarney they are so charming." The flowers, "grand walks," "the stone" and statues are described. No commander can compare with Lady Jeffers. If the singer were a poet like Homer "in every feature that I'd make it shine"
AUTHOR: probably Richard Alfred Milliken (1767-1816) (see Notes)
EARLIEST_DATE: 1800 (1798-1799 probable date written, printed copies in Cork by 1800, according to Croker-PopularSongs)
KEYWORDS: nonballad lyric
FOUND_IN: 
REFERENCES: (4 citations)
O'Conor, p. 33, "Groves of Blarney" (1 text)
Croker-PopularSongs, pp. 137-144, "The Groves of Blarney" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 362-365, "The Groves of Blarney" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 28-30, "The Groves of Blarney" (1 text)
BROADSIDES:
Bodleian, Harding B 11(4035), "Groves of Blarney" ("The groves of Blarney, they are so charming") , J.O. Bebbington (Manchester), 1855-1858; also Harding B 11(2095), 2806 b.11(161), Harding B 18(223), "Groves of Blarney" 
LOCSinging, sb10145b, "The Groves of Blarney", H. De Marsan (New York), 1864-1878 
CROSS_REFERENCES:
cf. "The Last Rose of Summer" (tune, per Hoagland)
cf. "Castle Hyde" (tune and theme, per Hoagland)
cf. "The Plains of Drishane" (theme: extravagant praise of Cork)
cf. "Castle Hyde" (theme: extravagant praise of Cork)
cf. "The Groves of Glanmire" (theme: extravagant praise of Cork)
NOTES:  _Irish Minstrelsy_ by H. Halliday Sparling (London, 1888), pp. 437-438, 505, "The Groves of Blarney" makes the attribution to Milliken. [_Granger's Index to Poetry_ accepts this identification, but notes at least one version with an additional stanza by Francis Sylvester Mahony, for whom see "Bells of Shandon"; the attribution in _Granger's_  appears to be based on Hoagland. She adds that "Millikin at a party declared he could write a piece of absurdity which would surpass 'Castle Hyde....' The Groves of Blarney was the result...." Other poems by Millikin in this index include "The Groves of Blackpool" and "The River Lee." - RBW].
Croker-PopularSongs, quoting the memoir prefixed to _Poetical Fragments of the late Richard Alfred Millikin_[1823]: "During the Rebellion, several verses were, in the heat of party [Croker: an electioneering dinner], added to this song, particularly those alluding to the mean descent of a certain noble lord [Croker: Lord Domoughmore (then Lord Hutchinson)]; but they were not the production of the original author, who, incapable of scurrility or personal enmity to those with whom he differed in opinion, scorned such puerile malice." Croker makes the added verse "'Tis there's the kitchen hangs many a flitch in ... All blood relations to my Lord Donoughmore"; Croker notes that, in _The Reliques of Father Prout_ [Rev Francis Sylvester Mahony (1804-1866)] that verse is replaced by "There is a stone there, that whoever kisses ...." "may clamber to a lady's chamber, Or become a member of parliament....
The Jeffrey/Jeffers/Jeffares family were Protestants granted lands previously owned by Catholic Irish. In County Cork they took over Blarney Castle (source: The Jeffrey Family site). Kissing the Blarney Stone, on the top story of the castle tower, is supposed to give the gift of eloquence.
Broadside LOCSinging sb10145b: 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: OCon033
===
NAME: Groves of Glanmire, The
DESCRIPTION: The singer "come to this country a stranger" and, in his travels, has found "none to equal Glanmire." He lists the fine groves, the Bride Valley, the salmon fishing, hare hunting, "the finest of oak, lime and larch" and working mills.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: travel commerce fishing hunting nonballad lyric
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 90-91, "The Groves of Glanmire" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Groves of Blarney" (theme: extravagant praise of Cork) and references there
NOTES: This is more moderate in praise of local places than "Castle Hyde" and "Dear Mallow, Adieu," and fairly close in spirit to "The Town of Passage" (I). On the other hand it is just one more of the family of songs that has spawned so many parodies around Cork. See, for example, "The Groves of Blarney,' "The Plains of Drishane,' "Darling Neddeen,' "The Town of Passage" (II and III) and "The Praise of Kinsale." Or maybe this is just too subtle a parody for me to understand; it does end with a strange line that of all the mills working "there is one making silverspring starch." Silverspring Starch Company is/was in Glanmire (according to an entry on the Limerick City Council site 2/13/2006).
OCanainn: "Glanmire [is] some four miles from Cork city, on the Dublin Road." - BS
File: OCan090
===
NAME: Gruig Hill
DESCRIPTION: The singer goes out to take the air, and sees a beautiful girl who lives near Gruig Hill. He describes her beauty at length. They go to her home; her family greets him kindly. He sets out for his home, hoping to marry her
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: love beauty drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H626, p. 465, "Gruig Hill" (1 text, 1 tune)
Roud #18996
File: HHH626
===
NAME: Gude Wallace [Child 157]
DESCRIPTION: Wallace meets a woman washing at a well. She says 15 Englishmen who seek him are at the inn. He says he'd go there if he had any money; she gives him some. He goes, disguised, vanquishes the 15, calls for food, is set upon by 15 more and defeats them too.
AUTHOR: unknown
EARLIEST_DATE: 1768?
KEYWORDS: fight outlaw money food disguise
HISTORICAL_REFERENCES: 1286 - Death of Alexander III of Scotland
1290 - Death of his granddaughter Margaret "Maid of Norway"
1292 - Edward I of England declares John Balliol king of Scotland
1296 - Edward deposes John Balliol
1297 - William Wallace, the Guardian of Scotland, defeats the English at Stirling Bridge
1298 - Edward defeats Wallace at Falkirk. Wallace forced into hiding
1305 - Capture and execution of Wallace (August 23)
1306 - Robert Bruce declares himself king of Scotland
1307 - Death of Edward I
1314 - Battle of Bannockburn. Robert Bruce defeats Edward II of England and regains Scottish independence
FOUND_IN: Britain(Scotland)
REFERENCES: (6 citations)
Child 157, "Gude Wallace" (9 texts, 1 tune) {Bronson's #2}
Bronson 157, "Gude Wallace" (2 versions)
BarryEckstormSmyth pp. 465-466, "Gude Wallace" (notes plus part of Child G and a fragment of Child A)
Flanders-Ancient3, pp. 133-134, "Gude Wallace" (1 fragment, which mentions Wallace but otherwise has little resemblance to the Child ballad; it may be unrelated)
Leach, pp. 433-435, "Gude Wallace" (1 text)
DT, GUDWALL*
Roud #75
NOTES: William Wallace is one of the most famous figures in Scottish history, but surprisingly little is known of him. Prior to the reign of John Balliol, he was invisible; we don't even know his birth date, though many think he was born around 1272 (see Magnus Magnusson, _Scotland: The Story of a Nation_, Atlantic Monthly Press, 2000, p. 133).
It is only after John Balliol was deposed in 1296 that Wallace rose to defend Scotland from Edward I of England's attempts to take over the country. His rebellion apparently started quietly enough: He got into a brawl with some of Edward's soldiers who were at Lanark, and had to flee. A women (possibly his wife) who helped him escape was tortured and killed; Wallace responded by killing a local English officer (see Peter and Fiona Somerset Fry, _The History of Scotland_, 1982; I use the 1995 Barnes & Noble edition; p. 78; Fitzroy MacLean, _A Concise History of Scotland_, Beekman House, 1970, p. 37).
In other times, Wallace might have been called simply an outlaw. But with Scotland an occupied nation, he could call himself a freedom fighter. He declared himself a supporter of John Balliol and raised a rebellion.
The higher nobility was almost universally indifferent. They weren't happy with Edward I, but they had made terms with him, even if at sword point, and weren't willing to risk more fighting. But Wallace was able to gather a band of small landowners and minor knights. In 1297, they met an English army at Stirling Bridge, the last place it was possible to cross the Forth without boats. The English under the Earl of Surrey started to cross the bridge in the presence of Wallace's army (Magnusson, pp. 135-138), and of course he destroyed the portion across the bridge and won a major victory -- E. Thornton Cook, _Their Majesties of Scotland_, John Murray, 1928, p. 91, says the bridge broke under the fleeing English, though Magnusson, p. 139, makes the more reasonable suggestion that Surrey ordered it destroyed.
It was not a complete victory for the Scots; Wallace's chief lieutenant Andrew de Moray was mortally wounded in the battle (Magnusson, p. 139), and many English garrisons held out. But the Scots had shown they could still fight -- an immense pschological boost. As a result, Wallace became a Guardian of Scotland, and obviously respectable (see Rosalind Mitchison, _A History of Scotland_, second edition, Methuen, 1982, p. 43). People even called him "William the Conqueror" (see Colm McNamee, _The Wars of the Bruces: Scotland, England and Ireland, 1306-1328_, Tuckwell Press, 1997).
But Stirling Bridge had been fought while Edward I was away campaigning against France. He came rushing back, assembled an army, and himself led it. And Wallace, the guerilla, tried to fight a set-piece battle at Falkirk in 1298, and was disastrously beaten by Edward (MacLean, p. 38). Edward, no fool, assembled an army of bowmen, cavalry, and infantry, while Wallace had little but spearmen, arranged in schiltrons. Fifteen years later, at Bannockburn, it would be demonstrated that the schiltrons could beat off infantry or cavalry. But Edward I was not the military incompetent his son was. He had, and used, his longbowmen -- the first real use of the weapon that would later bring the English to the brink of victory in the Hundred Years' War. The bowmen broke up the schiltrons, then the cavalry swept up the scattered remnants (Magnusson, pp. 143-144). The Scottish army had ceased to exist. Wallace survived, but from Guardian of Scotland he fell to being a fugitive outlaw; he soon resigned his guardianship and went into hiding (Magnusson, p. 147).
Wallace supposedly went on to try to negotiate with France and the Papacy on behalf of Balliol (Magnusson, pp. 148-149). If so, he was largely ineffective -- indeed, it's hard to imagine them dealing with a man who hadn't even been a knight until so created, perhaps unofficially, after he became a guerilla.
Edward had pretty well pacified Scotland by 1303. Wallace spent the rest of his life on the run, with a price on his head (a hundred pounds, according to Magnusson, p. 152). He betrayed and captured in 1305, subjected to a kangaroo trial in England (the charge was treason, even though he had never taken an oath to Edward I, and the trial, according to Magnusson, p. 155, consisted simply of a recitation of the charges followed by conviction and sentence; Edward I, that alleged paragon of justice, did not so much as allow a statement by the defence), and executed with torture (Fry/Fry, p. 79).
That much is fact -- and it's about all the fact we have. Edward I tried to blot out his memory and leave no relics (hence the treason indictment and the destruction of Wallace's body, according to Magnusson, pp. 157-158), and even the histories sponsored by the Bruces and the Stuarts tried to ignore him (Magnusson, pp. 162-163). Wallace, after all, made Robert Bruce look inconsistent; Bruce's ancestors had competed against John Balliol, and Bruce himself had at times worked with the English.
It was only later that Wallace became a true national hero -- meaning that his legend was created after the facts were almost completely lost. Our Scottish sources, such as Blind Harry's "Wallace," are largely hagiographic, and make Wallace larger than life -- literally; Blind Harry says that he was two and a quarter ells tall, or 83 inches=6'11" or 2.1 meters (Magnusson, p. 133). Scotland's National Wallace Museum has an artifact called (almost certainly falsely) Wallace's Sword; it is 1.7 meters long, or 5'7" (Magunsson, p. 126). Magnusson, pp. 146-147 also notes how many alleged Wallace relics there are around Scotland -- most notably a Wallace Oak, but just as Robin Hood in England gathered wells and churches and trees named after him, so did Wallace in Scotland. This ballad seems to be another example of that; Child notes that the incident is found in Blind Harry's Wallace, though I suspect the ultimate inspiration was the tale of Wallace's wife and how her treatment caused him to become an outlaw.
Wallace's influence is still being felt today; Magnusson, p. 159, notes that when a referendum was held to re-create a Scottish parliament in the late twentieth century, the date chosen for hte referendum was September 11, 1997 -- the seven hundredth anniversary of the Battle of Stirling Bridge. - RBW
File: C157
===
NAME: Guerrilla Boy, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Guerrilla Man, The: see The Roving Gambler [Laws H4] (File: LH04)
===
NAME: Guess I'll Eat Some Worms
DESCRIPTION: "Nobody (likes/loves) me, Everybody hates me, Going to the garden To eat worms." The rest of the song may describe the means by which one consumes the invertebrates or list the reasons why the singer is disliked (assuming it isn't obvious)
AUTHOR: unknown
EARLIEST_DATE: 1947 (Opie & Opie)
KEYWORDS: animal food 
FOUND_IN: 
REFERENCES: (3 citations)
Pankake-PHCFSB, pp.138-139, "Guess I'll Eat Some Worms" (1 text, 1 tune)
DT, EATWORMS
ADDITIONAL: Peter and Iona Opie, _I Saw Esau: Traditional Rhymes of Youth_, #137, "(Nobody Loves Me)" (1 text)
Roud #12764
File: DTeatwor
===
NAME: Gui-Annee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Guid Coat o' Blue, The
DESCRIPTION: The singer's wife buys him a good coat against the winter. "Nae mair will I dread the cauld blasts o' Ben Ledi." He ridicules those who, in pride, prefer new fashions to such a coat. "We fret over taxes ... but daft silly pride is the warst tax o' ony"
AUTHOR: John Paterson (source: _Whistle-Binkie_)
EARLIEST_DATE: 1843 (_Whistle-Binkie_)
KEYWORDS: pride clothes nonballad wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
GreigDuncan3 660, "The Guid Coat o' Blue" (2 texts, 1 tune)
ADDITIONAL: Alexander Rodger, editor, Whistle-Binkie, Fifth Series (Glasgow, 1843), pp. 10-11, "My Guid Coat o' Blue"; also Whistle-Binkie, (Glasgow, 1878), Vol II, pp. 128-129, "My Guid Coat o' Blue"
Roud #6087
BROADSIDES:
Bodleian, Firth b.27(324), "Guid Coat o' Blue" ("The blue bell was gane, and the bloom aff the heather"), The Poet's Box (Glasgow), 1849-1880; also Harding B 17(205b), "My Guid Coat o' Blue"; Harding B 26(238)[some words illegible], "The Gude Coat o' Blue"
CROSS_REFERENCES:
cf. "The Lass o' Glenshee" (tune, per _Whistle-Binkie_ and Bodleian broadsides Firth b.27(324) and Harding B 17(205b))
ALTERNATE_TITLES:
The Coat o' Blue
File: GrD3660
===
NAME: Guid Guid Wife, The
DESCRIPTION: "To hae a wife, and rule a wife, Taks a wise wise man." The singer lists the penalties and injuries a man with a bad wife will suffer, and the benefits to a man with a good wife. A man with a good wife "gets gear eneuch"; a bad wife brings "care eneuch"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: marriage hardtimes warning nonballad husband wife
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 154, "A Guid, Guid Wife" (1 text)
File: Ord154
===
NAME: Guid Nicht an' Joy Be Wi' You A'
DESCRIPTION: As the singer prepares to leave the gathering, he declares, "Guid nicht, an' joy be wi' you a', Since it is sae that I maun gang." He praises those with whom he has been drinking, has a last drink of his own, and starts on the long voyage home
AUTHOR: Words: John Imlah/Music: James B. Allan ?
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: drink home friend nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 373-374, "Guid Nicht an' Joy Be Wi' You A'" (1 text)
Roud #3936
File: Ord373
===
NAME: Guide Me, Oh Thou Great Jehovah
DESCRIPTION: "Guide me, O Thou great Jehovah, Pilgrim though this barren land; I am weak, but Thou art mighty.... Bread of heaven, feed me till I want no more." The singer asks to be guided by the pillar of fire and to be taken safely to Canaan
AUTHOR: Words: William Williams (1717-1791) and others?
EARLIEST_DATE: 1745 (words translated, according to the Methodist Hymnal)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Ritchie-Southern, p. 48, "Guide Me, Oh Thou Great Jehovah" (1 text, 1 tune)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 94-95, "Guide Me, Oh Thou Great Jehovah" (1 text, 1 tune)
Roud #7103
NOTES: There seems to be some confusion about the origin of this hymn. Every source I checked credits at least some of the words to William Williams. Johnson thinks him the original and sole composer; _Granger's Index to Poetry_ supports this. But the hymnals I checked all consider it a translation of the Welsh "Arglwydd arwain trwy'r Anialwch," with Peter Williams (1722-1796) responsible for some of the translation.
That's nothing to the tune, though. Three different books give three different melodies. Johnson lists his as by Thomas Hastings (1784-1872). The Lutheran hymnal I checked claims a tune written by George W. Warren in 1884. A Methodist hymnal sets it to John Hughes's "Cwm Rhonda," probably best known as the tune for "God of Grace and God of Glory."  (A Mormon hymnal also uses "Cwm Rhonda, without listing the tumne mane on the page, but changes the lyrics to begin "Guide US, O though great Jehovah, GUIDE US TO THE PROMISED land; WE ARE weak, etc.) All of these tunes are different. So is Jean Ritchie's; hers is unattributed.
The imagery of the song is strongly reminiscent of the Exodus -- e.g. in Exodus 16:4 God promises "bread from heaven" (the manna which the Israelites ate until they settled in Canaan). The Israelites are led by a pillar of fire at night (Ecxodus 13:21, etc.) There are no crystal fountains in Exodus, or anywhere in the Hebrew Bible, but the idea may have been inspired by the various references to water from a rock.
There is one other Exodus-inspired reference in the song, which is, however, an error. The name "Jehovah" is found in the King James translation of Exodus 6:9 as the (personal) name of God.
Unfortunately, that's not the correct name of God. The proper English consonants are not JHVH but YHVH, and the vowels are simply wrong. Jews eventually came to consider it profane to read the name of God (hence the Greek Bible consistently renders the name YHWH by Kyrios, the Lord, and English versions follow suit for the most part; the King James Bible has only half a dozen exceptions, but Exodus 6:9 is one of them).
To remind scripture readers not to pronounce the name of God (which was pretty definitely YAHVEH or YAHWEH), the Jews eventually started writing the consonants YHWH with the vowels of "adonai," the word for "Lord." What this was supposed to mean was, "When you see YHWH, read 'adonai.'" But the translators of the King James Bible took it literally, and applied the vowels of "adonai" to the consonants of "YHWH" and so produced the barbarism "Jehovah." - RBW
File: RitS048
===
NAME: Guignolee, La: see Guillannee, La (La Gui-Annee) (File: BMRF584)
===
NAME: Guillannee, La (La Gui-Annee)
DESCRIPTION: A (new year's) revel song, in which the singers demand pork-chine, or else the daughter of the house. Guillannee is mistletoe. In English this becomes "La Gui-Annee"; the singers declare "We've come to ask for mistletoe on this last day of the old year."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Belden)
KEYWORDS: foreignlanguage nonballad party father children
FOUND_IN: US(MW, So)
REFERENCES: (2 citations)
Belden, pp. 515-516, "La Guignolee (La Gaie-Annee)" (1 text, 1 tune)
Botkin-MRFolklr, p. 584, "La Guillannee" (1 text, 1 tune)
RECORDINGS:
Bloomsdale Singers, "La Guignolee" (KSGM 11279-A, n.d., prob. 1950s)
Prairie Durocher [sic] Singers, "La Guignolee" (KSGM 11279-B, n.d., prob. 1950s)
NOTES: Botkin offers extensive notes on the Guillannee custom. He quotes Carriere: "The name _Guillannee_ is to be explained as an abbrebiation of _gui de l'annee, gui de la nouvelle annee_, New Year's Mistletoe." - RBW
File: BMRF584
===
NAME: Guilty Sea Captain, The: see Captain Glen/The New York Trader (The Guilty Sea Captain A/B) [Laws K22] (File: LK22)
===
NAME: Guinea Negro Song
DESCRIPTION: A slave's complaint of his capture: (lines from various versions): "The Englie man he [s]teal me, And carry me to Birgimy [Virginee]. The American man he [s]teal me, And give me pretty red coatee, And make me fence rail toatee."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: slave work commerce theft clothes
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 472, "Guinea Negro Song" (2 short texts, probably from the same informant)
Roud #11800
NOTES: Brown's notes indicate that this came from an ex-slave to whom this originally happened. White objected that this was chronologically impossible. It isn't, quite -- while the English banned the slave trade in the early nineteenth century, and even the Americans eventually stopped it, an Englishman with no morals might have taken a slave and slipped him through American customs.
But I think White is right and the informant didn't suffer this fate. The dialect is just a little too cutesy. - RBW
File: Br3472
===
NAME: Guise o' Tough, The
DESCRIPTION: "I gaed up to Alford for to get a fee, I fell in wi' Jamie Broon and wi' him I did agree." He eats till all are amazed. He works, finds his plow bad, replaces it, damages the replacement. He lists the other characters in the bothy
AUTHOR: unknown
EARLIEST_DATE: 1905 (GreigDuncan3)
KEYWORDS: work farming moniker money food
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #4, pp. 2-3, "Guise o' Tough" (1 text) 
GreigDuncan3 378, "The Guise o' Tough" (3 texts, 2 tunes)
Ord, pp. 236-237, "The Guise o' Tough" (1 text)
Roud #3800
CROSS_REFERENCES:
cf. "Geordie Williamson" (some verses are shared)
cf. "Drumdelgie" (tune, per GreigDuncan3)
NOTES: Greig #21, p 2: "While no doubt several of the expressions used in this class of song are more or less common property, it will be seen that 'Guise o' Tough' must have borrowed a good deal from 'South Ythsie." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Guise (378) is at coordinate (h1-2,v6) on that map [near Alford, roughly 24 miles W of Aberdeen]. - BS
File: Ord236
===
NAME: Guise of Tyrie, The
DESCRIPTION: "O wat ye how the guise [happening] began ... at Tyrie. Lady Tyrie and the laird o' Glack They baith o' them lived in the Slack Between the twa there was a pack To enter cripple Andrew"
AUTHOR: unknown
EARLIEST_DATE: 1887 (William Walker,_The Bards of Bon-Accord_, according to GreigDuncan3)
KEYWORDS: political religious clergy
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig "Folk-Song in Buchan," p. 33, ("Oh wat ye hoo the guise began") (1 fragment)
GreigDuncan3 681, "The Guise o' Tyrie" (1 fragment)
Roud #6106
NOTES: The current description is based on the Greig/GreigDuncan3 fragment. Greig had Walker's seven stanza version but only printed the first verse. 
GreigDuncan3 quotes Walker's background note. The subject is the appointment of Andrew Cant by Alexander Forbes, Lord Pitsligo, to the pulpit of a new church in Pitsligo. The appointment of this "apostle of the Covenant" "was received with considerable disapprobation in the adjoining parish of Tyrie ... and out of this discontent sprang the song." Lady Fraser supported Cant "but how Elphinstone of Glack got mixed up in it, we have been been unable to explain. The 'Slack' is probably one of the winding glens...." 
For more about the Scottish Covenanters see the notes to "The Bonnie House o Airlie" [Child 199]. - BS
File: GrD3681
===
NAME: Gull Cove
DESCRIPTION: If you commit to fishing Gull Cove and "if the codfish fades away as it often done before, We could lose our year in Gull Cove, where the stormy winds do blow." The song describes a bad year and all the boats that lose the year.
AUTHOR: unknown
EARLIEST_DATE: 1979 (Lehr/Best)
KEYWORDS: fishing hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 48, "Gull Cove" (1 text, 1 tune)
RECORDINGS:
Anita Best, "Gull Cove" (on NFABest01)
NOTES: Lehr/Best: Gull Cove is near Branch, St Mary's Bay [at the southwest corner of the Avalon Peninsula]. - BS
File: LeBe048
===
NAME: Gull Decoy, The
DESCRIPTION: The singer reports, "I take no books, nor I read no papers, I have no money to spend or lose." He reads other people's newspapers, sets his dogs on orphans, and has no company but the gulls he whistles to, hence the name "the Gull Decoy."
AUTHOR: Larry Gorman
EARLIEST_DATE: 1947 (Manny/Wilson)
KEYWORDS: hardheartedness dog bird money
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Doerflinger, pp. 255-256, "The Gull Decoy" (1 text, 1 tune)
Ives-DullCare, pp. 85-86,246, "The Gull Decoy" (1 text, 1 tune)
Manny/Wilson 19, "The Gull Decoy" (1 text plus some fragments, 1 tune)
ST Doe255 (Partial)
Roud #9193
CROSS_REFERENCES:
cf. "Mick Riley" (characters)
NOTES: Manny and Wilson state that "This song was made up by Larry Gorman before he left Prince Edward Island in 1873.... Tradition says that the ballad was a satire on Larry's own uncle, and that Larry was 'run off the Island' for it."  It is also said that later Larry was 'run out of Miramichi' for the mostly unprintable _Donahue's Spree_, so he went to Maine. These are only two of the many fables that cluster round the memory of that imp, Larry, the terror and delight of the logging camps for over fifty years." - RBW
Ives-DullCare: There is a discussion alleging that "Gorman was convinced Riley [the subject of the song names himself Patrick Riley] had cheated him out of some wages, but whatever he may have done, that poet dug up all the dirt he could find on him, and (according to some people I've talked to) what he couldn't find he invented.... [We] have enough here to show the kind of character assassination local satire could involve, and few employed it with more zest or skill than Larry Gorman." - BS
File: Doe255
===
NAME: Gum Shellac
DESCRIPTION: Singer cites real and fictitious accomplishments of tinkers with gum shellac: making Pharaoh's coffins; building Birmingham; fighting the Romans, Spanish, Danes, Black and Tans, and Cromwell; making cannons in Hungary; teaching Nero to play.
AUTHOR: "Pops" Johnny Connors (source: Jim Carroll's notes to IRTravellers01)
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: humorous political talltale tinker
FOUND_IN: Ireland
REFERENCES: ()

Roud #2508
RECORDINGS:
"Pops" Johnny Connors, "Gum Shellac" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "Gum shellac is a paste formed by chewing bread, a technique used by unscrupulous tinsmiths to supposedly repair leaks in pots and pans. When polished, it gives the appearance of a proper repair but, if the vessel is filled with water, the paste quickly disintegrates, giving the perpetrator of the quick just enough time to escape with his payment." - BS
File: RcGumShe
===
NAME: Gum Tree Canoe, The
DESCRIPTION: "On Tom Big Bee river so bright I was born In a hut made of husks of the tall yellow corn, And there I first met with my Julia so true And I rowed her about in my gum tree canoe." The singer describes his work -- and the happy times courting in the canoe
AUTHOR: S.S. Steele ?
EARLIEST_DATE: 1847 (broadside, LOCSheet sm1847 420770)
KEYWORDS: courting home love river
FOUND_IN: US(SE,So) Australia
REFERENCES: (7 citations)
Randolph 787, "The Gum Tree Canoe" (1 text)
BrownIII 269, "The Gumtree Canoe" (1 short text plus a fragment)
Hugill, p. 473, "The Gumtree Canoe" (1 text, 1 tune)
Fahey-Eureka, pp. 172-173, "The Gumtree Canoe" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 168-170, "The Gumtree Canoe" (1 text)
cf. Gardner/Chickering, p. 481, "My Gum Tree Canoe" (source notes only)
DT, GUMTREE GUMTREE2 TOMBIGBE
Roud #759
BROADSIDES:
LOCSheet, sm1847 420770, "The Gum Tree Canoe," G. P. Reed (Boston), 1847; also sm1885 18094, "The Gum Tree Canoe" (tune) [both attribute words to S.S. Steele and music to A.F. Winnemore]
LOCSinging, as104990, "The Gum Tree Canoe," J. Andrews (New York), 1853-1859; also as104980, as105000, as201240, "The Gum Tree Canoe"
NLScotland, RB.m.143(143), "The Gum-Tree Canoe," Poet's Box (Dundee), c.1890
CROSS_REFERENCES:
cf. "The Indian Hunter" (theme)
cf. "Give Me a Hut" (tune)
ALTERNATE_TITLES:
On Tom Big Bee River
The Tombigbee River
NOTES: The 1847 sheet music credits this to S. S. Steele, an attribution accepted by Patterson/Fahey/Seal -- but we all know that such attributions were less than utterly reliable. It is reported to have been sung by "A.F. WINNEMORE and his band of VIRGINIA SERENADERS." It does seem likely that the song did originate with this group; the earliest outside collection that I know of comes from 1909. - RBW
Broadside LOCSinging as104990: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: R787
===
NAME: Gum-Tree Canoe, The: see The Gum Tree Canoe (File: R787)
===
NAME: Gumtree Canoe, The: see The Gum Tree Canoe (File: R787)
===
NAME: Gun Canecutter, The
DESCRIPTION: The canecutter is struggling to survive, and "there's no joy for me, I got to cook my own tea, So I think I will marry a slutter." He needs her to help him with his work, so he hopes she'll "look into me eyes, she'll fall for me lies..."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: wife work Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 106-107, "The Gun Canecutter" (1 text, 1 tune)
File: MA106
===
NAME: Gustave Ohr
DESCRIPTION: Gustave Ohr recalls his quiet youth and how he fell in with (George) Mann's evil company. Eventually they attacked a man in a sugar camp. Ohr was taken and condemned to die. He concludes by thanking various legal officers for their kindness
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: execution gallows-confession
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 121, "Story of Gustave Ohr" (1 text)
ST E121 (Full)
Roud #4099
CROSS_REFERENCES:
cf. "Charles Guiteau" [Laws E11] (meter) and references there
cf. "Charles Mann" (meter, subject)
NOTES: As "The Story of Gustave Ohr," this song is item dE39 in Laws's Appendix II. - RBW
File: E121
===
NAME: Guy Fawkes
DESCRIPTION: "I'll tell a doleful tragedy; Guy Fawkes, the prince of sinisters, Who once blew up the House of Lords... That is, he would have blown them up... If only they had let him." Fawkes is betrayed, captured, and executed, and now they repeat it every year
AUTHOR: Thomas Hudson (per Moffat, _English Songs of the Georgian Period_)
EARLIEST_DATE: 1914
KEYWORDS: political execution nobility memorial death
HISTORICAL_REFERENCES: 1605 - The botched "Gunpowder Plot"
FOUND_IN: US(MW)
REFERENCES: (2 citations)
LPound-ABS, 37, pp. 84-86, "Guy Fawkes" (1 text)
DT, GUYFAWKE
Roud #4974
CROSS_REFERENCES:
cf. "Bow Wow Wow" (tune) and references there
SAME_TUNE:
Lloyd George, The Prince of Sinisters (The New Guy Fawkes) (Letter to the Editor, London Times, Tuesday, Dec. 7, 1909, p.10)
NOTES: The "Gunpowder Plot" was an attempt by a group of Catholics to regain control of united Britain. The plan was to blow up the British houses of parliament (along with King James I and VI) on November 5, 1605. To this end, several dozen barrels of gunpowder were stashed below the parliament building.
It was in this secret chamber that Guy Fawkes, who was largely responsible for the execution of the plot, was captured on November 4. He and many fellow conspirators were eventually rounded up and hung. Guy Fawkes Day has since been an annual occasion for fireworks and celebrations in England: "Please to remember The fifth of November: Gunpowder Treason and Plot!"
There is, however, some reason to believe that the government was in on the secret all along, and let the plot proceed as far as it did in an attempt to strengthen its shaky position.
This is one of several political pieces set to the tune "Bow Wow Wow" -- a song which hardly exists in its own right, but which makes it very easy to sustain a line of patter. - RBW
File: LPnd084
===
NAME: Guy Reed [Laws C9]
DESCRIPTION: Guy Reed is trying to break up a log jam when he is drowned. His funeral is given a full description; he is buried in his family plot
AUTHOR: Joe Scott (a friend of Reed's)
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: logger death drowning
HISTORICAL_REFERENCES: Sept 9, 1897 - Death of Guy Reed of West Byron, Maine
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (5 citations)
Laws C9, "Guy Reed"
Ives-DullCare, pp. 96-99,246, "Guy Reed" (1 text, 1 tune)
Ives-NewBrunswick, pp. 183-186, "Guy Reed" (1 text, 1 tune)
Manny/Wilson 20, "Guy Reed (The Andrew Grogan Shore)" (1 text, 1 tune)
DT 709, GUYREED
Roud #1968
NOTES: Ives-DullCare: The singer says he bought a printed copy from Joe Scott in or before 1912.
The site of the log jam is the Androscoggin River in Maine. In Manny/Wilson it is corrupted to "Andrew Grogan," which explains the alternate title. - BS
File: LC09
===
NAME: Guysboro Song
DESCRIPTION: The singer loses his parents and sister. He is treated badly by an uncle. He loses a captain's job at Canso: he drinks the freight and drowns 2 boys. On his other ship only 4 of 13 survive. He breaks his good knee in the Indies and decides to retire.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: drink hardtimes injury wreck orphan sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 119, "Guysboro Song" (1 text, 1 tune)
ST CrNS119 (Partial)
Roud #1824
NOTES: This song is item dD48 in Laws's Appendix II. 
The ballad mentions Guysborough County as the singer's birthplace, and Canso Strait and Ingonish as locales of his "hardships and pain." Guysborough County and Canso are on the south coast of Nova Scotia; Ingonish is on the Cape Breton coast. - BS
File: CrNS119
===
NAME: Gwan Round, Rabbit
DESCRIPTION: A call and response song: "My dog treed a rabbit, My dog treed a rabbit. Now watch that critter sittin' on that log, Now watch that critter how he do that dog."
AUTHOR: unknown
EARLIEST_DATE: 1942
KEYWORDS: animal dog hunting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Botkin-SoFolklr, p. 707, "Gwan Round, Rabbit" (1 text, 1 tune)
File: BSoF707
===
NAME: Gwine Down Jordan: see probably The Other Bright Shore (File: R611)
===
NAME: Gwine Down to Jordan: see No More, My Lord (File: SBoA312)
===
NAME: Gwine Follow
DESCRIPTION: "Titty (i.e. Sister) Mary, you know I gwine follow, I gwine follow, gwine follow. Brother William, you know I gwine follow, For to do my Father('s) will. 'Tis well and good I am coming here tonight (x3) For to do my Father('s) will."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 18, "Gwine Follow" (1 text, 1 tune)
Roud #11841
CROSS_REFERENCES:
cf. "Buffalo Gals" (partial form)
NOTES: Allen/Ware/Garrison note that the second part of this is essentially "Buffalo Gals," but the first part is independent. - RBW
File: AWG018B
===
NAME: Gwine Ride Up in the Chariot: see I Hope I'll Join the Band (Soon in the Morning) (File: R266)
===
NAME: Gwine to Run All Night: see Camptown Races (File: RJ19039)
===
NAME: Gwineter Harness in de Mornin' Soon
DESCRIPTION: "Baby, baby, you don't know; De way you treat me I bound to go. Gwineter harness in de morning soon...." Descriptions of the life of a mule driver, primarily about a difficult job and an equally difficult team
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: work animal hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 47-49, "Gwineter Harness in de Mornin' Soon" (1 text, 1 tune)
Roud #15569
File: LxA047
===
NAME: Gypsies, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Countess, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Daisy: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Davy, The: see The Gypsy Laddie [Child 200] (File: C200)
===
NAME: Gypsy Girl, The: see The Gypsy Maid (The Gypsy's Wedding Day) [Laws O4] (File: LO04)
===
NAME: Gypsy Laddie, The [Child 200]
DESCRIPTION: A lord comes home to find his lady "gone with the gypsy laddie." He saddles his fastest horse to follow her. He finds her and bids her come home; she will not return, preferring the cold ground and the gypsy's company to her lord's wealth and fine bed
AUTHOR: unknown
EARLIEST_DATE: 1740 (Ramsay)
KEYWORDS: elopement Gypsy marriage abandonment husband wife
FOUND_IN: Britain(Scotland(Aber,Bord,High),England(All)) US(Ap,MA,MW,NE,So,SE,SW) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (55 citations)
Child 200, "The Gypsy Laddie" (12 texts)
Bronson 200, "The Gypsy Laddie" (128 versions+2 in addenda)
Greig #110, pp. 1-3, "The Gipsy Laddies" (3 texts)
GreigDuncan2 278, "The Gypsy Laddie" (11 texts, 7 tunes) {A=Bronson's #45, B=#47?, C=#43, D=#44, E=#48, F=#3, G=#88}
BarryEckstormSmyth pp. 269-277, "Gipsy Davy" (4 texts plus 2 fragments and a quoted broadside, 2 tunes) {Bronson's #109, #110}
Flanders-Ancient3, pp. 193-229, "The Gypsy Laddie" (19 texts plus 6 fragments, 8 tunes) {N=Bronson's #107}
Linscott, pp. 207-209, "Gypsy Daisy" (1 text, 1 tune)
Belden, pp. 73-76, "he Gypsy Laddie" (3 texts plus portions of another)
Randolph 27, "The Gypsy Davy" (6 texts plus 2 fragments, 4 tunes) {Randolph's A=Bronson's #100, E=#103, G=#123, H=#40}
Randolph/Cohen, pp. 49-51, "The Gypsy Davy" (1 text, 1 tune -- Randolph's 27G) {Bronson's #123}
Eddy 21, "The Gypsy Laddie" (1 text plus a fragment, 2 tunes) {Bronson's #77, #98}
Davis-Ballads 37, "The Gypsy Laddie" (7 texts plus a fragment, 3 tunes) {Bronson's #6, #91, #33}
Davis-More 33, pp. 253-261, "The Gypsy Laddie" (5 texts, 2 tunes)
BrownII 37, "The Gypsy Laddie" (6 texts plus an excerpt, many of them mixed with "Sixteen Come Sunday"; "D" also partakes of "Devilish Mary")
Chappell-FSRA 16, "Gypsy Davy" (1 fragment)
Hudson 20, pp. 117-119, "The Gypsy Laddie" (2 texts)
Cambiaire, pp. 59-60, "The Gypsy Laddie (Gypsy Davy)" (1 text)
Shellans, pp. 36-37, "The Radical Gypsy David" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 215-225, "The Gypsy Laddie" (7 texts, with local titles "The Three Gypsies," "Black Jack Davy," "Gypsia Song," Oh Come and Go Back My Pretty Fair Miss," "Gypsy Davy," "The Lady's Disgrace," "Gypsy Davy"; 5 tunes on pp. 411-414) {Bronson's #75, #126, #106, #32, #9]
Brewster 19, "The Gypsy Laddie" (1 text)
Creighton/Senior, pp. 71-72, "The Gypsy Laddie" (1 fragment, 1 tune) {Bronson's #10}
Creighton-SNewBrunswick 4, "Gypsie Laddie" (1 text, 1 tune)
Greenleaf/Mansfield 16, "The Dark-Clothed Gypsy" (2 texts, 1 tune) {Bronson's #50}
Peacock, pp. 194-197, "Gypsy Laddie-O" (2 texts, 2 tunes)
Karpeles-Newfoundland 17, "The Gypsy Laddie" (3 texts, 4 tunes)
Flanders/Brown, pp. 220-221, "Gypsy Daisy," "Seven Gypsies in a Row" (1 text plus a fragment)
Leach, pp. 539-543, "The Gypsy Laddie" (4 texts)
Friedman, p. 105, "The Gypsy Laddie (Johnny Faa)" (2 texts)
OBB 148, "The Gypsy Countess" (1 text)
Warner 42, "Gypsy Davy" (1 text, 1 tune)
PBB 18, "The Gypsy Laddie" (1 text)
Tunney-StoneFiddle, p. 110, "The Seven Yellow Gipsies" (1 text, 1 tune)
Sharp-100E 5, "The Wraggle Taggle Gipsies, O!" (1 text, 1 tune)
Niles 52, "The Gypsy Laddie" (1 text, 1 tune)
Ritchie-Southern, p. 80, "The Gypsy Laddie" (1 text, 1 tune) {cf. Bronson's #38, a separate, somewhat different transcription}
SharpAp 33, "The Gypsy Laddie" (5 texts plus 5 fragments, 10 tunes) {Bronson's #35, #21, #17, #26, #20, #97, #33, #104, #36, #34}
Sharp/Karpeles-80E 22, "Gypsy Davy (The Gypsy Laddie" (1 text, 1 tune -- a composite version) {Bronson's #26}
Sandburg, p. 311, "Gypsy Davy" (1 fragment, 1 tune) {Bronson's #99}
SHenry H124, p. 509, "The Brown-Eyed Gypsies" (1 text, 1 tune)
Hammond-Belfast, p. 57, "The Dark-Eyed Gypsy" (1 text, 1 tune)
Asch/Dunson/Raim, p. 108, "Black Jack David" (1 text, 1 tune)
Hodgart, p. 72, "The Gypsy Laddie" (1 text)
JHCox 21, "The Gyspy Laddie" (4 texts, 1 tune) {Bronson's #94}
JHCoxIIA, #10A-C, pp. 40-45, "Gypsy Davy," "The Raggle Taggle Gypsies, O," "The Wraggle Taggle Gypsies, O" (3 texts, 2 tunes) {Bronson's #9, #74}
Ord, pp. 411-412, "The Gypsie Laddie" (1 text, 1 tune) {Bronson's #60}
Fowke/MacMillan 76, "Seven Gypsies on Yon Hill" (1 text, 1 tune)
TBB 6, "The Gipsy Laddie" (1 text)
Abrahams/Foss, pp. 181-184, "Gypsy Davey"; "Gypsy Laddie O"; "Gypsy Laddie" (3 texts, 3 tunes) {Bronson's #83, #81, #27}
Darling-NAS, pp. 75-78, "The Gypsy Laddie"; "Gyps of David"; "Gypsy Davy (Catskill's)"; "The Gypsy Laddie" (3 texts plus a fragment)
Gilbert, p. 35, "The Gypsy Davy" (1 text)
Silber-FSWB, p. 194, "Gypsy Davey";  p. 211, "The Gypsy Rover"; p. 213, "The Wraggle-Taggle Gypsies" (3 texts)
BBI, ZN2567, "There was seven Gipsies all in a gang"
DT 200, GYPDAVY GYPLADD GYPLADD2* GYPLADD3 GYPLADX GYPBLJK* GYPSYRVR* GYPHARBR*  BLCKJACK*  BLCKJCK2 BLKJKDAV GYPLADY*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #83, "The Wraggle Taggle Gipsies" (1 text)
Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, pp. 38-29, "The Wraggle Taggle Gipsies O!" (1 text, 1 tune).
Roud #1
RECORDINGS:
O. J. Abbott, "The Gypsy Daisy" (on Abbott1)
Cliff Carlisle, "Black Jack David" (Decca 5732, 1939)
Carter Family, "Black Jack David" (Conqueror 9574, 1940)
Dillard Chandler, "Black Jack Daisy" (on Chandler01)
Robert Cinnamond, "Raggle Taggle Gypsies-O" (on IRRCinnamond02)
Harry Cox, Jeannie Robertson, Paddy Doran [composite] "The Gypsy Laddie" (on FSB5 [as "The Gypsie Laddie"], FSBBAL2) {cf. Bronson's #42, #45.1}
Mary Jo Davis, "Black Jack Davy" (on FMUSA)
Woody Guthrie, "Gypsy Davy" (AFS, 1941; on LCTreas)
Harry Jackson, "Clayton Boone" (on HJackson1)
Margaret MacArthur, "Gypsy Davy" (on MMacArthur01)
New Lost City Ramblers, "Black Jack David" (on NLCR04); "Black Jack Daisy" (on NLCR14, NLCRCD2)
Maire Aine Ni Dhonnchadha, "The Gypsy-O" (on TradIre01)
Lawrence Older,  "Gypsy Davy" (on LOlder01)
Walter Pardon, "Raggle-Taggle Gypsies" (on Voice06)
Jean Ritchie, "Gypsy Laddie" (on JRitchie01) {Bronson's #38}
Jeannie Robertson, "The Gypsy Laddies" (on Voice17)
Pete Seeger, "Gypsy Davy" (on PeteSeeger16)
Warren Smith, "Black Jack David" (Sun 250, mid-1950s)
BROADSIDES:
Bodleian, Harding B 11(1446), "Gypsy Laddie," W. Stephenson (Gateshead), 1821-1838; also Harding B 11(2903), "Gypsy Loddy"; Harding B 19(45), "The Dark-Eyed Gipsy O"; Harding B 25(731), "Gipsy Loddy"; Firth b.25(220), "The Gipsy Laddy"; Harding B 11(1317), "The Gipsy Laddie, O"; Firth b.26(198), Harding B 15(116b), 2806 c.14(140), "The Gipsy Laddie"; Firth b.25(56), "Gypsie Laddie"
Murray, Mu23-y3:030, "The Gypsy Laddie," unknown, 19C
NLScotland, L.C.Fol.178.A.2(092), "The Gipsy Laddie," unknown, c. 1875
CROSS_REFERENCES:
cf. "The Roving Ploughboy" (theme, lyrics, tune)
ALTERNATE_TITLES:
Black Jack Davy
Clayton Boone
The Gypsy Davy
Johnny Faa
Davy Faa
The Wraggle Taggle Gypsy
The Lady and the Gypsy
Harrison Brady
Gypson Davy
Black-Eyed Davy
The Heartless Lady
Egyptian Davio
It Was Late in the Night
When Johnny Came Home
The Gyps of Davy
The Dark-Clothed Gypsy
NOTES: Hall, notes to Voice17, re "The Gypsy Laddies": "Francis James Child locates the history behind the ballad to the expulsion of the Gypsies from Scotland by Act of Parliament in 1609, and the abduction by Gypsies of Lady Cassilis (who died in 1642), her subsequent return to her home and the hanging of the Gypsies involved. [ref. Child, IV, pp. 63-5.]"
Jeannie Robertson's version on Voice17 follows Child 200C,G in that the Gypsies are hanged in the last verse. - BS
Although the hero of this song is often called "Johnny Faa" or even "Davy Faa," he should not be confused with the hero/villain of "Davy Faa (Remember the Barley Straw)." - RBW
[Silber and Silber mis-identify all their texts] as deriving from "Child 120," which is actually "Robin Hood's Death." - PJS
Also sung by David Hammond, "The Dark-Eyed Gypsy" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) Sean O Boyle, notes to David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland": "The tune has been known in the O Boyle family for four generations and has never been published." - BS
File: C200
===
NAME: Gypsy Maid, The (The Gypsy's Wedding Day) [Laws O4]
DESCRIPTION: The gypsy girl, left to fend for herself, meets a young lawyer who asks her to tell his fortune. She tells him that he has courted many fine ladies, but he is to marry a gypsy. He takes her to his home and marries her
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Firth b.26(40))
KEYWORDS: prophecy marriage Gypsy
FOUND_IN: US(Ap,MW,So) Britain(England)
REFERENCES: (7 citations)
Laws O4, "The Gypsy Maid (The Gypsy's Wedding Day)"
Randolph 129, "The Gypsy Maid" (1 text)
Eddy 100, "The Gypsy's Wedding Day" (1 text, 1 tune)
Kennedy 346, "The Little Gipsy Girl" (1 text, 1 tune)
JHCox 100, "The Orphan Gypsy Girl" (1 text)
Rorrer, p. 90, "My Gypsy Girl" (1 text)
DT 469, GYPSGIRL
Roud #229
RECORDINGS:
Horton Barker, "The Gypsy's Wedding Day" (on Barker01)
Charlie Poole and the North Carolina Ramblers, "My Gypsy Girl" (Columbia 15519-D, 1930; on CPoole02)
Jasper Smith, "The Squire and the Gypsy" (on Voice11)
Joseph Taylor, "The Gypsy Girl" (on Voice01)
BROADSIDES:
Bodleian, Firth b.26(40), "The Gipsey Girl" ("My father was king of the gypsies you know"), J. Pitts (London), 1819-1844; also Firth b.28(37) View 2 of 2, "Gipsey Girl"; Harding B 16(101d), "Gipsy Girl"
Murray, Mu23-y1:046, "The Little Gipsy Girl," James Lindsay Jr. (Glasgow), 19C; also Mu23-y1:117, "The Little Gipsy Girl," unknown, 19C; Mu23-y4:028 [the last a very short version probably edited to fit in a corner of a page]
LOCSinging, as201140, "The Gipsey Girl" ("My father was king of the gipsies you know"), H. De Marsan (New York), 1864-1878
NLScotland, L.C.Fol.70(55), "The Little Gipsy Girl," unknown, n.d.
CROSS_REFERENCES:
cf. "The Squire and the Gipsy" (theme)
ALTERNATE_TITLES:
The Gypsy Girl
The Little Gypsy Girl
NOTES: [Sources such as] Charlie Poole have cleaned this one up. Broadside LOCSinging as201140 reads:
He took me to a house, it was a palace I am sure, 
Where ladies were waiting to open the door; 
On a bed of soft feathers, where I pleased him so well, 
In nine months after his fortune I could tell.
Her father keeps the baby, she gets a pension of twenty pounds a year and "no more shall my gipsey girl ever more rove" but when she's in the neighborhood, she says, "your fortunes I will tell."
The Murray broadsides are all of the same version in which "little gypsy girl" meets "two handsome young squires," goes with one of them, and becomes pregnant; they marry.
Broadside LOCSinging as201140: 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
This song may, just possibly, have actually encouraged one actual marriage: "Alberta Slim" (Eric Edwards, 1910-2005), the Canadian country singer, had a sideline of reading tea leaves. His daughter, after his death, reports that her father had met her mother when the mother had her tea leaves read. Slim looked at the leaves (and presumably looked at her even more intently), and told her that she was going to marry him. Which, of course, she did.
I don't know that Alberta Slim knew this song, but he did know quite a selection of English folk songs. - RBW
File: LO04
===
NAME: Gypsy's Warning, The
DESCRIPTION: "Trust him not, oh gentle lady, Though his voice is low and sweet." "Listen to the Gypsy's warning, Gentle lady, trust him not." The Gypsy tells of a girl betrayed; the lady scorns (her). (The sequel may give the man's self-defense and the lady's answer)
AUTHOR: unknown
EARLIEST_DATE: 1864 (sheet music)
KEYWORDS: Gypsy love warning
FOUND_IN: US(MW,So,SW)
REFERENCES: (9 citations)
Randolph 743, "The Gypsy's Warning" (4 texts, 1 tune, the first being the "Gypsy's Warning" proper, the second the "Answer to the Gypsy's Warning," the third being "The Decision in the Gypsy's Warning," and the last an excerpt from a copyrighted piece by Monroe H. Rosenfeld)
Randolph/Cohen, pp. 525-527, "The Gypsy's Warning" (1 text, 1 tune -- Randolph's 743A)
MHenry-Appalachians, pp. 154-155, "The Gypsy's Warning" (1 text)
Brewster 55, "The Gypsy's Warning" (1 text plus mention of 1 more); 56, "Answer to the Gypsy's Warning" (1 text)
JHCox 149, "The Gypsy's Warning" (1 text)
JHCoxIIB, #30, pp. 201-202, "The Gypsy's Warning" (1 fragment, 1 tune)
Spaeth-ReadWeep, pp. 19-21, "Love's Ritornella" (2 texts, 1 tune, with this piece listed as an appendix to the song named)
cf. Gardner/Chickering, p. 479, "The Gypsy's Warning" (source notes only)
DT, GYPWARN*
Roud #1764 plus 3761
RECORDINGS:
Vernon Dalhart, "The Gypsy's Warning"  (Perfect 12330, 1927; Romeo 601, 1928) (Brunswick 122, 1927; Supertone S-2011, 1930)
"Gooby" Jenkins, "The Gypsy's Warning" (Okeh 45069, 1926)
Arthur Smith Trio, "The Gypsy's Warning" (Bluebird B-7893, 1938)
NOTES: This probably originated as three separate pieces, the original being "The Gypsy's Warning" and the sequels being the "Answer to the Gypsy's Warning" (in which the young man begs the girl "Do not heed her warning") and the "Decision in the Gypsy's Warning" (in which the girl decides to heed the warning).
The three can, however, be sung together, and they are obviously dependent. What is more, the versions have sometimes merged (e.g. in the version in Peters). So I am listing them as one song even though I know they are multiple.
The song seems to have been in tradition by 1880; Laura Ingalls Wilder quotes the first part in _By the Shores of Silver Lake_, chapter 22. - RBW
File: R743
===
NAME: Gypsy's Wedding Day, The: see The Gypsy Maid (The Gypsy's Wedding Day) [Laws O4] (File: LO04)
===
NAME: Gyteside Lass, The
DESCRIPTION: "Aw warn'd ye heven't seen me lass -- her nyem aw winnet menshun." He met her "When aw strampt upon her good, an' the gethors com away," but that did not prevent them courting. He tells of his delight that she will continue to spend time with him
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: courting clothes
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 182-183, "The Gyetside Lass"/"Maw Bonny Gyetside Lass" [both titles are used in the page headings] (1 text, 1 tune)
Roud #3177
File: StoR182
===
NAME: H'Emmer Jane, The
DESCRIPTION: "Now 'tis of a young maiden this story I tell, and of her young lover...."  Her love, a ship's captain, sails away and is presumed lost. H'Emmer Jane goes crazy and drowns herself. He finally returns; shown the grave of his beloved, he dies himself.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Fowke/MacMillan)
KEYWORDS: love separation death drowning humorous
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Fowke/MacMillan 50, "The H'Emmer Jane" (1 text, 1 tune)
Blondahl, p. 105, "H'Emmer Jane" (1 text, 1 tune)
Roud #4425
RECORDINGS:
Omar Blondahl, "The H'Emm'r Jane" (on NFOBlondahl03)
CROSS_REFERENCES:
cf. Vilikens and His Dinah (tune, meter and same satirical treatment of story) and references there
ALTERNATE_TITLES:
Emmer Jane
NOTES: Satire on popular broadsides and ballads of the period that told such melodramatic tales in great seriousness. Lyrics are written in imitation of an exaggerated Newfoundland accent, [e.g.] "On a cold stormy mornin' all down by the sea, H'Emmer Jane sot a-waitin', sot a'waitin' for 'e. On a cold stormy mornin' her body were found, so t'was figgered pretty ginerally she'd gone crazy and got drowned."
[The] date from a broadside set by Golden Hind Press, Madison NJ, 1941. States that "Emmer Jane is a fold song from the south shore on Newfoundland here printed for the first time." - SL
The dead captain is recognized because he is carrying H'Emmer Jane's handkercheif. If a [broken] ring is a man's token to be kept by a woman then perhaps the woman's token is her handkercheif. That is true in "Jack Robinson" where Jack reveals himself to his old lover by showing her handkercheif. See also the French ballad "Arthur" [indexed here] where the heroine embroiders Arthur's name on her handkercheif. Maybe the question is: How much credit do we give H"Emmer Jane's author for familiarity with the broadside scene? Is Jane's name a reference to "Crazy Jane" [also indexed here, with allusions to its many parodies]?
H'Emmer Jane's handkercheif is found in the vest-pocket of the Captain's "cold carcass"; in a modern literal (?) reading of "The Suffolk Miracle," the daughter's "holland handkercheif" is found around her dead young man's head [but then there's the counter-example of "The Silvery Tide" in which the murdered Mary is found bound by the murderer's handkercheif].- BS
File: FowM050
===
NAME: Ha, Ha, Ha
DESCRIPTION: Refrain: "Ha, Ha, Ha! Don't you hear me now?/The Black horse calverns are coming...." Verse: "When the war is ended the boys will see their fun/They'll march through the South with their ladies... And I'll raise me some little Union babies"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
LONG_DESCRIPTION: Refrain: "Ha, Ha, Ha! Don't you hear me now?/The Black horse calverns are coming/The ladies in the town, they think they're mighty gown/The hoopskirts they are a-flowing/It takes 40 yards of alapac to cover up the hoops/and to cover up the happy land of money." Verse: "When the war is ended the boys will see their fun/They'll march through the South with their ladies/I'll march mine through some Southern Union clime/And I'll raise me some little Union babies"
KEYWORDS: army Civilwar clothes nonballad nonsense children lover soldier
HISTORICAL_REFERENCES: 1861-1865 - American Civil War
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 150, "Ha, Ha, Ha" (1 text, 1 tune)
Roud #3638
NOTES: Eat your heart out, Uncle Dave. - PJS
File: ShAp2150
===
NAME: Habitant d'Saint-Barbe
DESCRIPTION: Cumulative, call and response song: "L'habitant d'Saint-Barb' s'en va t'a Montreal" after six verses, building to "Le bout d'la queue du chien d'l'enfant d'la femm' d'l'habitant de Saint-Barbe..."
AUTHOR: unknown
EARLIEST_DATE: 1976 (Fowke/MacMillan)
KEYWORDS: foreignlanguage cumulative nonballad
FOUND_IN: Canada(Que,Mar)
REFERENCES: (1 citation)
Fowke/MacMillan 32, "L'Habitant d'Saint-Barbe" (1 text, 1 tune)
NOTES: Progression of verses is very similar to "The Wild Man of Borneo." - SL
File: FowL32
===
NAME: Hackler from Grouse Hall, The
DESCRIPTION: Paddy Jack, the Hackler, has fallen on hard times since the Sergeant was assigned Grouse Hall. He jails people on false charges, including drinking, for which he jails the Hackler. But soon Home Rule will sack "Old Balfour's pack"
AUTHOR: unknown
EARLIEST_DATE: 1939 (OLochlainn)
KEYWORDS: prison drink Ireland humorous police
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn 39, "The Hackler from Grouse Hall" (1 text, 1 tune)
Roud #3035
CROSS_REFERENCES:
cf. "The Sergeant's Lamentation" (sequel to this ballad)
NOTES: "The hackler was a distiller of high quality Poitin in 19th century Ireland" (source: Hearing before Trademark Trial and Appeal Board, US Patent and Trademark Office, January 6, 2000 in re United Distillers plc "On December 16, 1996 United Distillers plc filed an intent-to-use application to register the mark HACKLER on the Principal Register for 'alcoholic beverages, namely, distilled spirits, except Scotch whisky, and liqueurs.'....) 
Apparently the more common definition is "one that hackles [to chop up or chop off roughly]; esp: a worker who hackles hemp, flax, or broomcorn." (source: _Webster's Third New International Dictionary of the English Language Unabridged_, 1976); its this last definition that OLochlainn follows.
OLochlainn notes to "The Hackler from Grouse Hall" and its answer, "The Sergeant's Lamentation," explain the Sergeant's deeds and the references to people named in both songs and happenings in County Cavan. His source for notes is the singer.
The occurrences appear to be during Arthur Balfour's tour as Chief Secretary of Ireland in the late 1880s [1887-1891; his repressive methods earned him the nickname "Bloody Balfour." He made something of a habit of taking political prisoners -- see Robert Kee, _The Bold Fenian Men_, being Volume III of _The Green Flag_, p. 111 - RBW]. See for example the reference to the 1888 imprisonment of Father McFadden of Donegal in Derry Prison "for an agrarian speech" (source: Chapters of Dublin History site, _Letters and Leaders of my Day_ Chapter XXII "Parnellism and Crime" (1887-8), by T.M. Healy). I'd guess, no doubt naively, that the issue here is moonshining to defeat high alcohol taxation. - BS
The other possibility for the date is 1902-1905, when Balfour was prime minister in succession to his uncle Lord Salisbury. Gladstone's proposals for Irish Home Rule had of course failed, but the issue never really went away, and the Liberals were increasingly in favor of it in the early twentieth century.
Supporting this dating is the fact that, during the Balfour administration, there was a movement for "tariff reform" -- i.e. lowering of duties within the British Empire, which would have made it easier for the Irish to export to England.
Balfour tried to calm the tariff controversy, but succeeded mostly in turning his party purely protectionist, thus making the Liberals even more popular with the Irish, since they were more likely to favor both Home Rule and Free Trade. So the song might well look forward to the 1906 election which shunted the Conservatives from power. - RBW
File: OLoc039
===
NAME: Had a Big Fight in Mexico: see Little Fight in Mexico (File: R549)
===
NAME: Had a Little Fight in Mexico: see Little Fight in Mexico (File: R549)
===
NAME: Had I the Tun Which Bacchus Used
DESCRIPTION: If the singer had Bacchus's wine cask he'd drink all day at no cost. And to avoid drinking alone he'd bring a friend. But since he does not have it, "let's drink like honest men." Let Bacchus have his wine; whisky is more divine.
AUTHOR: Richard Alfred Millikin (1767-1815) (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS:  drink nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 88-92, "Had I the Tun Which Bacchus Used" (1 text)
NOTES: Bacchus (seemingly a Lydian name) is the God more properly know as Dionysus -- who was of course the god of wine and drunkenness -- and also of orgaistic rites; he was accompanied by the satyrs and Maenads (Baccae). He also had fertility aspects, which explains the idea of the bottomless wine vat.
Richard Alfred Millikin is better known as the (probable) author of "The Groves of Blarney." - RBW
File: CrPS088
===
NAME: Hag's Rant, The
DESCRIPTION: Old Susie spins in the corner and asks for her tollies. We have to eat them dry because the cream turned. Hags have a connection with milk and butter. That old crone "some day at a witch stake will burn." "If only old Ireland was free!"
AUTHOR: unknown
EARLIEST_DATE: 1991 (Tunney-SongsThunder)
KEYWORDS: age magic food witch
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-SongsThunder, pp. 28-29, "The Hag's Rant" (1 text)
NOTES: Tunney-SongsThunder: "tollies" are "potatoes" [though the play on "toll" is interesting - RBW]. Tunney doesn't say so but this may only be a song in Gaelic, which he has translated into "the slave's patter, as you say."
Pure speculation: Potatoes, an old woman, free Ireland: is Suzy just an old lady, or Granuaile or Granua [see notes to "Granuwale" and "The Young Man's Dream"], or both? - BS
File: TST028
===
NAME: Hagg Worm, The: see The Laidley Worm of Spindleston Heughs (File: C034A)
===
NAME: Haggertys and Young Mulvanny, The
DESCRIPTION: The singer wanders on a "pleasant evening"; as the sun illuminates the landscape, he sees a beautiful girl crying for "young Mulvanny Who lost his life on the Kipawa stream." She tells how he and the two Haggerty brothers died in a rafting accident
AUTHOR: unknown
EARLIEST_DATE: 1966 (Fowke)
KEYWORDS: logger river death lumbering
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #39, "The Haggertys and Young Mulvanny" (1 text, 1 tune)
Roud #4559
ALTERNATE_TITLES:
The Kipawa Stream
File: FowL39
===
NAME: Hail Mary: see Some Valiant Soldier (File: AWG045)
===
NAME: Hail to the Oak, the Irish Tree!
DESCRIPTION: "The Irish oak ... the kingly forest tree ... sickens where the slave, To power despotic, homage gives ... Its branching green head long defend The Shamrock, Thistle and the Rose. Hail to the oak, the Irish tree, And British hearts ..."
AUTHOR: W. Kertland? (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: Ireland nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 115-117, "Hail to the Oak, the Irish Tree!" (1 text)
NOTES: See "The Sprig of Shillelah" for another example of "The Shamrock, Thistle[Scotland] and the Rose[England]" unity theme during and after the Napoleonic wars. Nevertheless, reference to "power despotic" remains. - BS
The unity theme is perhaps best known from its appearance in "The Bonny Bunch of Roses-O" [Laws J5]. I musst admit to finding some irony in the Irish calling the oak their tree at a time when the British made "Heart of Oak" almost an alternative national anthem.  - RBW
File: CrPS115
===
NAME: Hainan's Waal
DESCRIPTION: The singer prefers a drink from Haining's Well to "liquor or wine or usquebaugh [whisky]." He describes the stream. The quarrymen picnic there. "Beasties" stop there. Wanderers recall it. Let's "hae a fling" to a fiddle there and then sing its praises.
AUTHOR: Frank Gilruth (source: Greig)
EARLIEST_DATE: 1911 (GreigDuncan3)
KEYWORDS: dancing drink fiddle lyric
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #164, p. 1, "Hainan's Waal" (1 text) 
GreigDuncan3 506, "Hainan's Waal" (1 text)
Roud #5991
NOTES: GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Haining's Well (506) is at coordinate (h3-4,v5-6) on that map [roughly 31 miles WNW of Aberdeen]. - BS
I would not go so far as to suggest literary dependence, but there is an interesting parallel here with the Biblical account of David and his Mighty Men in 2 Samuel 23:15fff. David, for whatever reason, declared, "O that someone would give me water to drink from the well of Bethlehem that is by the gate!" David at this time was still in the wilderness and could not move freely, so three men attacked a Philistine camp to bring David some of the water (which he then reused to drink(. - RBW
File: GrD3506
===
NAME: Hairs on Her Dicky Di Do, The
DESCRIPTION: A quatrain ballad, this describes in graphic detail the pubic hairs of the maid of the mountain, and her sexual adventures.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous
FOUND_IN: Australia Britain(England) Ireland US(SW)
REFERENCES: (1 citation)
Cray, pp. 134-135, "The Hairs on Her Dicky Di Do" (1 text)
RECORDINGS:
Anonymous singer, "Dicky Dido" (on Unexp1)
CROSS_REFERENCES:
cf. "The Ash Grove" (tune)
File: EM134
===
NAME: Hairst o' Rettie, The
DESCRIPTION: "I hae seen the hairst o' Rettie... I've heard for sax and seven weeks The hairsters girn and groan... But a covie Willie Rae... Maks a' the jolly hairster lads Gae singing down the brae." The singer praises Rae's efficient, comfortable organization
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: farming work moniker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #3, pp. 2-3, "The Hairst o' Rettie" (1 text) 
GreigDuncan3 408, "The Hairst o' Rettie" (2 texts, 1 tune)
Ord, pp. 271-272, "The Hairst o' Rettie" (1 text)
Roud #3512
CROSS_REFERENCES:
cf. "The Parks o' Keltie" (tune, per Greig)
cf. "The Boghead Crew" (subject: harvest crew moniker song) 
cf. "The Kiethen Hairst" (subject: harvest crew moniker song) 
cf. "The Ardlaw Crew" (subject: harvest crew moniker song) 
cf. "The Northessie Crew" (subject: harvest crew moniker song) 
NOTES: This song is so unusual that it's almost hard to describe (and impossible to keyword). Whoever heard of a bothy song in praise of the owner? - RBW
The "bothy song in praise of the owner" is not so strange considering that the crew is not hired for six months but only for the harvest. Peter A Hall, "Farm Life and the Farm Songs" in GreigDuncan3: "Improvement [technological] also had its effect on harvest, which as well as being the culmination of the farm year, was a most important social event particularly in terms of courtship ([GreigDuncan3] 406). The harvest crew was composed of farm workers, along with many temporary employees from the district ([GreigDuncan3] 401), drawn from a wide variety of occupations." (p. xxv); [the] last of the bothy ballads of the old pattern are from the 1880s ([GreigDuncan3] 372, 374), and although certain features are carried over into some of the local harvest songs ([GreigDuncan3] 408 to 412), they lack both the emotional tone and the structure of the older pieces." (p. xxx).
Greig: "Most people, we fear, will think that the poetry of the harvest field is ... gone; but that something may be made even out of the mechanical reaper is evident from the following clever and spirited ditty...." 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Rettie (408) is at coordinate (h6-7,v6) on that map [near Banff, roughly 42 miles NNW of Aberdeen]. - BS
File: Ord271
===
NAME: Hairst, The
DESCRIPTION: "I see the reapers in the field, for hairst is come." The singer praises "The bonnie yellow waving grain, our precious staff o' bread." He hopes Victoria may long reign over the people, and rejoices, for "The hairst is here again."
AUTHOR: James Davidson
EARLIEST_DATE: reportedly written 1859
KEYWORDS: farming harvest food nonballad
HISTORICAL_REFERENCES: 1837-1901 - reign of Queen Victoria
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 263, "The Hairst" (1 text)
Roud #2167
File: Ord263
===
NAME: Hal-an-Tow
DESCRIPTION: Spring ritual song; "Robin Hood and Little John they both are gone to fair-O"'; other verses similar. Cho.: "Hal-an-tow/Jolly rumble-O/For we are up as soon as any day-O/For to fetch the summer home, the summer and the May-O...."
AUTHOR: unknown
EARLIEST_DATE: 1660 (mentioned by Nicholas Boson of Newlyn; first actual text 1846 (Sandys))
LONG_DESCRIPTION: Spring ritual song; "Robin Hood and Little John they both are gone to fair-O"; "Where are the Spaniards that made so great a boast-O/They shall eat the goose feather and we shall have the roast-O"; "Of all the knights in Christendom St. George he is the right-O." Chorus: "Hal-an-tow/Jolly rumble-O/For we are up as soon as any day-O/For to fetch the summer home, the summer and the May-O/For summer is a comin' in and winter is a-gone."
KEYWORDS: magic ritual dancing nonballad Robinhood
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 92, "Hal-An-Tow" (1 text + Cornish translation, 1 tune)
DT, HALANTO*
Roud #1520
ALTERNATE_TITLES:
Haile an Taw and Jolly Rumbelow
NOTES: A May song and Maypole dance. A version is still performed along with the Helston Furry Dance on May 8th of every year. Kennedy's Cornish words are a revivalist translation from the English. The phrase "Hal-an-tow [taw]" is variously translated as "heave on the rope" and "hoist the roof." - PJS
Both "hal-an(d)-to" and "rumbelo/rumble-o" have provoked scholarly discussion. No decisive answer seems to have been found.The phrases seem to date back at least to the beginning of the fourteenth century, however; E. K. Chambers (_English Literature at the Close of the Middle Ages_, p. 74) quotes, with an astonishing lack of bibliographic detail, one of the "Brut" chronicles concerning the battle of Bannockburn:
Maydenes of Engelande, sare may ye morne,
For tynt [presumably past tense of tine, lose, forfeit] ye have youre lemmans at Bannokseborn,
With hevalogh
What wende [thought] the Kyng of Engleand
To have ygete Scotlande
With rombylogh.
Chambers explains both "hevalogh" and "rumbylogh" as "boating refrains," but does not show any supporting evidence.
The verse about the "Spaniards that made so great a boast-O" presumably refers to the Spanish Armada of 1588. - RBW
File: K092
===
NAME: Halarvisa
DESCRIPTION: Swedish hauling or capstan shanty. No story line to verses, choruses: "Viktoria, Viktoria! Karre-verre-vitt-bom! Hurra sa! Viktoria, Viktoria! Karre-verre-vitt-bom!"
AUTHOR: unknown
EARLIEST_DATE: 1875
KEYWORDS: foreignlanguage shanty worksong
FOUND_IN: 
REFERENCES: (1 citation)
Hugill, pp. 426-427, "Halarvisa" (2 texts-Swedish & English, 1 tune)
CROSS_REFERENCES:
cf. "A Kom Till Mig Pa Lordag Kvall" (similar chorus)
NOTES: Hugill's notes (quoted from Sternvall's _Sang under Segel_ 1935) say this was written down by "Navigation Pelle," 1875) - SL
File: Hugi426
===
NAME: Half Crown, The
DESCRIPTION: De Valera will give a half crown to every newborn. Singer marries a widow and does his "best for the blooming half crown." His wife says he's not trying hard enough but then admits she's 63. "Check your wife's age before going to bed"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age sex marriage childbirth money humorous wife
FOUND_IN: Ireland
REFERENCES: ()

Roud #16988
RECORDINGS:
Vincie Boyle, "The Half Crown" (on IRClare01)
Andy Cash, "The Half Crown" (on IRTravellers01)
CROSS_REFERENCES:
cf. "Cod Liver Oil" (tune) and references there
NOTES: The tune, verse structure, and some lines derive from "Cod Liver Oil." Compare, for example, these lines from "Cod Liver Oil" [OLochlainn-More 30]
I'm a young married man, and I'm tired of my life,
For lately I married an ailing young wife.
with these from "The Half Crown"
I'm a young married man and I'm tired of life,
Half killed and half crazy from this strap of a wife.
In Andy Cash's version on IRTravellers01 the singer earns his half-crown in spite of his wife's age (though, perhaps, the "young baby scream" makes him wonder if the reward were sufficient).
Notes to IRClare01: "In 1944, despite considerable opposition, the DeValera government introduced a family allowance of two-and-sixpence for every child after the first." The song says that DeValera was concerned because "the population of Ireland was beginning to fall." - BS
Ireland's population was a constant concern of her politicians -- see, e.g., "Daniel O'Connell (I)," plus all the hundreds of emigration songs. The problem did indeed continue into the twentieth century and De Valera's presidency -- Ruth Dudley Edwards, _An Atlas of Irish History_, second edition,Routledge, 1981, shows that the population of Ireland *fell* 4% from 1901 to 1946 (a period when the rest of the world increased its population massively), and fell another 1% from 1946 to 1961. What's more, the population decrease was all concentrated in the Republic of Ireland (8% and 4%, respectively); in Ulster, the population increased in this period.
So De Valera had a point. Except -- paying people to have children only works if there are jobs to support the children, and the Republic of Ireland was an economic basket case for most of De Valera's lifetime, including at the time he proposed this silly idea. If, instead of gimmicks, he has worked on genuine economic development, real free trade (including even with England), and a reasonable policy on science and technology, he could have had the kids and kept them in the country too. As witness the fact that Ireland is doing just fine now that it's gotten away from De Valera type economics -- it's very nearly the fastest-growing country in Europe. - RBW
File: RcTHaCro
===
NAME: Half Door, The
DESCRIPTION: The singer finds a home with "a sweet colleen" behind an open half-door. She invites him to come in. They dance. He proposes but she tells him to come back when she is older"
AUTHOR: unknown
EARLIEST_DATE: 1964 (NFOBlondahl04)
KEYWORDS: courting dancing 
FOUND_IN: Canada(Newf) Ireland
REFERENCES: ()

Roud #5275
RECORDINGS:
Margaret Barry and Michael Gorman, "The Half-Door" (on Voice15)
Omar Blondahl, "The Half Door" (on NFOBlondahl04)
NOTES: GEST Songs of Newfoundland and Labrador site has this as "Irish traditional" though I haven't yet seen any paper copy. - BS
There are a number of Irish recordings; actual field collections seem to be few. - RBW
File: RcHalDoo
===
NAME: Half Horse and Half Alligator: see The Hunters of Kentucky [Laws A25] (File: LA25)
===
NAME: Half-Hitch, The [Laws N23]
DESCRIPTION: A girl pretends to refuse her fiance. Finally he gives up, promising to marry the first girl he sees. She disguises herself as the ugliest woman possible and makes sure he sees her. He  asks her to marry; she consents. She reveals herself after they wed
AUTHOR: unknown
EARLIEST_DATE: 1919 (Sturgis and Hughes)
KEYWORDS: courting disguise trick marriage
FOUND_IN: US(MA,NE)
REFERENCES: (7 citations)
Bronson (31), 1 version
Laws N23, "The Half-Hitch"
BarryEckstormSmyth pp. 382-389, "The Loathly Bride" (1 text plus a version reprinted from Sturgis)
Flanders/Brown, pp. 236-239, "The Half-Hitch" (1 text)
Flanders/Olney, pp. 33-37, "The Half-Hitch" (1 text, 1 tune) {Bronson's (#1) in the appendix to #31}
Flanders-Ancient1, pp. 265-275, "The Half-Hitch" (2 texts plus a fragment, 1 tune) {Bronson's (#1) in the appendix to #31}
DT 453, HALFHITC
Roud #1887
CROSS_REFERENCES:
cf. "The Marriage of Sir Gawain" [Child 31]
NOTES: This text is associated by some editors (e.g. notably Flanders) with Child 31, "The Marriage of Sir Gawain." It should be noted, however, that the only themes the two have in common are a marriage made for honour rather than love and an ugly woman who turns out to be beautiful (themes also found in "King Henry," Child 32). - RBW
File: LN23
===
NAME: Half-Past Ten
DESCRIPTION: The singer courted "wifie Jean," but her parents always locked the door at half past ten. Eventually she sees to it that the clock stops so she has more time with the young men. Finally her parents agree to the marriage; all live happily thereafter
AUTHOR: Catherine Mackay Bacon
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love courting marriage trick technology
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 110-112, "Half-Past Ten" (1 text, 1 tune)
Ord, pp. 71-72, "Half-Past Ten" (1 text)
Roud #2856
BROADSIDES:
NLScotland, R.B..m.168(213), "Half-Past Ten," Robert MacIntosh (Glasgow), c. 1850; also L.C.Fol.178.A.2(077), "Half-Past Ten," unknown, c. 1870
File: FVS110
===
NAME: Halifax Explosion, The [Laws G28]
DESCRIPTION: In Halifax harbor, a ship loaded with explosives is rammed by another vessel. The explosion and fire which follow cause terrible damage to the city and its population -- 1200 killed and 2000 wounded
AUTHOR: unknown
EARLIEST_DATE: 1933
KEYWORDS: fire death disaster ship
HISTORICAL_REFERENCES: Dec 6, 1917, 9:05 a.m. - The Halifax Explosion
FOUND_IN: Canada(Mar)
REFERENCES: (3 citations)
Laws G28, "The Halifax Explosion"
Creighton-Maritime, pp. 208-209, "The Halifax Explosion" (1 text, 1 tune)
DT 676, HALIFAXX
Roud #2724
NOTES: The Halifax explosion has been called "the second most devastating blast in history" (behind Hiroshima; it actually did more damage than Nagasaki). As a survivor said, "Halifax was gone." Not surprisingly, it inspired several books. The most recent as of this writing is Laura M. MacDonald, _The Curse of the Narrows_, Walker, 2005, written by a resident of Halifax (or, rather, by a resident of Dartmouth, the city on the other side of Halifax Harbour; apparently Dartmouth residents don't like being treated as part of Halifax). I have also used Joyce Glasner, _The Halifax Explosion: Surviving the Blast that Shook a Nation_, Altitude, 2003..
Glasner is a short, undocumented, rather sensational book (the series title is "Amazing Stories"!), though I've cited it where is seems useful. MacDonald's long account is properly footnoted and agrees with the short accounts I've read in other sources (e.g. the story of the _Mont Blanc_ in Lincoln P. Paine's _Ships of the World_ and David Ritchie, _Shipwrecks: An Encyclopedia of the World's Worst Disasters at Sea_, 1996 [I use the 1999 Checkmark paperback edition], p. 95.). What follows is mostly condensed from MacDonald, though I've tried to tell the story in more linear fashion (MacDonald spends much time talking about what people on shore were thinking; if I hadn't read the outline in Paine, I would have found her account very difficult to understand. As it is, reading MacDonald  felt like I was watching a television drama where she took a commercial break every few pages).
To briefly sum up, the Halifax Explosion took place when the French munitions freighter _Mont Blanc_ and the Norwegian _Imo_ collided in Halifax harbor. The _Mont Blanc_ was scheduled to make a run to Britain with a large load of explosives when the _Imo_, also bound to sea and sloppily steered, collided with it. The impact was not particularly damaging in itself, but it struck sparks, starting a fire on the French ship. The captain, rather than fight the fires, ordered the crew to abandon ship. Twenty minutes later, burning and floating aimlessly, it ran up against a pier. The ship exploded, causing much damage and also starting a great wave which added to the damage.
If it weren't so tragic, the story of the _Mont Blanc_ would be almost comic. Why in the world was such a lousy ship used for such an important purpose? The cargo consisted mostly of explosives (though no one not on the ship knew this, because -- this being wartime -- the standard red explosives flag was not shown; Glasner, p. 35), along with a large amount of gasoline-related fuels (MacDonald, p. 16). Originally launched in 1899 (see Paine), she had been refitted to hold her cargo (e.g. the nails in her hold had been replaced by copper to avoid striking sparks; MacDonald, p. 17).
All this in a ship with an inexperienced crew and a captain who was new to his ship (he had only reached the rank of captain in 1916; Glasner, p. 15) and had little English (MacDonald, pp. 15-16). In a crisis, he would not know how to deal with his ship. It probably didn't help that he had never been to Halifax before, either (Glasner, p. 26).
The real problem was her speed. The best the _Mont Blanc_ could manage was about eight knots, and over a long stretch, she would probably not be able to exceed seven and a half. In fact, Glasner, p. 14, says that with her current loading she could barely make seven knots. By 1917, submarines were doing great damage, and the British were convoying their ships. The _Mont Blanc_ was too slow to sail direct from New York to Britain. She would have to go to Halifax to join one of the slow convoys there -- and even that might be pushing her abilities (MacDonald, p. 18). The later description "Large Slow Target" would have been a brilliant description of the _Mont Blanc_.
And Halifax was by this time the major shipment point from Canada to Britain. Fears of submarines had caused the harbor to be made more secure. There were anti-submarine nets at the entrance which were closed at sunset. When the _Mont Blanc_ arrived, the gates were shut for the day; she had to spend the night outside (Glasner, pp. 14, 16; MacDonald, p. 16), and then join what we might call the morning rush hour.
The other ship involved was also trapped by the submarine precautions. The _Imo_ had been launched as the White Star Lines ship _Runic_, but had been sold and was now a Norwegian tramp steamer used among other things to ferry food to civilians in Belgium. Her crew had recently spent a lot more time sitting around than sailing, and were probably very disappointed when they failed to make past the submarine barriers before they closed for the day (MacDonald, p. 20); they had had to wait for a shipment of coal (Glasner, p. 27).
The shape of the bay contributed to the problem. Halifax is an excellent port, with a large inner bay (the Bedford Basin) capable of holding many ships. But the basin is reached by "the Narrows" -- a long channel only about a third of a mile wide -- good for security, since it's easy to guard and control (Glasner, pp. 16-17) but a definite traffic bottleneck. Two ships can pass each other in the Narrows, but only if they stay on their proper courses. Ships going in and out have to be steered by pilots experienced in entering the channel. (Many harbors of course require such pilots, but few need them as much as Halifax).
The _Imo_, in its haste, broke the rules. As she left the Bedford Basin, she encountered the _Clara_. The standard for ships at Halifax was to pass "port to port" -- that is, as we might say it, to "keep on the right side of the road." But, because of where the ships were located, it was quicker to pass "starboard to starboard." The _Imo_ ended up on the wrong side of the channel (MacDonald, p. 30). And she then noticed another ship, the _Stella Maris_, pulling two scows near the south bank (MacDonald, p. 32-34). And there was some haze over the Narrows (MacDonald, p. 31). Despite this, the _Imo_ did not slow down; a witness reported, "She is going as fast as any ship I ever saw in the harbor" (MacDonald, p. 33). According to Glasner, p. 27, she was moving at seven knots, two knots faster than the harbor speed limit, though it's not clear how this was determined.
The pilot of the _Mont Blanc_, Francis Mackey, apparently spotted the _Imo_ first, though all he could see in the fog was her masts. He ordered the _Mont Blanc_ to edge toward the starboard (northeast) bank. He sent whistle signals to the _Imo_ (MacDonald, p. 38).
Unfortunately, there was a mixup in the whistle signals. Mackey gathered that the _Imo_, already far out of her lane, intended to stay there. He couldn't head closer to the shore on the starboard side; he was as close as he dared to take the heavily-laden ship. He steered her to port and let the ship stop (MacDonald, pp. 39-40).
The _Imo_ once again reacted improperly. Instead of steering around the _Mont Blanc_, she ordered her engines to reverse. Which, because she had no cargo, was a largely useless order; her screw was too high to have much power, and she was slow to answer the helm (MacDonald, p. 40). The captain and pilot on the _Mont Blanc_ tried to put their ship in reverse. It was too late. The _Imo_ crashed into her starboard side (MacDonald, p. 41).
Only then, far too late, did the _Imo_ manage to actually start moving backward. She backed out of the _Mont Blanc_, causing further damage. And, in the process, she did something which started a spark (Glasner, p. 29, thinks the grinding of metal on metal that did it). Whatever it was, it was the caused the petroleum on the _Mont Blanc's_ deck to catch fire. An oil fire, the kind that cannot be put out just with water -- even if the _Mont Blanc_ had had hoses able to reach the spot, which it didn't (MacDonald, p. 43). It appeared there was nothing the crew could do. The ship couldn't even be scuttled; the seacocks were rusted shut (Glasner, p. 30; MacDonald, p. 48). They abandoned ship -- and headed for the Dartmouth shore, so they didn't even give the city authorities a warning..
It's not quite certain what they did before abandoning. Did they change course? Start up the engines? The witnesses disagree. Whatever they did, the ship for some reason drifted across the Narrows to bump into a pier on the Halifax shore (MacDonald, p. 42).
Various ships came around to try to pull the ship back into mid-channel, or put out her fires (Glasner, pp. 32-39, lists some of the attempts). It was useless. She was too big to move and burning too hard to control the fire (MacDonald, pp. 50-51). Gradually the barrels of benzol and monochlorobenzol cooked off. Eventually, they set off the high explosive in the hold (at 9:04:35 a.m., according to later seismic measurements; MacDonald, p. 181, etc.).
It was quite a haul. 200 tons of TNT. Ten tons of guncotton (nitrocellulose: cotton fibers treated with nitric acid. Horribly touchy when dry. Safe enough when wet, but how could it stay wet when surrounded by benzol fires?) Worst of all, 2300 tons of picric acid, some wet, some dry.
Picric Acid -- (NO2)3C6H2OH -- is a "very poisonous, yellow, crystalline, intensely bitter acid used in explosive" (so the _American Heritage Dictionary of Science_). It was the primary component of lyddite ("picric acid... mixed with 10% nitrobenzene and 3% Vaseline," according to the _Penguin Dictionary of Science_). Lyddite was used by the British as a shell burster (i.e. it's what made shells blow up when they hit something), and picric acid was the active ingredient; when dry, it explodes upon being subjected to pressure (e.g. being hit by a hammer, or of course colliding with an enemy ship or trench). It would also burn explosively if heated.
Although less familiar than TNT, because it is so much touchier, picric acid actually releases more energy when it explodes.
Picric acid was dangerous on other grounds. According to Floyd L. Darrow, _The Story of Chemistry_, Chautauqua Press, 1928, p. 250, it also could be made into poison gas: "Chloropicrin, made from picric acid by the action of chlorine, was another [gas used in World War I]. It was mixed in a shell or bomb with tin chloride, which forms dense white clouds of vapor capable of penetrating the gas masks and carrying with it the volatile chloropicrin. Highly poisonous in itself, chloropicrin induces nausea and vomiting, thereby causing the victim to remove his mask and rendering him an easy prey to other lethal gases."
(If you're wondering why, given its dangers, picric acid was being made in Canada and shipped to Britain, rather than manufacturing in Britain, the basic answer is "nitrates." Picric acid, like every other major explosive used in the early twentieth century, required saltpeter or an equivalent nitrate source -- and the main source of nitrates was the west coast of Latin America. It was much easier to get them to Canada than to Britain in the days of submarine warfare. For more on this history of nitrates, see the notes to "Chamber Lye" and "Tommy's Gone to Hilo.")
MacDonald, p. 61, says that there were 2925 tons of explosives, total, on the _Mont Blanc_. The temperature of the explosion is thought to have been in the 5000C/9000F range (MacDonald, p. 62). In the era of conventional bombs, the largest ever used was about 10 tons. 2925 tons of mostly picric acid is in the nuclear weapons range -- at the very low end of the range (less than Hiroshima or Nagasaki by an order of about five), but unlike anything the world had ever seen in 1917, except for volcanic eruptions and meteor strikes.
The explosion was heard over 200 miles away, on Cape Breton and Prince Edward Island (Glasner, p. 81; MacDonald, p. 63). The _Mont Blanc's_ anchor was thrown more than two miles, and other parts of the ship went three miles (MacDonald, p. 67).
People died in many ways. Possibly as many as 150 were simply vaporized and never found. More were killed by the pressure wave -- pulverized to death. Others died by being thrown into walls or other objections. Flying glass killed and maimed many more. All buildings within half a mile of the blast were destroyed (MacDonald, p. 64). The blast was so strong that it spawned secondary tornadoes (MacDonald, p. 66). It also caused a 20-foot-high wave to scour the Halifax basin, at some places reaching six blocks inland (MacDonald, map in frontispiece).
There were secondary effects -- fires, even the collapse of a magazine at a military base. It didn't explode, but it did burn a bit, putting out enough smoke to cause a secondary panic (Glasner, pp. 61-65).
Relief efforts were at first quite disorganized. The mayor of Halifax was away, leaving the Deputy Mayor in charge (Glasner, p. 55; MacDonald, p. 93). The fire chief had been killed (MacDonald, p. 94), as had many of the firefighters, and the city's one fire engine ruined (Glasner, p. 120). Many doctors were killed or hurt and unable to treat patients (MacDonald, p. 112). The hospitals ranged from damaged to almost completely unusable (MacDonald, p. 113). Medical supplies soon ran low, and the only way to sterilize equipment was to put it in boiling water (MacDonald, p. 118). Doctors operated on patients without anesthesia, and sewed up their wounds with ordinary cotton thread (Glasner, p. 94).
It was hard to bring in help from outside. The railroads had been damaged, or were blocked by ruined trains, and many telegraph lines were down. Only one rail line, in fact, was fully serviceable, and it was a new line, not yet up and running (MacDonald, p. 111).
The temperature that night was well below freezing (MacDonald, p. 143), and there followed a fierce blizzard, causing additional deaths (MacDonald, p. 145) and adding to the strain on the survivors and making it that much harder to bring in help.
The casualties could never be perfectly counted. Ritchie's round numbers are 1600 killed, 8000 wounded, 2000 missing. MacDonald's Appendix D, p. 291, lists 1611 official dead as of 1918; p. 293 lists 1201 bodies as buried, with 242 of them unidentified and 410 bodies missing -- but she reckons the known dead as of 2004 as 1952. She lists (p. 66) 6000 people as injured and 9000 as homeless. Others reverse those figures. Glasner, p. 41, says 1900 were dead and 9000 wounded, while on p. 118 she says 2000 were dead, 9000 injured, and 20,000 homeless -- which, if correct, means that more than half the city's population of roughly 50,000 was dead, wounded, or homeless. Very many of the injured lost their eyes to flying glass; 16 people lost both eyes, 249 lost one eye, and over 5500 had some sort of eye injury; 41 ended up totally blind (MacDonald, pp. 159, 234). The number of bodies was so large that, even when identifications had been made in the field, the information was often lost (MacDonald, p. 162).
Because the task was so great and the clues so few, very many bodies had to be buried before they were identified. Many of these, and some of the identified bodies from poor households, were buried in the same graveyard as the bodies brought in after the _Titanic_ disaster (MacDonald, pp. 244-245). Coffins were improvised in all sizes, with parts of bodies in some and multiple corpses in others (MacDonald, p. 248).
There were hundreds of orphans: some 70 children who lost both parents, and 200 who lost one or the other parent. Of the latter, about 110 had lost their mothers and had no father at home (usually because he was serving in the war); MacDonald, p. 232.
It is estimated that 2000 buildings were destroyed and 10,000 damaged, leaving 25,000 people with damaged homes.
In one way, recovery was surprisingly swift. The explosion took place on Tuesday. By the following Monday, the authorities were saying they did not need more medical people (a number of temporary hospitals were up and running), and most mail and gas service was restored (MacDonald, pp. 219-220). But it took several weeks to end food rationing, and families were given a food allowance even after that (MacDonald, p. 229). And rebuilding took far longer -- indeed, most permanent rebuilding could not begin until spring when the ground thawed (MacDonald, p. 237). Even today, anyone digging near the harbor will soon find many artifacts of the explosion (MacDonald, p. 276).
The damage was estimated at $35 million -- Canadian dollars, but 1917 Canadian dollars. MacDonald, p. 68, applied conversion factors to make this $420 million in 2004 U. S. dollars. I suspect even that is low. That's strict inflation, but buildings were proportionally cheaper back then (e.g. a house could be had for $4000). I suspect that it would cost several billion to build replacements in today's world.
Even as the burials were going on, an investigation was underway. It was not supposed to be a criminal proceeding, but the man in charge was a judge, Arthur Drysdale, and a witness said, "The setting was almost Dickensian" (MacDonald, p. 252). It was a difficult situation, with the public howling for blood, and there was also the problem that, while the pilot and master of the _Mont Blanc_ had survived, those on the _Imo_ were both dead (Glasner, p. 43, has a photo of the ship blown ashore; her masts survived but her upper works were "demolished"). It was difficult to reconstruct what the crew of the _Imo_ was thinking. MacDonald speculates that perhaps they failed to hear some of the whistle signals, but even seems insufficient.
MacDonald gives a detailed account of the proceedings (pp. 252-272), which ended with the blame being assigned almost entirely to pilot Mackay and master Le Medec of the _Mont Blanc_, plus the harbor Chief Examining Officer Frederick Evans Wyatt, responsible for procedures in the harbor.
We can't really know what happened. But, reading MacDonald, it appears to me that there were many mistakes, and the _Imo_ made all of them but the final one, when Mackay turned the _Mont Blanc_ hard to port to try to escape the coming collision and thereby caused it. Even there, he seems to have thought that was what the _Imo_ was calling for. It is clear that MacDonald considered Mackay a scapegoat, and Paine too is open to the possibility. Ritchie assigns no direct blame but mentions only the mistakes made by the _Imo_. Glasner, p. 121, makes it explicit: "A scapegoat was required, but Captain Haakon From [commander of the _Imo_] and [pilot] William Hayes were both dead. As a result, blame was placed squarely on the shoulders of the captain and pilot of the _Mont Blanc_ and Commander Wyatt.... Wyatt, Le Medec, and Francis Mackay were all placed under arrest and charged with manslaughter. Eventually, however, all charges were dropped."
The _Imo_, amazingly, was salvaged after the explosion, renamed, and put back in service -- but managed to wreck itself in the Falklands in 1921 (MacDonald, p. 282).
This song has all the features of a broadside prepared shortly after the explosion; I wouldn't be surprised if the author intended it to help the people raising money for relief. It includes the following accurate details:
"It was on the sixth of December, nineteen hundred and seventeen,
That Halifax suffered disaster, the worst she'd ever seen;
It was five minutes after nine, those still alive can tell"
The time of the explosion was December 6, 1917, 9:05 [a.m.].
"She carried a deck load of benzoil and shells for overseas,
In her hold a new explosive, they call it TNT."
Benzoil, or benzol, is the liquid fuel that caused the initial fire. The cargo was not shells, but shell bursters; close enough. The TNT, as we see above, was a relatively small part of the cargo (and not new; trinitrotoluene had been around for decades. But the Germans had used it first; it was a newer product to the British). But TNT was more famous than picric acid, even though less dangerous.
"Children were gone to their lessons, their mothers were busy at home,
While fathers worked on at the factories little dreaming they'd soon be alone."
Most of MacDonald's and Glasner's books are devoted to documenting where people were -- and, yes, it was an ordinary work day.
"The relief ship had rammed the monster tearing a hole in her side,
And eased out in the stream again and drifted on with the tide."
Obviously accurate from the account given above.
"Houses were crushed like paper, people were killed like flies,
The coroner's record tells us the toll was twelve hundred lives."
This would seem to imply the song was written very soon after the explosion, before the various missing could be tallied; 1200 is close to the number of actual bodies.
"Two thousand were maimed and wounded, hundreds more lost their sight
And God knows how many children were alone in the world that night."
This again implies composition soon after the event, since the number of wounded is low and the number of blinded slightly higher than the total who in the end were completely blinded.
"And then the following morning as if to hurt them twice
There came a storm from the ocean, a blizzard of snow and ice."
This obviously refers to the snowstorm that so hampered the relief efforts.
The major Canadian author Hugh MacLennan, who was a boy in Halifax at the time of the explosion, went on to make it the subject of his noteworthy first novel, _Barometer Rising_, published in 1941 (see Craig Brown, editor, _The Illustrated History of Canada_, Key Porter, 1987-2000, p. 417). - RBW
File: LG28
===
NAME: Hall's Lumber Crew
DESCRIPTION: The singer is hired for Hall's lumber crew; the various characters on the crew are described
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work moniker humorous logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 69, "Hall's Lumber Crew" (1 text)
Roud #8841
CROSS_REFERENCES:
cf. "Peaslee's Lumber Crew" (structure)
cf. "The Lumber Camp Song" (theme) and references there
NOTES: The "moniker song" consists mostly of listing the names of one's compatriots, and perhaps telling humorous vignettes about each; it's common among lumberjacks, hoboes, and probably other groups. Sometimes, as with this song and "Peaslee's Lumber Crew", it's clear the singer is plugging names and descriptions into a generic structure, although in this case he's added a bit of narrative. - PJS
File: Be069
===
NAME: Hallelu, Hallelu
DESCRIPTION: "Oh, one day as another, Hallelu, hallelu, When the ship is out a-sailing, Hallelujah." "Member walk and never tire... Member walk Jordan long road." "Member walk tribulation... You go home to Wappoo (?)" "...You want to die like Jesus"
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 50, "Hallelu, Hallelu" (1 text, 1 tune)
Roud #12009
File: AWG050B
===
NAME: Hallelujah
DESCRIPTION: "The election now is over, Now, men, you all know well, The Democrats done the best they could But the Republicans gave them -- Hallelujah (chorus)." Each verse leads you to expect a word, then zips in the chorus instead
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Pope's Arkansas Mountaineers)
KEYWORDS: humorous nonballad political lie Hell wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 421, "Old Lyda Zip Coon" (1 text)
Roud #7632
RECORDINGS:
Pope's Arkansas Mountaineers, "George Washington" (Victor 21469, 1928)
CROSS_REFERENCES:
cf. "Johnny Fell Down in the Bucket" (technique)
cf. "Hopalong Peter" (technique)
cf. "Teasing Songs" (technique)
cf. "Old Zip Coon (II)" (technique)
NOTES: Like "Johnny Fell Down in the Bucket," this is one of those "hidden word" songs -- the verse leads you to expect the last word, which is usually not fit for polite company. But instead of saying the word, it breaks off into the chorus (which in this case starts with "Hallelujah," though the rest may vary). - RBW
File: R421
===
NAME: Hallelujah, Bum Again: see Hallelujah, I'm a Bum (I) (File: LxA026)
===
NAME: Hallelujah, I'm a Bum (I)
DESCRIPTION: The bum explains that he cannot work when there are no jobs available, but then reveals his pleasure in a rambling life. He describes riding the rails, meeting women, begging, and -- sometimes -- troubles with the law.
AUTHOR: unknown
EARLIEST_DATE: 1909 (IWW Little Red Songbook)
KEYWORDS: begging humorous hobo train work
FOUND_IN: US(So)
REFERENCES: (8 citations)
Sandburg, pp. 184-185, "Hallelujah, I'm a Bum!" (1 text, 1 tune)
MHenry-Appalachians, pp. 109-111, "Hallelujah, I'm a Bum" (1 text, said to be "copied from a broadside")
Lomax-ABFS, pp. 26-28, "Hallelujah, Bum Again" (1 text, 1 tune)
Botkin-AmFolklr, pp. 882-884, "Hallelujah, Bum Again" (1 text, 1 tune)
Ohrlin-HBT 13, "Hallelujah, I'm a Bum" (1 text, 1 tune)
Greenway-AFP, pp. 197-202, ("Hallelujah, I'm a Bum") (partial texts illustrating the history of the song)
Silber-FSWB, p. 207, "Hallelujah, I'm A Bum" (1 text)
DT, HALLEBUM HALLEBU2
Roud #7992
RECORDINGS:
John Bennett, "Hallelujah I'm a Bum" (Madison 1642, 1927)
Harry Kirk [probably a pseudonym], "Hallelujah! I'm a Bum" (Edison 52364, 1928)
Harry "Mac" McClintock, "Hallelujah, I'm A Bum" (Victor 21343, 1928) (Decca 5640, 1939) (on McClintock01)
Frank Marvin, "The Bum Song" (Romeo 719/Cameo 8296 [as Lazy Larry], 1928)
Frank Luther, "Hallelujah, I'm a Bum" (Brunswick 254, 1928; Supertone S-2056, 1931)
Pete Seeger, "Hallelujah I'm a Bum" (on PeteSeeger32)
Hobo Jack Turner [pseud. Ernest Hare] "Hallelujah! I'm a Bum" (Harmony 705-H/Diva 2705-G/Velvet Tone 1705-V, 1928)
Weary Willie [pseud. for Jerry Ellis/Jack Golding] (Perfect 12461/Pathe 32382, 1928)
CROSS_REFERENCES:
cf. "Hallelujah, I'm a Bum (II)"
SAME_TUNE:
Here We Rest (Greenway-AFP, p. 145)
Vernon Dalhart, "The Bum Song No. 2" (CYL: Edison [BA] 5653, n.d.) 
Harry "Mac" McClintock, "The Bum Song, No. 2" (Victor 21704, 1928) (Decca 5689, 1939)
Carson Robison Trio, "Bum Song No. 5" (Pathe 32477, 1929; Perfect 12571, 1930)
Hallelujah, Mr. Dean (song of Merrimac Mill strikes; Doug deNatale and Glenn Hinson, in their article, "The Southern Textile Song Tradition Reconsidered," published in Archie Green, editor, _Songs about Work: Essays in Occupational Culture for Richard A. Reuss_, Folklore Institute, Indiana University, 1993, p. 98)
NOTES: Sung to the hymn tune "Revive Us Again." - PJS
I've seen this credited to Harry "Haywire Mac" McClintock, but George Milburn offers evidence that the song is older; Sandburg also claims it was sung in 1897. McClintock was responsible for popularizing it, and the publishers seem to have thought his name would increase sales.
Greenway offers a detailed discussion of the history of the song (including Milburn's evidence), coming to the conclusion that McClintock really was the author.
Topical texts on this basic pattern are common; a recent one by Barbara Dane and Irwin Silber (p. 310 in the Folksinger's Wordbook) is about the activities of Richard Nixon. - RBW
File: LxA026
===
NAME: Hallelujah, I'm a Bum (II)
DESCRIPTION: A quatrain ballad, this tells the bawdy adventures of a bum who begs food from housewives.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy begging humorous hobo sex
FOUND_IN: US(MW,SW)
REFERENCES: (1 citation)
Cray, pp. 200-202, "Hallelujah I'm a Bum" (1 text, 1 tune)
Roud #7992
CROSS_REFERENCES:
cf. "Hallelujah, I'm a Bum (I)"
NOTES: This bawdy subset of McClintock's Wobbly song is sung to the hymn tune "Revive Us Again." - EC
File: EM200
===
NAME: Hamburg, Du Schone Stadt (Hamburg, You Lovely Town)
DESCRIPTION: German shanty. Sailor meets a girl who initially resists his advances, then takes his two dollars and tells him to wait while she runs up to her room. When he follows her up, he finds four men who beat and rob him. Choruses of "Oh, du mein ja, mein je!"
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
KEYWORDS: foreignlanguage shanty whore robbery Germany
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 564-566, "Hamburg, Du Schone Stadt" (2 texts-German & English, 1 tune)
File: Hugi564
===
NAME: Hamburger Fair, The: see Animal Fair (File: San348)
===
NAME: Hamfat Man, The
DESCRIPTION: The ham fat man falls in love with Sara Ann, a girl in the market who sells him "polony sausages." But every day she wants a new dress, and after he goes broke she goes off to Bathhurst. The moral: "Never trust a girl that lives in Sydney town."
AUTHOR: unknown
EARLIEST_DATE: 1984
KEYWORDS: courting food money separation
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 94-95, "The Hamfat Man" (1 text, 1 tune)
Gilbert, p. 5, "Ham Fat Man" (1 fragmentary text, which does not contain any of the above plot, and is almost certainly bawdy, but which appears from its pattern to be the same piece)
NOTES: Don't ask me why the title of the song (in Fahey, anyway) is "The Hamfat Man" while all the references in the text are to a "Ham fat man." - RBW
File: FaE094
===
NAME: Haming on a Live Oak Log (Mister Gator)
DESCRIPTION: "I went down on the river on a live oak log, log, log, Well the way I was haming, partner, like a lowdown dog, like a lowdown dog." The singer confuses a gator for a log and has to fight it. He complains about his sentence and the work his captain demands
AUTHOR: unknown
EARLIEST_DATE: 1951 (recorded from "Chinaman" Johnson by Bower, Lomax, and Seeger)
KEYWORDS: animal fight prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, pp. 240-245, "Haming on a Live Oak Log" (3 texts, 1 tune)
Roud #17457?
ALTERNATE_TITLES:
I Was Down in the Bottom
Shake It, Mister Gator,
Move Along, 'Gator
File: JDM240
===
NAME: Hamlet Wreck, The
DESCRIPTION: "See the women and children going on the train, Fare-you-well, my husband, if I never see you again." The train runs late, and collides with a local (?). The rest of the song amplifies the repeated line, "So many have lost their lives"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Durham Morning Herald)
KEYWORDS: train wreck death disaster
HISTORICAL_REFERENCES: July 27, 1911 - The Hamlet Wreck
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownII 290, "The Hamlet Wreck" (1 text)
Cohen-LSRail, p. 273, "The Hamlet Wreck" (notes only)
Roud #6634
NOTES: The notes in Brown say that the passenger train involved in this wreck was a special carrying some 900 members of St. Joseph's African Methodist Episcopal Church on an annual outing (from Durham to Charlotte). The collision occurred near the town of Hamlet, and at least 8 people killed and 88 injured.
The piece apparently was first printed as a broadside credited to Franklin Williams and William Firkins, but Brown left a note expressing strong doubts about the attribution. I must say, though, it looks like a composed song to me -- and not one which circulated much in oral tradition. Had it been created orally, there would have been more personal stories included. - RBW
File: BrII290
===
NAME: Hammer Man
DESCRIPTION: "Drivin' steel, drivin' steel, Drivin' steel, boys, Is hard work, I know...." "Treat me right... I am bound to stay all day; Treat me wrong, I am bound to run away." "Boss man... See the boss man comin' down the line."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work nonballad worksong
FOUND_IN: 
REFERENCES: (1 citation)
Sandburg, p. 139, "Hammer Man" (1 text, 1 tune)
File: San139
===
NAME: Hammer Ring
DESCRIPTION: "Oh, my hammer, hammer ring (x2), Ringin' on de buildin, hammer ring (x2)." Doncha hear dat hammer... She ringin' like jedgment." "Oh, Lawd, dat hammer." There may be references to Black Betty, or mentions of Noah/Norah
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: chaingang work
FOUND_IN: US(So)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 61-62, "The Hammer Song" (1 text, tune referenced)
Jackson-DeadMan, pp. 193-201, "Hammer Ring" (7 texts, 2 tunes, very diverse; some could perhaps be filed with "Black Betty" or other prison songs, and they often share verses with "Drop 'Em Down")
RECORDINGS:
Jesse Bradley and group of prisoners, "Hammer, Ring" (AFS 219 A2; on LC8)
Texas state farm prisoners, "Let Your Hammer Ring" (on NPCWork)
CROSS_REFERENCES:
cf. "Take This Hammer"
cf. "Don't You Hear My Hammer Ringing"
NOTES: Not to be confused, obviously, with the Modern Folk "Hammer Song" ("If I Had a Hammer"). - RBW
File: LxA061
===
NAME: Hand Me Down My Walkin' Cane
DESCRIPTION: Known mostly by the first verse: "Hand me down my walkin' cane (x3), I'm gonna catch the midnight train, All my sins been taken away, taken away." Remaining verses involve traveling, prison, food, where the singer wants to be buried, etc.
AUTHOR: unknown
EARLIEST_DATE: 1926 (recordings, Kelly Harrell, Gid Tanner, Henry Whitter & Fiddler Joe)
KEYWORDS: rambling food prison death burial floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Silber-FSWB, p. 53, "Hand Me Down My Walkin' Cane" (1 text)
BrownIII 363, "Hand Me Down My Walking Cane" (1 text plus mention of 1 more)
DT, WALKCANE
Roud #11733
RECORDINGS:
Boswell Sisters, "Hand Me Down My Walkin' Cane" (Brunswick 6335, 1932)
Vernon Dalhart, "Hand Me Down My Walkin' Cane" (Durium [UK] 9-3, 1933)
Durium Dance Band w. Carson Robison & his Pioneers, "Hand Me Down My Walkin' Cane" (Durium [UK] EN-27, 1932)
Sid Harkreader w. Grady Moore, "Hand Me Down My Walking Cane" (Paramount 3022, 1927; Broadway 8055 [as "Harkins and Moran"], c. 1930)
Kelly Harrell, "Hand Me Down My Walking Cane" (Victor 20103, 1926; Montgomery Ward M-4330, 1933; on KHarrell02)
Sim Harris, "Hand Me Down My Walking Cane" (Oriole 916, 1927)
Lester McFarland & Robert Gardner, "Hand Me Down My Walking Cane" (Brunswick 107/Vocalion 5028, 1927)
Claude Moye, "Hand Me Down My Walking Cane" (Champion 15688 [as Asparagus Joe]/Supertone 9363 [as Pie Plant Pete], 1929)
North Carolina Hawaiians, "Hand Me Down My Walking Cane" (OKeh 45297, 1929; rec. 1928)
Carson Robison w. his Pleasant Valley Boys, "Hand Me Down My Walkin' Cane" (MGM 12266, 1956)
Carson Robison [Trio], "Hand Me Down My Walking Cane" (Crown 3027, c. 1930)
Short Creek Trio, "Hand Me Down My Walking Cane" (Gennett 6272/Challenge 398 [as Logan County Trio], 1927)
Ernest V. Stoneman and the Dixie Mountaineers, "Hand Me Down My Walking Cane" (Edison 51938, 1927) (CYL: Edison [BA] 5297, 1927)
Ernest V. Stoneman, "Hand Me Down My Walking Cane" (Banner 1993, 1927/Domino 3964/Regal 8324/Oriole 916 [as by Sim Harris]/Homestead 16490 [as by Harris], c. 1929)
Gid Tanner & his Skillet Lickers, "Hand Me Down My Walking Cane" (Columbia 15091-D, 1926)
Gordon Tanner, Smokey Joe Miller & Uncle John Patterson, "Hand Me Down My Walking Cane" (on DownYonder)
Henry Whitter & Fiddler Joe [Samuels], "Hand Me Down My Walking Cane" (OKen 45061, 1926)
CROSS_REFERENCES:
cf. "All My Sins Been Taken Away"
cf. "Heaven and Hell" (floating lyrics)
cf. "Mary Wore Three Links of Chain" (floating lyrics)
cf. "Free at Last" (floating lyrics)
cf. "Dawsonville Jail" (lyrics)
SAME_TUNE:
Ballad of Blue Bell Jail (Greenway-AFP, p. 143)
NOTES: It is possible (perhaps even likely) that the song filed as "All My Sins Been Taken Away" is a worn-down version of this piece, but it is known in enough versions that I finally split them. - RBW
File: FSWB053
===
NAME: Hand O'er Hand (I)
DESCRIPTION: "Hand, Hand, Hand o'er hand, Divil run away with a west country man." Other verses, if any, probably float.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Bone)
KEYWORDS: shanty
FOUND_IN: 
REFERENCES: (1 citation)
Bone, p. 42, "Hand O'er Hand" (1 short text, 1 tune)
File: BoCB042
===
NAME: Hand O'er Hand (II): see So Handy (File: Doe012)
===
NAME: Handsome Cabin Boy, The [Laws N13]
DESCRIPTION: A disguised girl signs aboard ship as a cabin boy. The ship's captain discovers her secret and, even though his wife is aboard, gets her pregnant. One night the "boy's" cries awaken the crew, who learn she is in labor. All are thoroughly astonished
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan1)
KEYWORDS: cross-dressing ship pregnancy
FOUND_IN: US(MW) Britain(England,Scotland) Canada(Newf)
REFERENCES: (8 citations)
Laws N13, "The Handsome Cabin Boy"
GreigDuncan1 181, "The Handsome Cabin Boy" (3 texts, 1 tune)
Ord, p. 160, "The Handsome Cabin Boy" (1 text)
Gardner/Chickering 163, "The Handsome Cabin Boy" (1 text, 1 tune)
Peacock, pp. 280-281, "The Handsome Cabin Boy" (1 text, 1 tune)
Darling-NAS, pp. 123-125, "The Handsome Cabin Boy" (1 text)
Silber-FSWB, p. 192, "The Handsome Cabin Boy" (1 text)
DT 445, CABINBOY*
Roud #239
RECORDINGS:
Bob Hart, "The Female Cabin Boy" (on Voice12)
BROADSIDES:
Murray, Mu23-y1:035, "The Female Cabin Boy," James Lindsay Jr. (Glasgow), 19C
File: LN13
===
NAME: Handsome Collier Lad, The: see The Collier Lad (Lament for John Sneddon/Siddon) (File: HHH110)
===
NAME: Handsome Harry (The Sailor and the Ghost B): see The Sailor and the Ghost [Laws P34A/B] (File: LP34)
===
NAME: Handsome John
DESCRIPTION: "A lady lived near Portland square, She keep a waiting maid so fair Who loved the footman as her life Expecting for to be his wife."  The lady loves the footman and beats the maid. The maid runs away and the lady marries handsome John
AUTHOR: unknown
EARLIEST_DATE: 1928 (Greenleaf/Mansfield)
KEYWORDS: infidelity love marriage promise injury
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 38, "Handsome John" (1 text)
Roud #6363
NOTES: Why do I have this feeling the marriage turned out to be not very happy? - RBW
File: GrMa038
===
NAME: Handsome Molly
DESCRIPTION: The singer sings the praises of handsome Molly, noting that "Sailing round the ocean, sailing round the sea, I'll think of handsome Molly wherever she may be." She proves less than faithful, but he loves her still
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: love courting sailor separation abandonment
FOUND_IN: US
REFERENCES: (4 citations)
BrownII 82, "The Lover's Lament" (4 texts plus a fragment, "E," that is probably "Handsome Molly"; the others are true "Farewell Ballymoney (Loving Hannah; Lovely Molly)" texts)
SharpAp 180, "The Irish Girl" (1 text plus 2 fragments, 3 tunes, with the "A" text going here and the "B" and "C" fragments tentatively filed under "The Irish Girl")
Silber-FSWB, p. 148, "Handsome Molly" (1 text)
DT, HNDSMMOL
Roud #454
RECORDINGS:
[G. B.] Grayson & [Henry] Whitter, "Handsome Molly" (Gennett 6304/Champion 15629, 1927) (Victor 21189, 1928; rec. 1927; on GraysonWhitter01, LostProv1)
Mike Seeger, "Handsome Molly" (on MSeeger01)
Glenn Neaves, "Handsome Molly" (on GraysonCarroll1)
Doc Watson & Gaither Carlton, "Handsome Molly" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)"
NOTES: It is my firm belief that this is a version of the "Farewell Ballymoney/Loving Hannah" family of songs (with which it shares several verses and the whole plot, as well as melodic similarities). In this I actually agree with Roud.
Paul Stamler, however, observes that "The plotline is similar, but I'd be inclined to split off 'Molly' and class the 'went to church on Sunday' verse as a floater. Look at it this way -- if you ask old-time musicians to play 'Handsome Molly' about 95% can do so, but if you ask them to play 'Farewell Ballymoney' at least 95% will go, 'Hah?'"
I still think I'm right, but it is certainly true that "Molly" has achieved independent circulation (though all the versions I hear seem to come ultimately from the Grayson & Whitter recording), and so we list it as a separate song. - RBW
The SharpAp version shows that the song, with lyrics very close to those sung by Whitter, was circulating some nine years before he made his very-influential recording. Whitter, it should be noted, came from the same area in Virginia where the SharpAp version was collected. - PJS
File: FSWB148
===
NAME: Handsome Sally
DESCRIPTION: A young man loves Sally, a servant, whose mistress also wants the lad. The mistress has Sally drowned
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection); +1909 (Joyce, _Old Irish Folk Music and Songs_)
KEYWORDS: murder drowning
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 120, "Handsome Sally" (1 text, 1 tune)
Roud #2370
NOTES: This in several regards resembled "The Lady and the Farmer's Son" [Laws O40]. Paul Stamler indeed filed them under the same heading. But Laws and Roud separate them, and I can hardly argue with that weight of authority. - RBW
File: ShAp2120
===
NAME: Handsome Young Airman, The: see The Dying Aviator (File: MA142)
===
NAME: Handsome Young Farmer, The: see Teasing Songs (File: EM256)
===
NAME: Handsome Young Sailor, The: see The Soldier Maid (File: DTsoldma)
===
NAME: Handy Bandy Barque, The: see The Campanero (File: Doe084)
===
NAME: Handy, Me Boys: see So Handy (File: Doe012)
===
NAME: Hang Me, Oh Hang Me (Been All Around This World)
DESCRIPTION: Man about to be hanged laments his life. Says, "Hang me, oh hang me, and I'll be dead and gone/It's not the hangin' that I mind, it's layin' in the grave [or jail] so long." In some versions he describes his life as a gambler.
AUTHOR: unknown
EARLIEST_DATE: 1917 (Belden)
KEYWORDS: execution punishment death gambling gallows-confession lament
FOUND_IN: US(MW,So)
REFERENCES: (9 citations)
Belden, pp. 472-473, "The Gambler" (1 text)
Randolph 146, "My Father Was a Gambler" (2 texts, 2 tunes); 348, "Since I Left Arkansas" (1 text, 1 tune)
Randolph/Cohen, pp. 173-175, "My Father Was a Gambler" (1 text, 1 tune -- Randolph's 146A)
Friedman, p. 232, "The Gambler" (1 text)
Fife-Cowboy/West 92, "I've Been All Around This World" (1 text, 1 tune)
LPound-ABS, 57, pp. 130-131, "The Gambler" (1 text)
Lomax-FSNA 298, "John Henry-I"; 299, (1 text, 1 tune, containing a large portion of "Been All Around This World" or a relative)
Spaeth-WeepMore, pp. 129-130, "I've Been All Around the World" (1 text, 1 tune)
DT, GAMBLR2
Roud #3416
RECORDINGS:
Justus Begley, "I've Been All Around This World" (AFS, 1937; on KMM)
Grandpa Jones, "I've Been All Around This World" (King 524, 1946)
Art Thieme, "Cape Girardeau" (on Thieme02)
CROSS_REFERENCES:
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (floating lyrics)
cf. "Don't Let Your Watch Run Down" (floating lyrics)
cf. "The Horse Trader's Song" (tune, floating lyrics)
ALTERNATE_TITLES:
Cape Girardeau
I've Been All Around This World
The Hobo's Lament
The Hobo Blues
NOTES: Laws regards Belden's and Randolph's versions of this as a ballad, "The Gambler," which he lists as dE43.  But the text seems much more diffuse than Laws's small and highly specific subset. - RBW
File: R146
===
NAME: Hang on the Bell
DESCRIPTION: "The scene is in a jailhouse; if the curfew rings tonight The guy in number 13 cell will go out like a light." To prevent the bell from ringing, the convict's daughter Nellie ties herself to the bell, and keeps it silent until a pardon arrives
AUTHOR: T. Connor, C. Erard, R. Parker (according to Joe Hickerson)
EARLIEST_DATE: before 1950 (recording, Beatrice Kay)
KEYWORDS: prison execution humorous reprieve father children derivative
FOUND_IN: 
REFERENCES: (1 citation)
DT, HANGBELL
NOTES: This is often listed as a parody of Rosa Hartwick Thorpe's 1867 poem "Curfew Must Not Ring Tonight." "Parody" may be a rather strong word; there is no stylistic influence at all. (The first lines of the Thorpe poem are "Slowly England's sun was setting o'er the hilltops far away, Filling all the land with beauty at the close of one sad day, And the last rays kissed the forehead of a man and maiden fair," or, in other publications, "England's sun was slowly setting...." The rest is equally nauseating.)
Despite its lack of quality, this thing was popular enough to earn nine citations in _Granger's Index of Poetry_.
The one thing that survived from the Thorpe original to this song is the absurdist plot of the girl silencing the curfew bell.
This byblow is not widely published, and there are few if any early recordings, but Joe Hickerson traced enough oral transmission that I have, with some misgivings, included it in the Index. Mostly, perhaps, to examine the relationship between the original poem and the derived song. - RBW
File: DThangbe
===
NAME: Hange-ed I Shall Be: see The Wexford (Oxford, Knoxville, Noel) Girl [Laws P35] (File: LP35)
===
NAME: Hanging Johnny
DESCRIPTION: Shanty. Characteristic line: "Away, away... Hang, boys, hang!" The singer reports, "They call me Hanging Johnny... Oh they say I hang for money. They say I hung my daddy... We'll... hang together... And we'll hang for better weather."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Great Lakes sailor Carl Joys says he learned it before 1870)
KEYWORDS: shanty ship sailor
FOUND_IN: US(MA,MW) Canada(Mar) Britain(England)
REFERENCES: (11 citations)
Doerflinger, p. 31, "Hanging Johnny" (1 text, 1 tune)
Walton/Grimm/Murdock, pp. 65-67, "Hanging Johnny" (1 composite text, 1 tune)
Colcord, pp. 72-73,"Hanging Johnny" (1 text, 1 tune)
Harlow, pp. 47-48,"Hanging Johnny" (1 text, 1 tune)
Hugill, pp. 284-285,"Hanging Johnny" (1 text, 1 tune) [AbEd, pp. 208-209]
Sharp-EFC, LI, p. 56, "Hanging Johnny" (1 text, 1 tune)
Shay-SeaSongs, p. 54, "Hanging Johnny" (1 text, 1 tune)
Smith/Hatt, p. 26, "Hangman Johnnie" (1 text)
Silber-FSWB, p. 87, "Hanging Johnny" (1 text)
DT, HANGJOHN
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). Hanging Johnny" is in Part 2, 7/21/1917.
Roud #2625
RECORDINGS:
Bob Roberts, "Hanging Johnny" (on LastDays)
Leighton Robinson w. Alex Barr, Arthur Brodeur & Leighton McKenzie, "Hanging Johnny" (AFS 4231 A1, 1939; in AMMEM/Cowell)
W[illiam] H. Smith, "Hangman Johnny" (on NovaScotia1)
NOTES: According to most sources, the "hanging" in this song does not refer to execution. Great Lakes sailor Carl Joys said it referred to the young sailors who went aloft to swing out the halyards when a sail was hoisted. Another account says it referred to a sailor who held a rope lashed to other sailors. If this "hanger" let them go in a bad sea, they would be washed overboard and lost. - RBW
File: Doe031
===
NAME: Hanging of Charlie Birger
DESCRIPTION: Charlie Birger is feared throughout the Midwest; after the shooting of Joe Adams, Birger's henchman Thomasson turns state's evidence and Birger is sentenced to hang. Despite appeals and an unsuccessful suicide attempt, he is hanged on April 19, 1928.
AUTHOR: Carson Robison (or, possibly, Andrew Jenkins)
EARLIEST_DATE: 1928 (recording, Vernon Dalhart)
LONG_DESCRIPTION: Charlie Birger, bandit, is feared throughout the Midwest; after the shooting of Joe Adams and a public outcry, Birger's henchman Thomasson turns state's evidence and Birger is sentenced to hang. Despite appeals and an unsuccessful suicide attempt, he is hanged on April 19, 1928. The singer draws lessons in morality from this story
KEYWORDS: accusation betrayal crime execution murder punishment death suicide outlaw
HISTORICAL_REFERENCES: April 19, 1928 - hanging of Charlie Birger
FOUND_IN: US
REFERENCES: (2 citations)
Burt, pp. 214-215, "(The Death of Charlie Burger)" (1 text)
DT, CBIRGER
RECORDINGS:
Vernon Dalhart, "The Hanging of Charlie Birger" (OKeh 45215, 1928) (Edison 11002, 1929 [as "The Hanging of Charles Birger"])
Frank Luther, "The Hanging of Charlie Birger" (Supertone 9183, 1938)
Art Thieme, "The Hanging of Charlie Birger" (on Thieme02)
NOTES: Birger's gang, and the rival Shelton Bros. gang, made Williamson Co. in southern Illinois a battleground in the mid-1920s, fighting over the rights to the regional bootlegging trade. The first bomb ever dropped on United States soil was a load of dynamite the Sheltons dropped on Birger's hangout from an airplane. The song accurately tells what happened after that. - PJS
File: DTcbirge
===
NAME: Hanging Out the Linen Clothes: see Driving Away at the Smoothing Iron (File: ShH82)
===
NAME: Hangman Johnnie: see Hanging Johnny (File: Doe031)
===
NAME: Hangman, Hangman: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman, Slack on the Line: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman, Slack Up Your Rope: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman's Song, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangman's Tree, The: see The Maid Freed from the Gallows [Child 95] (File: C095)
===
NAME: Hangtown Gals
DESCRIPTION: "Hangtown girls are plump and rosy, Hair in ringlets, mighty cozy... Touch them and they'll sting like hornets. "Hangtown girls are lovely creatures, Think they'll marry Mormon preachers." They are often seen grinning and exposing their linens
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: courting nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Arnett, p. 97, "Hangtown Gals" (1 text, 1 tune)
Silber-FSWB, p. 192, "Hangtown Girls" (1 text)
CROSS_REFERENCES:
cf. "Buffalo Gals" (tune)
File: Arn097
===
NAME: Hannah Healy, the Pride of Howth
DESCRIPTION: The singer is love sick for Hannah. Each morning courters swarm around her but none "dare entreat her or supplicate her." The singer is giving up; he'll "raise my mind from all female kind so Adieu, sweet Hannah, the pride of Howth!"
AUTHOR: unknown
EARLIEST_DATE: c.1840 (From a Waterford chap-book, according to Sparling)
KEYWORDS: love beauty nonballad
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 93, "Hannah Healy, the Pride of Howth" (1 text, 1 tune)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 329-330, 512, "Hannah Healy, the Pride of Howth"
Roud #9773
NOTES: The Howth peninsula is about seven miles northeast of Dublin. - BS
File: OLcM093
===
NAME: Hannah McKay (The Pride of Artikelly)
DESCRIPTION: The singer bids farewell to Ireland and Magilligan, wondering how he can leave such a beautiful, friendly place. Even more painful is parting with Hannah McKay. He will think of her all the way through his voyage.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration separation farewell
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H656, p. 187, "Hannah M'Kay/The Pride of Artikelly" (1 text, 1 tune)
Roud #13543
File: HHH656
===
NAME: Hannamaria
DESCRIPTION: Hannamaria used to live in singer's town; she weighed 590 pounds. After supper a bunch of fellows get drunk and fight; singer is knocked ten feet into the air, but, "I fell down 'cause Hannamaria." Singer is going home with her; he warns others not to
AUTHOR: unknown
EARLIEST_DATE: 1963 (recording, Poplin Family)
KEYWORDS: sex warning fight drink humorous talltale lover
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Poplin Family, "Hannamaria" (on Poplin01)
CROSS_REFERENCES:
cf. "Hopalong Peter" (theme)
NOTES: Very confused story line. The singer picked it up from her father, though, so it has entered tradition in a small way. I suspect minstrel origins. - PJS
And there appears to be another recording, LC 4083 A2, sung by Crockett Ward, though I haven't been able to verify that it is the same song. - RBW
File: RcHanMar
===
NAME: Hanstead Boys: see Cape Cod Girls (File: LoF023)
===
NAME: Hantoon, The
DESCRIPTION: Wexford barque Hantoon is off the coast of Portugal "when this cruel British monster on us came bearing down." Captain Neill tried "to save his ship and crew, But those cursed, heartless tyrants had cut our barque in two." Four of eleven are lost.
AUTHOR: William Martin, Slippery Green, Wexford
EARLIEST_DATE: 1937 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
HISTORICAL_REFERENCES: Dec 27, 1881 - The Hantoon wreck
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 46-47, "The Hantoon" (1 text, 1 tune)
Roud #7351
CROSS_REFERENCES:
cf. "The Fethard Life-Boat Crew (I)" (tune)
NOTES: December 27, 1881: "'The Hantoon' ... was run down ... on the homeward voyage from Galatz"; four of the crew of eleven were lost. Galatz is "one hundred miles up the Danube" [p. 53]. (source: Ranson) - BS
File: Ran046
===
NAME: Hap and Row
DESCRIPTION: "Hap and row, hap and row, Hap and row the feetie o't; I never knew I had a bairn Until I heard the greetie o't." Life with the baby is described: A cinder from the cooking fire burns its feet; Sandy's mother wraps them in her cap
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: baby clothes food
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 157, "(Hap and row, hap and row)" (1 text)
Roud #7252
NOTES: This is presumably the original which Burns converted into "The Reel of Stumpie." I suspect there are cross-fertilized versions, so some care should be taken in looking at each. - RBW
File: MSNR157
===
NAME: Happy 'Tis, Thou Blind, for Thee: see Callino Casturame (Colleen Og a Store; Cailin O Chois tSiure; Happy 'Tis, Thou Blind, for Thee) (File: HHH491)
===
NAME: Happy Coon, The
DESCRIPTION: "I've seen in my time some mighty funny things, But the funniest of all I know Is a colored individual." The "very queer old coon" never speaks, is knock-kneed and pigeon-toed, but whistles all the time -- even when his wife dies or he is hit with a brick
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: abuse disability music
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 424, "The Happy Coon" (1 text)
Roud #11766
File: Br3424
===
NAME: Happy Days of Youth, The
DESCRIPTION: "The happy days of youth they are fast fleeting by Old age is coming on with a dark stormy sky." The singer recalls meeting his love "among the broom" and wishes he could have such a day again. "Farewell to happy youth likewise to mirth and glee"
AUTHOR: Robert Gilfillan (1798-1850) (source: Greig #136, p. 2)
EARLIEST_DATE: 1905 (GreigDuncan3)
KEYWORDS: age courting nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #82, p. 1, "The Happy Days of Youth" (1 text) 
GreigDuncan3 542, "The Happy Days of Youth" (4 texts, 2 tunes)
Roud #6018
NOTES: GreigDuncan3: "[542C] From her [Mrs Beaton] early note-book, this being written in 1867." - BS
File: GrD3542
===
NAME: Happy Family, The: see The Irish Family (File: K275)
===
NAME: Happy Green Shades of Duneane, The
DESCRIPTION: The singer asks the muses to help him praise Duneane. It is the land of his fathers. But now he must leave; he bids farewell to friends and says there is nothing like living among them. He hopes someday to return.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: emigration separation homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H653, p. 211, "The Happy Green Shades of Duneane" (1 text, 1 tune)
File: HHH653
===
NAME: Happy Land of Canaan, The
DESCRIPTION: "Down in Harper's Ferry Section there was an insurrection, John Brown thought the niggers would sustain him. But old Governor Wise put his specs upon his eyes For to send him to the happy land of Canaan." The rebels defy the abolitionist northerners
AUTHOR: unknown
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: Civilwar rebellion death war slavery
HISTORICAL_REFERENCES: October 16-18, 1859 - John Brown and 20 others (15 of them, including Brown's three sons, are white) capture the arsenal at Harper's Ferry, Virginia, hoping to gather the weapons needed for a slave rebellion. Forces led by Robert E. Lee soon attack the rebels; only Brown and four others live to be captured and placed on trial
Dec 2, 1859 - Hanging of John Brown at Charlestown, Virginia
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Belden, pp. 363-364, "The Happy Land of Canaan" (1 text)
Randolph 226, "The Happy Land of Canaan" (3 texts (one Unionist), 1 tune)
Thomas-Makin', p. 81, (no title) (1 fragment, perhaps of this piece or perhaps another "Happy Land of Canaan" variant, but it uses that line and dates from the slavery era)
Roud #7705
CROSS_REFERENCES:
cf. "Bull Run (War Song)" (floating lyrics)
NOTES: The "Governor Wise" in the first stanza of both Randolph's and Belden's texts is Henry A. Wise (1806-1876), Governor of Virginia 1856-1860 and later a Confederate Brigadier. As ex-governor, he was strongly pro-secession, and worked hard to push his state and his successor in that direction. - RBW
File: R226
===
NAME: Happy Land, The: see There Is a Happy Land (File: DTtiahl)
===
NAME: Happy Marriage, The
DESCRIPTION: "How blest has my life been, what joys have I known, since wedlock's soft bondage made Jessie my own." The singer looks fondly back on life and children. Though his wife is growing old, he finds happiness at home and tells others they should do the same.
AUTHOR: unknown
EARLIEST_DATE: 1853 (Scots Musical Museum)
KEYWORDS: love husband wife marriage children age
FOUND_IN: Ireland Britain
REFERENCES: (1 citation)
SHenry H753, p. 501, "The Happy Pair" (1 text, 1 tune)
ST HHH753 (Full)
Roud #9464
ALTERNATE_TITLES:
The Contented Wife and Answer
File: HHH753
===
NAME: Happy Morning
DESCRIPTION: "Weep no more, Marta/Martha. Weep no more, Mary. Jesus rise from the dead, Happy morning. Glorious morning, glorious morning, My Savior rise from the dead, Happy morning." "Doubt no more, Thomas...."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad Jesus
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 10, "Happy Morning" (1 text, 1 tune)
Roud #11852
File: AWH010B
===
NAME: Happy or Lonesome
DESCRIPTION: "Come back to me in my dreaming, come back to me once more.... When the spring roses are blooming, I'll come back to you." "Absence makes my heart fonder, Is it the same for you? Are you still happy, I wonder, or are you lonesome too?"
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Burnett & Rutherford)
KEYWORDS: love separation
FOUND_IN: US
REFERENCES: ()

ST RcHOL (Full)
Roud #11518
RECORDINGS:
Burnett & Rutherford, "Are You Happy or Lonesome" (Columbia 15187-D, 1927; on BurnRuth01)
The Carter Family, "Happy or Lonesome" (Bluebird 5650=Victor ???, 1934)
Steve Ledford, "Happy or Lonesome" (Bluebird 7742, 1938)
SAME_TUNE:
"My Sweetheart in Tennessee" (recorded by Burnett & Rutherford, Columbia 15187-D, 1927; on BurnRuth01)
NOTES: Charles K. Wolfe calls this a parlor song which gained favor with old-time musicians, but does not list the author.
The Burnett and Rutherford recording is the earliest mention I can find of the piece. Curiously, the duo recorded only two songs in that session: "Happy or Lonesome" and "My Sweetheart in Tennessee" -- with nearly-identical tunes. One suspects the latter of being something Burnett just fixed up to have something to put on the flip side of the disk. - RBW
File: RcHOL
===
NAME: Happy Pair, The: see The Happy Marriage (File: HHH753)
===
NAME: Happy Roon' the Ingle Bleezin'
DESCRIPTION: The miser spends his time "watchin' ower [his riches] wi' cautious e'e." On the other hand, "the sons of social pleasure Spend the nicht in harmony." Friendship brings us together "happy roon' the ingle [fireplace]"
AUTHOR: unknown
EARLIEST_DATE: 1911 (GreigDuncan3)
KEYWORDS: drink nonballad friend
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 549, "Happy Roon' the Ingle Bleezin'" (1 text, 1 tune)
Roud #6025
File: GrD3549
===
NAME: Happy Shamrock Shore, The: see The Shamrock Shore (I) (File: HHH069)
===
NAME: Happy Stranger, The: see Poor Stranger, The (Two Strangers in the Mountains Alone) (File: R059)
===
NAME: Happy Wanderer, The
DESCRIPTION: "I love to go a-wandering along the mountain track, And as I go, I love to sing, my knapsack on my back." The singer extols the joys of hiking and hopes to continue to do so
AUTHOR: unknown
EARLIEST_DATE: 1975
KEYWORDS: rambling nonballad travel
FOUND_IN: US
REFERENCES: (1 citation)
DT, HAPWANDR*
SAME_TUNE:
I Love to Go A-Gorging (Pankake-PHCFSB, p. 32)
NOTES: A genuine folk song, or just something they inflict upon kids at camp? Don't ask me. I learned it in elementary school, rather less than voluntarily. - RBW
File: DThapwan
===
NAME: Happy, Frisky Jim
DESCRIPTION: Assorted nonsense about Jim's family and neighbors: "I'm my daddy's only son, Gay and lively, full of fun, Brother's twice as old as me, So we're twins, you plainly see." Jim's girl, whose "mouth is like a big bull calf," also figures prominently
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: humorous nonsense family twins
FOUND_IN: US(MA,MW,So)
REFERENCES: (2 citations)
Randolph 431, "Frisky Jim" (2 texts)
FSCatskills 153, "Happy, Frisky Jim" (1 traditional text plus a sheet music version, 1 tune)
ST R431 (Partial)
Roud #7610
NOTES: Although the statement about the brothers being twins sounds like nonsense, there is a time when it is true -- at the time when the younger brother is exactly as old as the interval between the births of the older and younger. Of course, this requires a baby less than an hour old to be talking....
Although the sheet music version in Cazden et al is apparently from the nineteenth century, it doesn't appear to me to be the original; it looks as if it has had minstrel verses grafted onto a traditional (non-racist) core. - RBW
File: R431
===
NAME: Harbour Grace
DESCRIPTION: "Harbour Grace is a very nice place And so is the Bay of Islands, So we give three cheers for Carbonear When the boys comes home from swilin'." Disconnected verses about George and Lizer, going to town and sea, and Mackety Bay
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: courting hunting sea humorous nonballad
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (2 citations)
Smith/Hatt, p. 35, "Harbour Grace" (1 text)
Creighton-Maritime, p. 180, "Harbour Grace"; p. 207, "Harbour Grace" (2 text, 2 tune)
Roud #2723
RECORDINGS:
Omar Blondahl, "Harbour Grace" (on NFOBlondahl04)
Berton Young, "Harbour Grace Diddling" (on MRHCreighton)
NOTES: A song in the style of Weevily Wheat but clearly not related. Smith/Hamm: "this is a Newfoundland song. It is a dance tune, used by fiddlers." Of the places mentioned in the song, Harbour Grace and Carbonear are on the west shore of Conception Bay on the Avalon Peninsula and Bay of Islands is on the west coast of Newfoundland just south of what is now Gros Morne National Park.
MRHCreighton and Creighton-Maritime, p. 180, is an example of Newfoundland "chin" or "cheek" music and Nova Scotia diddling [the book and LP are of the same performance]. Peacock explains "'Chin' or 'mouth' music is a vocal imitation of instrumental music and is used for dancing when a fiddle or accordion is not handy. Some singers ... become so proficient that they are often called upon even when instruments are available." - BS
File: RcHarGrI
===
NAME: Harbour Le Cou
DESCRIPTION: "As I rowed ashore from my schooner close by, A girl on the beach I chanced to espy" who lives in Harbour Le Cou. The sailor courts and wins girl until they meet his "old comrade" who sends "regards to your missus and wee kiddies two"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Fowke/MacMillan)
LONG_DESCRIPTION: A sailor takes up with a girl in Harbour Le Cou, but has his amorous plans thwarted by a ship-mate who inquires (within hearing of the girl) about the health of the sailor's wife and children. The girl tears into the sailor and he flees, warning others to beware not only of pretty girls but also of old comrades.
KEYWORDS: courting infidelity seduction separation humorous children husband sailor
FOUND_IN: Canada(Mar,Newf)
REFERENCES: (5 citations)
Peacock, pp. 198-199, "Harbour Le Cou" (1 text, 1 tune)
Doyle3, p. 26, "Harbour Le Cou" (1 text, 1 tune)
Fowke/MacMillan 56, "Harbour Le Cou" (1 text, 1 tune)
Blondahl, pp. 108-109, "Harbour Le Cou" (1 text, 1 tune)
DT, HARBLCOU*
Roud #7297
CROSS_REFERENCES:
cf. "One Morning in May (To Hear the Nightingale Sing) [Laws P14]" (theme)
NOTES: Harbour Le Cou is a fishing village on the southwest coast of Newfoundland near Port aus Basques. - SL
File: Doyl3026
===
NAME: Hard of Hearing: see The Deaf Woman's Courtship (File: R353)
===
NAME: Hard Time in Old Virginnie
DESCRIPTION: Chorus: "Hard Time in Old Virginnie." Verses: "Summer comin' again." "Comin' in the rainbow." "Comin' in the cloud." "My old missus promise me" "When she die she set me free." "She love so long" "Till her head got bald."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: hardtimes freedom slave nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 116, (no title) (1 text)
CROSS_REFERENCES:
cf. "Raise a Ruckus" (floating lyrics)
cf. "Old Marse John" (floating lyrics)
NOTES: Described by Courlander as a pestle song for pounding rice. - RBW
File: CNFM116A
===
NAME: Hard Times (II): see The Rigs of the Times (File: K237)
===
NAME: Hard Times (III): see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times (IV): see Old Bee Makes the Honey Comb, etc. (File: Br3479)
===
NAME: Hard Times and Old Bill
DESCRIPTION: "Old Ailey Bill came home from court" and stops at a bar (?) "to have some sport. And it's hard times and poor old Bill." Will McNealey hides under a bed, sees what happens, steals a frying pan, sells it, and beats his wife
AUTHOR: unknown
EARLIEST_DATE: 1931 (collected by Henry from C. L. Franklin)
KEYWORDS: abuse escape husband wife commerce
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 11, "Hard TImes and Old Bill" (1 text)
NOTES: For the life of me, I can't tell what this is about. I suspect that it is based on a real incident, but that several verses have been lost from Henry's seemingly unique text. - RBW
File: MHAp011.
===
NAME: Hard Times at New Little River: see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times Come Again No More
DESCRIPTION: "Let us pause in life's pleasures and count its many tears While we all sup sorrow with the poor." The singer describes sad people suffering from poverty, and begs, "Hard times, come again no more."
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1859
KEYWORDS: poverty hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
DT, HRDTIMES*
Roud #2659
RECORDINGS:
Edison Quartette, "Hard Times Come Again No More" (CYL: Edison 9120, 1905)
L. M. Hilton, "Hard Times Come Again No More [Mormon version]" (on Hilton01)
SAME_TUNE:
Hard Crackers, Come Again No More (cf. Spaeth, _A History of Popular Music in America_, p. 116)
NOTES: It is perhaps more a comment on the folk revival than on this song to note that it is easily the most popular Foster song with revival singers. It wasn't especially popular at the time, and Spaeth (_A History of Popular Music in America_, p. 116) regards it as an "adequate potboiler." - RBW
File: DThrdtim
===
NAME: Hard Times in Mount Holly Jail: see The Cryderville Jail (File: LxU090)
===
NAME: Hard Times in the Mill (I)
DESCRIPTION: Complaints of life in the mills (e.g. "Worked in a cotton mill all my life, Ain't got nothin' but a barlow knife"). The wages are poor, the bosses hard, and the conditions brutal. Chorus: "Hard times in (this old mill), Hard times (everywhere)."
AUTHOR: unknown
EARLIEST_DATE: 1956 (recording, Pete Seeger)
KEYWORDS: work hardtimes factory technology boss miller
FOUND_IN: US
REFERENCES: (1 citation)
Scott-BoA, pp. 274-275, "Hard Times in the Mill" (1 text, 1 tune)
RECORDINGS:
Pete Seeger, "Hard Times in the Mill" (on PeteSeeger13)
CROSS_REFERENCES:
cf. "Winnsboro Cotton Mill Blues" (floating lyrics)
cf. "Hard Times in the Mill (II)"
cf. "Pickle My Bones in Alcohol" (floating lyrics)
ALTERNATE_TITLES:
Hard Times in This Old Mill
Cotton Mill Blues
NOTES: This is obviously very similar to "Hard Times in the Mill (II)" -- but since the versions I've seen have different metrical patterns, and have no words in common except "hard times in," I tentatively classify them separately.
This version is recognized by longer lines in the verse (see sample above) and the non-repeating chorus. - RBW
I'm not sure I'd split these two songs. The verses tend to be floaters (e.g., the "Barlow knife" one, which shows up in fiddle tunes), and the metrical differences aren't that big. I guess I'd want to see all the verses. There's a 1962 recording by Hedy West with the Barlow knife verse in it. - PJS
It's the usual problem of the ordinary versus the extreme versions. Sigh. - RBW
File: SBoA274
===
NAME: Hard Times in the Mill (II)
DESCRIPTION: About bad conditions in the mills (e.g. "Ev'ry morning at half past five, You got to get up dead or alive"). The food is poor, money tight, "the boss is cussin' and the spinners cryin'." Chorus: "Hard times in the mill, my love, hard times in the mill."
AUTHOR: Possibly Dorsey Dixon
EARLIEST_DATE: 
KEYWORDS: work hardtimes factory technology boss miller
FOUND_IN: US
REFERENCES: (3 citations)
Arnett, p. 145, "Hard Times in the Mill" (1 text, 1 tune)
Greenway-AFP, p. 142, "Hard Times in the Mill" (1 text)
Darling-NAS, pp. 369-370, "Hard Times in the Mill" (1 text)
RECORDINGS:
Seena Helms, "Hard Times"  (on HandMeDown2)
CROSS_REFERENCES:
cf. "Hard Times in the Mill (I)"
NOTES: This is obviously very similar to "Hard Times in the Mill (I)" -- but since the versions I've seen have different metrical patterns, and have no words in common except "hard times in," I tentatively classify them separately.
This version is recognized by shorter lines in the verse (see sample above) and the repeating chorus. - RBW
I'm not sure I'd split these two songs. The verses tend to be floaters (e.g., the "Barlow knife" one, which shows up in fiddle tunes), and the metrical differences aren't that big. I guess I'd want to see all the verses. There's a 1962 recording by Hedy West with the Barlow knife verse in it. - PJS
It's the usual problem of the ordinary versus the extreme versions. Sigh.
To add to the fun, there are at least three different mill working songs called "Cotton Mill Blues" (a variant title for this family), first recorded by Wilmer Watts, Daddy John Love, and Tommy Scott. - RBW
File: Arn145
===
NAME: Hard Times of Old England, The
DESCRIPTION: Singer tells that the trade has gone; if you go to a shop without money, you can't buy. If you ask for a job, there is none; tradesmen walk the street looking for work; soldiers and sailors have come home to starve. He hopes the hard times will not last.
AUTHOR: unknown
EARLIEST_DATE: 1955 (recorded from Ron Copper)
KEYWORDS: poverty commerce unemployment work hardtimes starvation England worker
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 224, "The Hard Times of Old England" (1 text, 1 tune)
DT, HRDTMENG*
Roud #1206
CROSS_REFERENCES:
cf. "Rigs of the Time" (subject)
NOTES: Kennedy seems to think that this song arose in the recession following a war, since sailors and soldiers were returning home to find no work. But the British military did not institute a true draft until World War I; the size of the military stayed relatively constant. And economic trouble was constant in the late eighteenth and early nineteenth century; the population was growing faster than the system could expand. So this could be just a song of falling standards of living. - RBW
File: K224
===
NAME: Hard to Be a Nigger
DESCRIPTION: "Well, it makes no difference How you make out your time. White man sho' to bring a Nigger out behind. Ain't it hard (x3) to be a nigger?" "Nigger makes do cotton, White folks get de money." The singer complains about unequal pay and unequal justice
AUTHOR: unknown
EARLIEST_DATE: 1934 (Lomax)
KEYWORDS: discrimination Black(s) hardtimes nonballad work
FOUND_IN: US
REFERENCES: (3 citations)
Lomax-ABFS, pp. 233-234, "Hard to Be a Nigger" (1 text)
BrownIII 473 "White Folks Go to College" (1 fragment, at least tangentially related to this song); also 480, "Hard Times" (1 text, massively composite: Chorus from "Lynchburg Town" and verses from "Old Bee Makes the Honey Comb" and the "White Folks Go to College" version of "Hard to Be a Nigger")
Scarborough-NegroFS, pp. 227-228, "Ain't It Hard to Be a Nigger" (1 text plus a possible fragment)
Roud #15555
File: LxA233
===
NAME: Hard Traveling
DESCRIPTION: "I been doin' some hard travelin', I thought you knowed." The singer describes the hard times he's met on his travels: "Workin' in a hard rock tunnel," "Workin' that Pittsburgh steel," facing the lonely task of following Highway 66
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1940 (recording, Woody Guthrie & Almanac Singers)
KEYWORDS: work nonballad loneliness hardtimes rambling train prison farming work worker hobo
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 226, "Hard Travellin'" (1 text, 1 tune)
PSeeger-AFB, p. 89, "Hard Traveling" (1 text, 1 tune)
Silber-FSWB, p. 59, "Hard Traveling" (1 text)
DT, HARDTRAV*
Roud #13926
RECORDINGS:
Pete Seeger, "Hard Travelling" (on PeteSeeger18)
File: LoF226
===
NAME: Hard Travellin: see Hard Traveling" (File: LoF226)
===
NAME: Hard Trials
DESCRIPTION: "The foxes have holes in the ground... And everything has a hiding place, but we poor sinners have none. Now ain't them hard trials?..." Unrelated verses, often floating, about religious life, fidelity to denominations, the Devil, justice, death
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: religious death Devil floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 600-602, "Hard Trials" (1 text, 1 tune, composite)
Roud #7554
CROSS_REFERENCES:
cf. "Methodist Pie" (floating verses)
cf. "Lonesome Valley (I)" (floating verses)
NOTES: It's not clear, from the Lomax notes, whether this song actually exists on its own. Of their eight stanzas, they themselves admit to importing four. Three of the others float. The chorus is commonplace. So I am tempted to regard this as simply a Lomax assembly job. - RBW
File: LxA600
===
NAME: Hard Up and Broken Down
DESCRIPTION: "Once I had money plenty and friends too, by the score... But now I'm poor and lonely... No one seems to know me now because I'm broken down." He has wasted his fortune, and now his old friends ignore him
AUTHOR: unknown
EARLIEST_DATE: 1931 (Randolph)
KEYWORDS: poverty money
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 838, "Hard Up and Broken Down" (1 text)
Roud #7446
CROSS_REFERENCES:
cf. "Buddy, Can You Spare a Dime" (theme)
cf. "Nobody Knows You When You're Down and Out" (theme)
cf. "If But One Heart Be True" (theme)
cf. "Up a Tree" (theme)
NOTES: Randolph speculates that this is the "ruin of some English music-hall ditty." The literary reference ("As the immortal Shakespeare says, all this world's a stage" -- As You Like It, II.vii.139b) makes this a strong possibility. - RBW
File: R838
===
NAME: Hard-Working Miner, The: see Only a Miner (The Hard-Working Miner) [Laws G33] (File: LG33)
===
NAME: Hard, Ain't It Hard: see (references under) Tavern in the Town (File: ShH94)
===
NAME: Hard, Hard Times: see The Rigs of the Times (File: K237)
===
NAME: Hardest Bloody Job I Ever Had, The: see Ard Tack (File: PFS266)
===
NAME: Harding's Defeat
DESCRIPTION: Fragment: "Come all you good people the truth I'll relate/Concerning of Harding's most cruel defeat/Concerning bad conduct was used, they say/That caused us to be defeated on that very day"
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: army battle fight war
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 204, "Harding's Defeat" (1 fragment, 1 tune)
Roud #3603
NOTES: Making even an educated guess about the subject of this song is difficult, given that we have only one stanza. The collection date obviously precludes World War I and all later wars, as well as references to Warren G. Harding. I'd say the Spanish-American War is also out, because the informant would have remembered more.
The Civil War is an obvious possibility, but this is a Southern song, and there were no Confederate generals named Harding. There were a couple of Union general officers, but neither suffered an obvious defeat.
There is the confusing case of the American ship _Defence_ in the Revolutionary War. Samuel W. Bryant's_The Sea and the States_, p. 83, mentions an American ship _Defence_, commanded by a Captain Harding -- but Bryant describes only a victory won by this ship. The Revolutionary War also featured a privateer _Defence_ which suffered was sunk in 1779. Privateers of course had notoriously bad discipline. But if the data in Lincoln P. Paine's _Ships of the World_ is correct, these two ships named _Defence_ cannot have been the same vessel.
I'm stumped. My guess is that "Harding" is an error for some other name. Hardee, maybe -- confederate Lt. General William J. Hardee was a competent officer whose ineffective forces made it impossible to interfere with Sheman's March to the Sea. Alternately, there is John Hardin, 1753-1792, a Virginian who moved to Kentucky and was heavily involved in Indian fighting until killed in 1792. This may be the best bet. - RBW
File: ShAp2204
===
NAME: Hardly Think I Will: see Common Bill (File: R119)
===
NAME: Hardy Sons of Dan, The
DESCRIPTION: "For to score a goal there was none so bold, As the hardy Sons of Dan," named for Dan O'Connell. They won the Belturbet Tournament in 1889 and their second team won another tournament at Derrylin.
AUTHOR: unknown
EARLIEST_DATE: 1980 (IRHardySons)
KEYWORDS: sports
FOUND_IN: Ireland
REFERENCES: ()

Roud #17895
RECORDINGS:
Red Mick McDermott, "The Hardy Sons of Dan" (on IRHardySons)
NOTES: Notes to IRHardySons: "Drumlane, or Droim Leathan, is just a few miles south of Belturbet, in Co. Cavan. The 'Drumlane Sons of O'Connell' formed in 1886, and faded out of existence, probably in the inter-war years. They re-formed in 1966, and its present ground, O'Connell Park, opened in 1986. The GAA (Gaelic Athletic Association) was founded in Thurles, Co Tipperary, on the 1st November 1884, and Drumlane joined in 1888."
For background on Dan O'Connell see the notes to "Daniel O'Connell" (II). - BS
File: RcHaSoDa
===
NAME: Hare of Kilgrain, The
DESCRIPTION: The hunter goes out in pursuit of sport. The hare tells its story of how the dogs pursued it. It leads them on a long chase, and proclaims that it did humans no harm, but at last the hounds catch and kill their innocent prey
AUTHOR: James Sloan ?
EARLIEST_DATE: 1924 (Sam Henry collection; reportedly written c. 1770)
KEYWORDS: animal death hunting
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H12, p. 31, "The Hare of Kilgrain" (1 text, 1 tune)
Roud #2883
CROSS_REFERENCES:
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The Granemore Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
NOTES: The Henry text appears to be composite; the first two verses are in praise of the hunt and Richard Hunter at its head. The perspective then shifts to the hare, forced to flee and run and at last die.
Nimrod was "a mighty hunter before the Lord" (Genesis 10:8-10). - RBW
File: HHH012
===
NAME: Hare's Dream, The
DESCRIPTION: "On the twenty-seventh of January," the hare is awakened from its dream as the hounds come hunting. The trapped hare complains that the hunters let the fox go free while taking the hare; "All the harm e'er I done was crop the heads o' green kale."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: animal hunting food dog
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H172, pp. 31-32, "The Hare's Dream" (1 text, 1 tune)
Roud #3574
CROSS_REFERENCES:
cf. "Bold Reynard the Fox (Tallyho! Hark! Away!)" (lyrics, theme)
cf. "The Innocent Hare" (theme: fatal hare hunt) 
cf. "The Hare of Kilgrain" (theme: fatal hare hunt) 
cf. "The Granemore Hare" (theme: fatal hare hunt) 
cf. "The White Hare" (theme: fatal hare hunt)
cf. "Donagh Hill" (form, hunting theme)
NOTES: For the complex relationship between this song and "Bold Reynard the Fox (Tallyho! Hark! Away!)," see the notes to that song.
There is a broadside, NLScotland, Ry.III.a.6(020) "Hare's Dream," unknown, n.d. It is not related; the "Hare" in this case is an Irish-born criminal apprehended in Scotland who dreams of what happened after his crimes. - RBW
File: HHH032A
===
NAME: Hare's Lament, The
DESCRIPTION: An old hare, hiding from poachers and sent by "Queen" Mother Mouse, asks old Pat Bashon for shelter. They recall old times when he chased and fooled the poachers. He goes to the poachers' court and informs for twenty pounds. Happy ending for "haries"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: escape help poaching animal
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 500, "The Hare's Lament" (1 text)
Roud #5985
File: GrD3500
===
NAME: Hares in the Old Plantations: see Gamekeepers Lie Sleeping (File: K249)
===
NAME: Hares on the Mountain
DESCRIPTION: The singer avers that if young women ran like hares on the mountain, if he was a young man he'd go hunting. Likewise if they sang like birds in the bushes he'd beat the bushes, etc. ad (possible) nauseum
AUTHOR: unknown
EARLIEST_DATE: 1836 (Samuel Lover's novel _Rory O'More_ . See NOTES)
KEYWORDS: sex lyric nonballad animal bird
FOUND_IN: Britain(England(South)) Ireland US(NE)
REFERENCES: (6 citations)
Bronson (44), "The Twa Magicians" -- the appendix includes 11 versions (#2-#12) which are this song
Sharp-100E 63, "Hares on the Mountains"; 64, "O Sally, My Dear" (2 texts, 2 tunes) {Bronson's #2, #12}
Kennedy 169, "Blackbirds and Thrushes" (1 text, 1 tune)
OLochlainn-More 50, "Blackbirds and Thrushes" (1 text, 1 tune)
Silber-FSWB, p. 173, "Sally My Dear" (1 text)
DT, HARESMTN* SALLYDR*
Roud #329
RECORDINGS:
Dickie Lashbrook, "Blackbirds and Thrushes" (on FSB2CD)
Pete Seeger, "Sally My Dear" (on PeteSeeger06, PeteSeegerCD01) (on PeteSeeger14)
CROSS_REFERENCES:
cf. "Roll Your Leg Over" (form, theme)
cf. "Creeping and Crawling" (tune)
cf. "The Twa Magicians" [Child 44]
NOTES: It has been theorized that this song descends from "The Twa Magicians" [Child 44] (so, for instance, Bronson, who prints this piece as an appendix to that ballad). Frankly, I don't see it. More likely is the connection with "Creeping and Crawling (The Knife in the Window)," with which it shares a tune. But even they have separate plots. - RBW
OLochlainn-More: "Sometimes attributed to Samuel Lover (1797-1865) as he printed it in his novel _Rory O More,_ but is probably an older ballad rewritten. He was a versatile genius, poet, artist, novelist, folk-lorist and antiquarian." See my speculation on Lover for "Widow Machree (II)." - BS
File: ShH63
===
NAME: Hark from the Tomb
DESCRIPTION: "Hark from the tomb a doleful sound, My ears attend the cry, Ye living man, come view the ground Where you must shortly lie." "Grant us the power of quickening grace To fit our souls to fly, Then when we drop this dying flesh We'll rise above the sky"
AUTHOR: unknown
EARLIEST_DATE: 1836 (Methodist Hymnal)
KEYWORDS: religious nonballad death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 638, "Hark from the Tomb" (1 short text, 1 tune)
Roud #7563
NOTES: Sometimes credited, seemingly on inadequate evidence, to John or Charles Wesley. In the Sacred Harp, where it bears the tune "Plenary," the words are said to be by Isaac Watts, with the tune by A. Clark. The Missouri Harmony uses the tunes "Funeral Thought" and "New Durham." - RBW
File: R638
===
NAME: Hark! The Herald Angels Sing
DESCRIPTION: "Hark! The herald angels sing, Glory (be) to the new-born King." In praise of the baby Jesus, the "incarnate deity, pleased as man with man to dwell." The song offers both praise and thanks for the coming of Jesus
AUTHOR: Words: Charles Wesley (1707-1788) (adapted by George Whitefield) / Music: Felix Mendelssohn (1808-1847)
EARLIEST_DATE: 1739 ("Hymns and Sacred Poems")
KEYWORDS: Christmas nonballad religious
FOUND_IN: 
REFERENCES: (5 citations)
Silber-FSWB, p. 381, "Hark! The Herald Angels Sing" (1 text)
Fuld-WFM, pp. 269-270, "Hark! The Herald Angels Sing"
DT, HRALDANG*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 46-47, "Hard, the Herald Angels Sing" (1 text, 1 tune)
Ian Bradley, _The Penguin Book of Carols_ (1999), #32, "Hard, the Herald Angels Sing" (1 text); cf. #31, "Hark, How All the Welkin Rings" (1 text)
Roud #8337
SAME_TUNE:
Uncle Joe and Aunty Mabel (File: EM374)
Beecham's Pills (Pankake-PHCFSB, p. 37)
Make New Friends But Keep The Old (partial tune) (DT, NEWFRNDS*, GSFRIEND*)
NOTES: In the Sacred Harp, this is given the tune "Cookham." It's not the standard Mendelssohn melody.
The original Charles Wesley text might come as a surprise; the title line is "Hark how all the welkin rings, 'Glory to the king of kings,'" then turns to more familiar lines. This text can be found, e.g., in the _Penguin Book of Carols_.
The "welkin" is the firmament or the dome of heaven; George Whitefield apparently changed it (and made sundry lesser changes) not because the word was archaic because it didn't fit his theology; Wesley was of course Arminian (meaning that human beings actually had some role in gaining, or at least accepting, salvation), but Whitefield was pure Calvinist, meaning that he believed in salvation by God's caprice, with no amount of human action having anything to do with it. (As you can probably tell, I am not a Calvinist.)
It was a fellow by the name of W. H. Cummings, who had performed under Mendelssohn's direction, who mated the Wesley/Whitefield words with the Mendelssohn melody, publishing the result in 1856. Only then did the song become popular. - RBW
File: FSWB381C
===
NAME: Harlaw: see The Battle of Harlaw [Child 163] (File: C163)
===
NAME: Harm Link: see The Young Man Who Wouldn't Hoe Corn [Laws H13] (File: LH13)
===
NAME: Harmless Young Jim
DESCRIPTION: Jim says to a girl, "My name it is harmless Young Jim" and offers to "take you to the bakery and buy you a bun." She resists. He persists. They marry and have a son. "I'm sure I'd been better to leave her alone"
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: courting marriage sex childbirth bawdy wordplay food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 282-283, "Harmless Young Jim" (1 text, 1 tune)
Roud #9968
CROSS_REFERENCES:
cf. "Blackberry Grove" (innuendoes)
cf. "Buttercup Joe" (innuendoes)
File: Pea282
===
NAME: Harness up Yo' Hosses
DESCRIPTION: "Harness up yo' hosses, Hey, o hey! Harness up yo' hosses, We'll teach you how ter drive 'em, Hey, oh hey! We'll fight fur Uncle Sam."
AUTHOR: unknown
EARLIEST_DATE: 1914 (Brown)
KEYWORDS: horse work fight Civilwar
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 373, "Harness up Yo' Hosses" (1 fragment)
Roud #11748
NOTES: Brown's text is too short for certainty, but it seems reasonable to assume that this refers to the American Civil War and the way "contrabands" (escaped or captured slaves) were treated: The Federals quickly began to use them as teamsters, and by the middle of the war was enlisting them as soldiers as well. - RBW
File: Br3373
===
NAME: Harp of Erin (I), The: see Erin, My Country (The Harp of Erin) (File: HHH478)
===
NAME: Harp of Old Erin, The
DESCRIPTION: "The Harp of Old Erin will be heard once again, And will twine with the Shamrock in every green glen, And the round tower and wolfdog in sunshine will be With Home Rule for Ireland and Ireland free"
AUTHOR: unknown
EARLIEST_DATE: 1929 (OLochlainn)
KEYWORDS: Ireland patriotic political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn, p. 231, "The Harp of Old Erin" (1 fragment)
NOTES: The current description is all of the OLochlainn fragment. - BS
File: OLoc231
===
NAME: Harp on the Willow, The
DESCRIPTION: "Come brethren and sisters, and hear me relate, And I will inform you of my present state." The singer trusted Jesus, but now feels rejected, "My harp on the willow seems to be hung." The singer begs to be restored to the former state of grace
AUTHOR: unknown
EARLIEST_DATE: 1940 (Randolph)
KEYWORDS: religious request harp
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 655, "The Harp on the Willow" (1 text)
Roud #7576
NOTES: This song contains assorted allusions to Psalm 137 (e.g. the harp on the willow, Psalm 137:2), but they seem almost incidental to the plot -- the piece just uses them as the coin of the realm, rather than actively adopting the psalm. - RBW
File: R655
===
NAME: Harp or Lion
DESCRIPTION: The singer sees in the news that Irishmen "despise their country's story, All they love is England's glory, Ha-ha-ha!" Shame on O Neill, Emmet, Tone and Ninety-eight. We should replace "our old green banner" with "the mangy British lion! Ha-ha-hah!"
AUTHOR: T.D. Sullivan (1827-1914) (source: OLochlainn-More)
EARLIEST_DATE: 1899 (_Songs and Poems_ by T.D.S., according to OLochlainn-more)
KEYWORDS: England Ireland humorous nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 47, "Harp or Lion" (1 text, 1 tune)
Roud #9763
NOTES: Sullivan is the author of a number of Irish patriotic poems, of which "God Save Ireland" is probably the best-known. - RBW
File: OLcM047
===
NAME: Harp That Once Through Tara's Halls, The
DESCRIPTION: "The harp that once through Tara's halls The soul of music shed Now hangs as mute on Tara's walls As tho' that soul were fled." Tara's glory is fled, and the only sign that freedom still exists "Is when some heart, indignant, breaks."
AUTHOR: Thomas Moore
EARLIEST_DATE: 1851 (broadside, LOCSheet sm1851 490660)
KEYWORDS: harp music freedom nonballad
FOUND_IN: 
REFERENCES: (6 citations)
O'Conor, p. 10, "Harp That Once" (1 text)
Silber-FSWB, p. 320, "The Harp That Once Thro' Tara's Halls" (1 text)
DT, TARAHARP*
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), p. 381, "The Harp That Once Through Tara's Halls" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 32-33, "The Harp That Once Through Tara's Halls"  (1 text)
Charles W. Eliot, editor, English Poetry Vol II From Collins to Fitzgerald (New York, 1910), #488, p. 819, "The Harp That Once Through Tara's Halls" (by Thomas Moore)
Roud #13392
BROADSIDES:
Bodleian, Firth b.28(8a/b) View 8 of 8, "The Harp That Once Throug Tara's Halls," R. March and Co. (London), 1877-1884; also Harding B 11(1155), "The Harp that Once Tara's Halls"; Firth b.26(381), "The Harp That Once in Tara's Halls"; Firth c.26(121), "The Harp That Once Through Tara's Hall"; Firth b.27(457/458) View 2 of 4, "The Harp of Tara's Hall"
LOCSheet, sm1851 490660, "The Harp That Once Thro' Tara's Halls," William Hall and S (New York), 1851; also sm1851 680650, "The Harp That Once Thro' Tara's Halls"; sm1851 491690, sm1879 02685, "The Harp That Once Through Tara's Hall" (tune)
LOCSinging, as105190, "The Harp That Once Thro' Tara's Halls," Thos. G. Doyle (Baltimore), 19C
NLScotland, RB.m.143(144), "The Harp That Once Through Tara's  Halls," Poet's Box (Glasgow), 1875
CROSS_REFERENCES:
cf. "The Highland Maid" (tune)
SAME_TUNE:
The Highland Maid (File: Ord297)
Old Ireland I Adore (File: OCon113)
ALTERNATE_TITLES:
Tara's Harp
NOTES: This is one of the classic poems of Irish melancholy; Granger's Index to Poetry cites no fewer than fifteen anthologies. Ironically, it seems rare in tradition.
Tara, according to legend at least, was the seat of the ancient Irish high kings. - RBW
File: FSWB320C
===
NAME: Harpin' Mannie, The: see The Lochmaben Harper [Child 192] (File: C192)
===
NAME: Harpkin: see The Fause Knight Upon the Road [Child 3] (File: C003)
===
NAME: Harrison Campaign Song
DESCRIPTION: "A farmer there was, who lived at North Bend"; he regretfully leaves his log cabin to go to Washington. Coming to the White House, he sets everyone astir. When they prove unable to dislodge them, he warns them to get hard cider by March fourth
AUTHOR: unknown
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: political
HISTORICAL_REFERENCES: Dec 2, 1840 - William Henry Harrison defeats Martin Van Buren
Mar 4, 1841 - Harrison (the first Whig to be elected President) is inaugurated. He gives a rambling inaugural address in a rainstorm and catches cold
April 4, 1841 - Harrison dies of pneumonia, making him the first president to fail to complete his term. After some hesitation, Vice President John Tyler is allowed to succeed as President
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 335, "Harrison Campaign Song" (1 text)
Roud #7840
CROSS_REFERENCES:
cf. "Tippecanoe and Tyler Too" (subject)
cf. "Old Tippecanoe" (subject)
cf. "Tippecanoe" (subject)
NOTES: For details on the (thoroughly dirty) 1840 Presidential campaign, and the purely false picture it drew of William Henry Harrison, see the notes to "Old Tippecanoe."
It should perhaps be pointed out that, at the time this song was sung, new Presidents were still inaugurated on March 4.
The way this song is written might make it appear that Van Buren undertook some sort of cabinet shake-up during the 1840 campaign. He didn't; three of his six cabinet secretaries stayed the whole administration, and while two offices turned over in 1840, one of those was Postmaster, held by Amos F. Kendall, the advisor Van Buren "could not spare;" he assuredly was not driven out. - RBW
File: Beld335
===
NAME: Harrison Town
DESCRIPTION: The singer (warns against bad company which led him to break the law). He now has been captured and faces prison. He hopes that his horse, which served him so well, will be well cared for. (He promises to live a reformed life with his girl when released)
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: outlaw crime punishment prison horse
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 162, "Harrison Town" (2 texts, 1 tune)
Randolph/Cohen, pp. 155-156, "Harrison Town" (1 text, 1 tune -- Randolph's 162A)
Roud #4095
CROSS_REFERENCES:
cf. "The Boston Burglar" [Laws L16] (theme)
NOTES: This song is item dE34 in Laws's Appendix II. Randolph's second text shows some signs of influence from "The Boston Burglar" or something similar, but these may be later additions; the first text shows none. - RBW
File: R162
===
NAME: Harrowing Time
DESCRIPTION: A bothy ballad describing spring harrowing. "Cauld winter it is now awa', And spring has come again."
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: farming work
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (4 citations)
Greig #71, pp. 1-2, "Harrowing Time" (1 text) 
GreigDuncan3 421, "Harrowing Time" (6 texts, 4 tunes)
DBuchan 70, "Harrowing Time" (1 text, 1 tune in appendix)
Ord, pp. 256-257, "Harrowing Time" (1 text)
Roud #5587
CROSS_REFERENCES:
cf. "Drumdelgie" (tune)
cf. "The Miller of Straloch" (tune, per Greig)
cf. "The Fyvie Ploughmen" (subject: ploughing match)
cf. "The Plooin' Match" (subject: ploughing match)
ALTERNATE_TITLES:
Cauld Winter's Noo Awa
Come All Ye Jolly Ploughboys
File: DBuch70
===
NAME: Harry Bail: see Harry Bale (Dale, Bail, Bell) [Laws C13] (File: LC13)
===
NAME: Harry Bale (Dale, Bail, Bell) [Laws C13]
DESCRIPTION: The orphan Harry Bahel is at work in a sawmill when he is dragged onto the saw. He dies the next day and is buried as his siblings grieve
AUTHOR: Charles Bahel?
EARLIEST_DATE: 1918 (Belden)
KEYWORDS: orphan death burial technology lumbering grief
HISTORICAL_REFERENCES: April 1879 - Death of Harry Bahel, at age 19, in Arcadia Township, Lapeer County, Michigan
FOUND_IN: US(MW,So) Canada(Mar,Ont)
REFERENCES: (8 citations)
Laws C13, "Harry Bale (Dale, Bail, Bell)"
Belden, pp. 418-419, "Harry Bale" (1 text, in which the hero is called "Harry Dale")
Fowke-Lumbering #33, "Harry Bale" (2 texts, 2 tunes)
Manny/Wilson 80, "The Little Shingle Mill (The Death of Harry Vail)" (1 text, 1 tune)
Rickaby 27, "Harry Bail" (1 text)
Gardner/Chickering 113, "Harry Bail" (1 text plus 2 excerpts and mention of 1 more, 1 tune)
Beck 61, "Harry Bail" (1 text, 1 tune)
DT 700, HARYBALE
Roud #2217
CROSS_REFERENCES:
cf. "Jack Haggerty (The Flat River Girl)" [Laws C25]
NOTES: Two of Gardner and Chickering's informants, John B. Redhead and William Rabidue, both of whom worked in lumber mills in the general vicinity, credit this to Harry Bahel's brother Charlie (Rabidue, who supplied Gardner and Chickering's main text, also mentions a Johnny Coffey). There does not seem to be any actual proof of this. - RBW
File: LC13
===
NAME: Harry Dunn (The Hanging Limb) [Laws C14]
DESCRIPTION: Harry Dunn has gone to work in the woods of Michigan despite his mother's advice. One day he dreams that there is trouble at home. On that very day he is killed by a falling branch. His parents are shocked to death when his body arrives
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: logger dream family mother death lumbering
FOUND_IN: US(MW) Canada(Newf,Mar,Ont)
REFERENCES: (11 citations)
Laws C14, "Harry Dunn (The Hanging Limb)"
Rickaby 26, "The Hanging Limb" (2 texts)
Gardner/Chickering 114, "Harry Dunn" (1 text)
Doerflinger, pp. 221-223, "Harry Dunne" (2 texts, 1 tune)
Greenleaf/Mansfield 162, "Harry Dunn" (1 text)
Peacock, pp. 763-765, "The Woods of Michigan" (1 text, 2 tunes)
Dibblee/Dibblee, pp. 36-37, "Harry Dunn" (1 text, 1 tune)
Beck 59, "Harry Dunn" (2 texts, one called "Harry Dunne"; 1 tune)
Fowke-Lumbering #34, "Harry Dunn" (2 texts, 2 tunes)
Creighton-NovaScotia 130, "Lumbering Boy" (1 text, 1 tune)
DT 767, HARRDUNN
Roud #639
RECORDINGS:
Martin Sullivan, "Harry Dunn" (on Lumber01)
CROSS_REFERENCES:
cf. "Boy Killed by a Falling Tree in Hartford" (plot)
cf. "Chance McGear" (plot)
cf. "The Substitute (plot)
cf. "Whitney's Camp" (tune, plot)
cf. "Erin's Green Shore" (tune)
File: LC14
===
NAME: Harry Dunne: see Harry Dunn (The Hanging Limb) [Laws C14] (File: LC14)
===
NAME: Harry Flood's Election Song
DESCRIPTION: "Ye lovers of trade and every handicraft" strike up the band for Harry Flood. "Our freedom's declared, we'll chase dull sorrows, All cares we'll banish to feast and banquet." Listeners are urged to toast Harry Flood
AUTHOR: unknown
EARLIEST_DATE: before 1771 (OLochlainn-More)
KEYWORDS: Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 86, "Harry Flood's Election Song" (1 text, 1 tune)
Roud #9770
NOTES: OLochlainn-More: "This fragment of an election song for the famous Henry Flood (1732-1791) undoubtedly dates back at least to 1770." - BS
It is interesting to speculate on just when Flood or his supporters would have used this song. He did not run for office very often; when he first entered the Irish parliament, there was no upper limit on how long a parliament could sit.
He first became a member of parliament in 1759, sponsored by a landowner interest. A fine orator, he argued vigorously for reforms and increased rights for the Irish (at least for Protestants).
In 1775, though, Flood was induced to join the establishment as vice-treasurer, and he was no longer in position to oppose the existing order. He left the government in 1781, eventually purchasing a seat in the British parliament. (His gifts as a speaker and lawyer had made him rich), but he was no longer particularly important as a reformer; his causes were taken over by Henry Grattan (for whom see "Ireland's Glory"). - RBW
File: OLcM086
===
NAME: Harry Hayward Song, The
DESCRIPTION: "Minneapolis was excited, And for many miles around, For a terrible crime committed." "Kit" goes riding, and is found shot and beaten to death. The rest of the song thunders at the criminal
AUTHOR: probably Joseph Vincent Brooks
EARLIEST_DATE: 1924 (Minneapolis Journal); probably published 1895
KEYWORDS: murder
HISTORICAL_REFERENCES: December 1895 - Execution of Harry Hayward for the murder of Kitty Ging
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Burt, p. 96-99, "(The Harry Hayward Song)" (1 text, 1 tune)
ADDITIONAL: Walter N. Trenerry, Murder in Minnesota (Minnesota Historical Society Press, 1985), pp. 154-155, (no title) (1 text)
NOTES: I'm not sure I've ever seen a murder ballad with fewer facts mixed in with more moralizing. The version printed by Burt has only a partial name of the victim, no name for the murderer, no real background, no date, and no aftermath.
And not much poetry, either.
Burt states that Harry Hayward was (and so would remain as of 2007), the last man legally hanged (as opposed to lynched) in Minnesota. It appears, however, that this statement is false; according to Walter B. Trenerry's _Murder in Minnesota_ (Minnesota Historical Society Press, 1962, 1985), pp. 223-227, there were ten executions between that time and the repeal of the death penalty in 1911, and all are described as hangings.
The crime itself, however, gets little historical attention; it's not mentioned in Theodore C. Blegen's magisterial _Minnesota: A History of the State_, nor in Norman K. Risjord's _A Popular History of Minnesota_, nor in William E. Lass's _Minnesota: A History_. As of when I indexed the song, there wasn't even any mention of it on the Minnesota Historical Society's web site that I could find.
The Historical Society did of course publish Trenerry's book, which has a chapter on the crime; all of what follows is taken from that source. In 1894, Harry Hayward and Katherine "Kitty" Ging were both 29 years old and unmarried. Hayward was "a professional gambler, a ne'er-do-well, and an associate of petty crooks." He also dealt in counterfeit money, which apparently allowed him to keep gambling after he would otherwise have been bankrupt. He had never really held a steady job; his family was sufficiently well-off that his father gave him a building, which he sold to finance his gambling.
It appears that Kitty Ging, perhaps tempted by promises of marriage, gave him both money and her body. (The former seems certain. The forensics of 1894 would of course have been unable to prove that Hayward was the one responsible for her not being a virgin. Trenerry's language is very decorous, but it does not sound as if she was pregnant.)
On December 3, 1894, Ging's body was found near Lake Calhoun in south-central Minneapolis. She had been shot in the head, and the body was then dumped from a cart and run over. This shortly after Hayward had induced her to open life insurance policies for which he was to be the beneficiary.
Hayward himself did not commit the murder, though he helped identify the body (and set up a constant moan about the money she allegedly owed him). Rather, he had induced a not-too-bright employee of his father's, Clause A. Blixt, to do the deed (getting him thoroughly drunk to help him along). The purpose of this was to allow Hayward to establish an alibi, which he did by going out with another woman.
But Hayward didn't keep quiet enough. He had talked to his brother Adry about killing Ging, and eventually the brother went to the police. Investigations led to Blixt, and enough evidence came out to lead to Harry. Hayward and Blixt were charged with murder on December 13. Hayward's attorney tried to get Adry Hayward's testimony excluded on the grounds that he was insane (Trenerry admits that Adry doesn't seem to have been too bright), but the judge allowed it, and that plus miscellaneous other evidence was enough for conviction. On March 8, 1895, the case went to the jury, They returned a verdict of first degree murder after less than three hours (including time for lunch). There was an appeal, but it was denied, and Hayward went to the gallows on December 11, 1895. He gave a confession shortly before his death.
Blixt was also convicted of murder, and sentenced to life imprisonment; he went insane some time before his death. (Sort of makes you wonder about the hotel where Adry and Harry Hayward lived and Blixt worked, doesn't it?)
It's hard to believe this feeble piece of poetry could be traditional, but Trenerry's text, from the 1924 _Minneapolis Journal_, differs substantially from Burt's in the later stanzas. I doubt we can find out much more; the _Minneapolis Journal_ ceased publication before I was born.
Burt does not mention the fact, but the tune appears to be "The Fatal Wedding," which was published and became very popular just a few year before the Ging murder.
The statement that Joseph Vincent Brookes wrote the words is based on the article "A Century of Song: Popular Music in Minnesota" by James Tyler Dunn which appeared on pp. 122-141 of the Winter 1974 issue of _Minnesota History_ magazine. On p. 141 he describes an advertisement in the Brainerd Weekly Journal of a song called "The Fatal Ride": "It was written by one 'Marius' to words by Joseph Vincent Brookes who... was formerly in the restaurant business in [Brainerd] and locally celebrated as a 'tragic poet.' The front page of this song describing the notorious murder in Minneapolis of Kitty Ging by Harry Hayward was said to have been decorated 'with a very fine picture of the buckskin horse and carriage that were used when Miss Ging rode to her death.'"
The description is surely of this song, although neither Dunn nor I have been able to locate the sheet music. But the evidence seems sufficient to list Brookes as the probable author of the words. - RBW
File: Burt096
===
NAME: Harry Lumsdale's Courtship
DESCRIPTION: "First when Harry cam' to Clatt," he asks bonnie Jean, "wilt thou go Up to Auchindoir we' me?" Jean and her mother hesitate. Harry decides to turn to Betty Brown. After he leaves, Jeannie says, "O for him back again!"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting mother rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 427-429, "Harry Lumsdale's Courtshhip" (1 text)
Roud #6186
NOTES: Ord describes this as the original for Burns's "My Harry Was a Gallant Gay" (aka "Highland Harry.") This strikes me as unlikely. The common material is a single verse, near the end of Ord's text and clearly not integral to it; it seems more likely that "Highland Harry" is a genuine traditional song and that Ord's obscure poem has picked up its chorus. - RBW
File: Ord427
===
NAME: Harry Newell: see Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going) (File: SBoA050)
===
NAME: Harry Orchard
DESCRIPTION: "Harry Orchard is in prison, The reason you all know; He killed Frank Steunenberg...." "He set his bomb out carefully." "Harry blamed the Wobblies." "The chiefs were brought to Denver... Bill Haywood and George Pettybone Were brought to Idyho."
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder execution punishment IWW trial execution
HISTORICAL_REFERENCES: 1896-1900 - Frank R. Steunenberg's term as governor of Idaho
Dec 30, 1905 - Steunenberg killed by a bomb blast at his home. Harry Orchard, his accused murderer, would spend the rest of his life in prison.
1906-1907 - Trials of the IWW officials for complicity in Steunenberg's murder
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 93-95, "(The Song of Harry Orchard)" (1 text)
NOTES: Frank Steunenberg, during his term as governor of Idaho, had made difficulties for the Western Federation of Miners. His murder was thought to be in retaliation for that. Suspicion eventually fell on Harry Orchard (Tom Hogan).
The Pinkertons brought in James McParland/McPharland (I've seen both spellings, and am unable to verify which is correct), already famous for cracking the Molly Maguires (and, incidentally, the model for "Birdy Edwards" in the Sherlock Holmes story "The Valley of Fear") to work on Orchard.
Orchard finally implicated Charles H. Moyer, William "Big Bill" Haywood, and George Pettibone of the Industrial Workers of the World as being responsible for the planning of the crime. Clarence Darrow, however, was able to secure their acquittal. Orchard alone was punished, being sentenced to life imprisonment. Although eventually eligible for parole, he elected to spend the rest of his life (nearly fifty years) in prison, dying in 1954 at age 88.
Of the three IWW officials, Haywood (1869-1928) is perhaps the most likely to have been involved; he was originally an officer of the Western Federation of Miners, and later presided over the founding of the IWW. He was convicted of sedition in 1918, and fled to the Soviet Union in 1921.
This is item dE48 in Laws's Appendix II. - RBW
File: Burt093
===
NAME: Harry Saunders: see Prince Robert [Child 87] (File: C087)
===
NAME: Harry the Tailor
DESCRIPTION: Harry seeks a wife. He tickles Dolly, the dairymaid. She shoves him into the well. The farmer hauls him out. He accused the farmer of knocking him in; the farmer throws buttermilk at him. He tells his mother "If this is your courtin', the devil take all"
AUTHOR: unknown
EARLIEST_DATE: 1908 (Vaughn Williams)
KEYWORDS: courting accusation abuse farming humorous mother
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 131, "Harry the Tailor" (1 text, 1 tune)
DT, HRRYTAIL*
Roud #1465
CROSS_REFERENCES:
cf. "The Friar in the Well" [Child 276] (plot)
File: K131
===
NAME: Hartford Wreck, The
DESCRIPTION: A train is wrecked on near Hartford, Vermont. Passenger Joseph Maigret is fatally injured and discusses his fate with his son.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Flanders collection)
KEYWORDS: train wreck father death
HISTORICAL_REFERENCES: Feb 4, 1887 - The Hartford Wreck
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Cohen-LSRail, p. 272, "The Hartford Wreck" (notes only)
Roud #4136
NOTES: This is item dg36 in Laws's Appendix II. - RBW
File: LSRa272C
===
NAME: Harvard Student, The (The Pullman Train)
DESCRIPTION: As the train pulls into a village, a girl gets on and openly sits next to the "tall and stout and swell" (Harvard student). He gets "soot" in his eye; she offers to remove it. They enter a tunnel, and after kissing sounds her earring is found in his beard
AUTHOR: Louis Shreve Osborne?
EARLIEST_DATE: 1871 (Harvard Advocate)
KEYWORDS: courting train humorous
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 391, "The Harvard Student" (1 text, 1 tune)
Randolph/Cohen, pp. 218-320, "The Harvard Student" (1 text, 1 tune -- Randolph's 391)
Spaeth-ReadWeep, pp. 109-110, "The Eastern Train" (1 text, 1 tune)
Cohen-LSRail, pp. 50-52, "In the Tunnel" (1 text)
Roud #7617
ALTERNATE_TITLES:
The Pullman Train
Riding Down from Bangor
NOTES: According to Cohen, the 1871 printing in the _Harvard Advocate_ is credited to "S. O. L." It was printed under the title "In the Tunnel." He speculates that "S. O. L." might be a distortion of the initials of poet Louis S. Osborne, who attended Harvard at the time.
His speculation has external support. Having read Cohen's comments, I went looking for works of Louis Shreve Osborne's. I found exactly one in _Granger's Index to Poetry_, that being "Riding Down from Bangor," in Hazel Felleman's _The Best Loved Poems of the American People_, p. 515. Which proves to be this very poem. But it may be that Felleman followed the same line of logic; her attributions are not very reliable. I think, on the whole, we have to list this as a "probable" case of authorship. - RBW
File: R391
===
NAME: Harvest Home Song (I)
DESCRIPTION: Singer toasts the master of the house, his health and prosperity, and the mistress; listeners are urged to drink up. Cho: "So drink, boys, drink! And see that you do not spill/For if you do, you shall drink two, for that is our master's will"
AUTHOR: unknown
EARLIEST_DATE: 1890 ("Sussex Songs," John & Lucy Broadwood)
KEYWORDS: farming harvest ritual drink party nonballad worker
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
DT, MILLDEE3*
Roud #310
RECORDINGS:
Tony Wales, "The Woodcutter" (on TWales1)
NOTES: This was sung as part of a harvest-supper ritual; each person's cup would be filled as the song was sung around the table. Variants salute other rural occupations, such as woodcutting (cf. the Wales recording). This can be distinguished from other harvest-home songs by the "Drink, boys, drink" chorus. - PJS
File: RcHaHS1
===
NAME: Harvest Home, The
DESCRIPTION: "Come, ye jolly lads and lasses, Ranting round in pleasure's ring... Blythe and merry we hae been, Blythe and merry let us be." The workers are not gathered to gain "warldly gear" but to celebrate now that the harvest is over
AUTHOR: John Anderson of Upper Boyndlie (source: Greig)
EARLIEST_DATE: 1911 (GreigDuncan3)
KEYWORDS: work music party
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Greig #164, p. 2, "The Harvest Home" (1 text) 
GreigDuncan3 632, "The Harvest Home" (1 text)
Ord, pp. 272-273, "The Harvest Home" (1 text)
Roud #5595
NOTES: Greig: ." .. written about the middle of last century, or perhaps somewhat earlier." - BS
File: Ord272
===
NAME: Harvest Shearin', The
DESCRIPTION: "Farewell, love, for I maun leave you" "Don't you hear the colonel crying, Run brave boys, keep colours flying." "No more we'll go to the harvest shearin'" or hear the blackbird. Farewell father, mother, sister, comrades and dearie.
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan1)
KEYWORDS: farewell war nonballad family friend lover soldier
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 101, "The Harvest Shearin'" (4 texts, 3 tunes)
Roud #1301
ALTERNATE_TITLES:
Fareweel, Lassie, I Maun Leave Ye
Love Farewell
File: GrD1101
===
NAME: Harvey Duff
DESCRIPTION: "Harvey Duff, keep the step, Oh, what's up with you"
AUTHOR: unknown
EARLIEST_DATE: c.1881 (Zimmermann)
KEYWORDS: nonballad police
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 78, "Harvey Duff" (2 fragments, 1 tune)
NOTES: The tune seems to me to be close to "The Worms Crawl In."
Zimmermann: "The name became a popular cry to abuse traitors after the success of Dion Boucicault's melodrama _The Shaughraun_, first produced in 1875. The hero of the play was a Fenian, and the villain an informer -- Harvey Duff, 'a police agent in disguise of a peasant'," quoting _The Dolmen Boucicault_. "For a time, to call somebody Harvey Duff was like calling him a traitor -- cf. the name Quisling in the mid twentieth century. The constables had grounds for considering the expression offensive when it was systematically applied to them.... The name Harvey Duff survived as synonymous with policeman in the street rhymes of Dublin children."
Zimmermann discusses the arrests in 1881 of children, one six years old, for whistling the tune. He has other reports of people attacked or arrested by police for whistling "Harvey Duff" and of animals reportedly famous for their ability to mimic the tune.
"The arrests for whistling in Newcastle became a national controversy and 'Harvey Duff'" was whistled at every crossroads and every Land League gathering in the country." (source: "Hugh Murray Gunn" and Harvey Duff" quoting _Freeman's Journal_, February 12, 1881 at Gaelscoil O Doghair site. 
As for words... one typical] fragment is included as the description, Zimmermann says "it is likely that many occasional squibs were set to this short air -- and soon forgotten."
Tim Coughlan, _Now Shoon the Romano Gillie_, (Cardiff,2001), p. 155 refers to the following text "used by the urchins of Dublin to taunt the police ... Harvey Duff, don't take me, Take the fellow behind the tree." "The words would be repeated until either the law gave chase or the game was abandoned for lack of action." - BS
File: Zimm078
===
NAME: Harvey Logan [Laws E21]
DESCRIPTION: Harvey Logan, pool player, gambler, and brawler, comes to the attention of the police after a gaming fight. Arrested following a gun battle, be escapes from Knoxville by taking the jailer hostage and riding off on the sheriff's horse
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Byrd Moore)
KEYWORDS: gambling prison escape
HISTORICAL_REFERENCES: June 8, 1904 - Death of Harvey Logan
FOUND_IN: US(Ap,SE)
REFERENCES: (3 citations)
Laws E21, "Harvey Logan"
Darling-NAS, pp. 195-196, "Harvey Logan" (1 text)
DT 790, HARVLOGN
Roud #2250
RECORDINGS:
Dock Boggs, "Harvey Logan" (on Boggs1, BoggsCD1)
Byrd Moore, "Harvey Logan" (Gennett 6549, 1928)
NOTES: According to Bill O'Neal, _Encyclopedia of Western Gunfighters_, Harvey Logan was born in 1865 in Tama, Iowa, and he and three brothers were orphaned early and raised by an aunt. At age 19, he headed west with two younger brothers. They opened a ranch in 1888, with what O'Neal describes as stolen cattle. They reportedly worked as hired guns for a time, and Harvey, said to be very dour and a heavy drinker, apparently killed an important local in 1894.
In 1895, Harvey's brother Johnny was killed, and Harvey became even more brutal, killing three sheriffs around the west and joining the gang of "Butch" Cassidy. (There is a photo of Logan with Butch Cassidy, the Sundance Kid, and two others on p. 190 of O'Neal.)
The west became so hot for him that he moved back east to Knoxville, Tennessee, where in 1901 he was involved in a shootout with police. He killed three, but was wounded; he was captured a short distance away. Convicted, he escaped the Knoxville jail by taking the wrapping wire from a broom and using it to capture a guard. He fled to Colorado, where he was killed in 1904. - RBW
File: LE21
===
NAME: Haselbury Girl, The (The Maid of Tottenham, The Aylesbury Girl)
DESCRIPTION: A girl on the way to market meets a rakish young man, who proceeds to tie up her garter, which costs her her maidenhead. In many versions, she asks his name, and he refuses to answer.
AUTHOR: unknown
EARLIEST_DATE: 1656 (printed in Choyce Drollery: Songs and Sonnets... Never Before Printed [London])
KEYWORDS: bawdy sex clothes courting
FOUND_IN: US(SE,So) Britain(England(Lond,South))
REFERENCES: (4 citations)
Kennedy 176, "The Haselbury Girl" (1 text, 1 tune)
Chappell-FSRA 49, "Jackie Rover" (1 text)
Randolph-Legman I, pp. 162-168, "The Maid of Tottenham" (3 texts, 2 tunes)
DT, HASLBURY* MAIDTOTN* UPSNDOWN
Roud #364
RECORDINGS:
Pop Maynard, "The Aylesbury Girl" (on Voice15)
CROSS_REFERENCES:
cf. "The Knight and the Shepherd's Daughter" [Child 110]
cf. ""The Next Market Day""
ALTERNATE_TITLES:
To Market, To Market
Tottingham Fair
The Salisbury Girl
The Ups and Downs
Jack the Rover
NOTES: Legman's notes in Randolph-Legman I, p. 167, terms this "a carefree reduction" of "The Knight and the Shepherd's Daughter" (Child 110). The evidence is thin. - EC
File: K176
===
NAME: Hash o' Bennygak (Hash o' Benagoak)
DESCRIPTION: Bothy ballad. Humorous description of characters working on a farm. Singer says if you want to find him, he'll be on a herring boat
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected from Maggie McPhee)
KEYWORDS: farming work humorous moniker nonballad worker
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
MacSeegTrav 106, "The Hash o' Bennygak" (1 text, 1 tune)
Roud #1527
File: McCST106
===
NAME: Hat Me Father Wore, The: see TheHat My Father Wore (File: BrdHMFW)
===
NAME: Hat My Father Wore, The
DESCRIPTION: Paddy Miles comes from Ireland to America. On St Patrick's day he wears the hat "wore for more than ninety years ... From my father's great ancestors." He plans to return to Ballymore with "the hat my father wore"
AUTHOR: Daniel Macarthy (source: broadside LOCSheet sm1876 01751)
EARLIEST_DATE: 1876 (broadside, LOCSheet sm1876 01751)
KEYWORDS: emigration return clothes America Ireland father
FOUND_IN: Ireland US(MW)
REFERENCES: (1 citation)
Dean, p. 64, "The Hat Me Father Wore" (1 text)
Roud #4796
BROADSIDES:
Bodleian, Harding B 11(1119), "The Hat My Father Wore ("I'm Paddy Miles an Irish boy"), Jones (Sheffield), n.d.
LOCSheet, sm1876 01751, "The Hat My Father Wore!," E. H. Harding (New York), 1876 (tune)
CROSS_REFERENCES:
cf. "The Sash My Father Wore (I)" (form)
cf. "The Sash My Father Wore (II)" (many lines)
NOTES: Zimmermann: "It has been noted that 'much of the pugnacity has gone from the music played on the 12th day of July' [S.H. Bell _Erin's Orange Lily_, p. 14]; there is a tendency to replace the most violent ballads by innocuous songs such as 'The Ould Orange Flute' or 'The Sash my Father Wore'. 'The Ould Orange Flute' appeared on nineteenth century broadsides. The other song ['The Sash my Father Wore'] is more recent; it was probably the paraphrase of a non-political song, 'The Hat my Father Wore'. A nationalist version, quite different in character but singable to the same tune, appeared in _The Shan Van Vocht_, August 1896." The "Donagh MacDonagh Song Collection" at tripod.lycos site includes a version of "The Hat My Father Wore" that has the singer exiled "For the joining of the Brotherhood in the year of '64"; the tune for MacDonagh's version is "The Sash my Father Wore." It is clear that "The Sash" is an adaptation of "The Hat," or vice versa. - BS
According to Spaeth, _A History of Popular Music in America_, p. 331, William ("Billy") Jerome and Jean Schwartzin 1909 published a song"The May My Father Wore on St. Patrick's Day." That can hardly be the original of this, but I don't know how the one influenced the other. - RBW
File: BrdHMFW
===
NAME: Hateful Mary Ann
DESCRIPTION: A confused piece, with hints of stage origin. The singer waits for her love, who is much delayed. She fears bad weather has caused him to stop "with that hateful Mary Ann" "And it's all for the chilly, driving rain. At last he arrives (to her reproaches?)
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: love courting betrayal storm
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 144, "Hateful Mary Ann" (1 text)
Roud #6564
File: BrII144
===
NAME: Hattie Belle: see Lonesome Road (File: San322)
===
NAME: Hatton Woods: see The Bonnie Woods o' Hatton (File: Ord185)
===
NAME: Haughies o' Indego, The
DESCRIPTION: On Halloween the Farquharsons, Frasers and Gordons gallop through the lea. Some dance under the moon. "Catherine Gordon was a bride, The laird o' Skene lay by her side." Some go to Skye, some by "Brig o' Dye" and "the laird he had to France to fly"
AUTHOR: unknown
EARLIEST_DATE: 1917 (GreigDuncan3)
KEYWORDS: sex travel dancing
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 620, "The Haughies o' Indego" (1 text)
Roud #6058
NOTES: GreigDuncan3 cites different interpretations. Maybe it refers to 1645, "when contingents were gathering to the Battle of Alford." Duncan says "the verses given seem to me much more like the celebration of some kind [of] gathering for sport or merry making.... The words do not suggest the ballad style of the seventeenth century."
[And nobody mentioned the 1745 Jacobite rebellion? With someone going to Skye, and the Laird going to France? Amazing. - RBW]
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Indego (620) is at coordinate (h0-1,v5) on that map [roughly 28 miles W of Aberdeen]. - BS
File: GrD3620
===
NAME: Haughs o Newe, The
DESCRIPTION: "As I gaed up the haughs o' Newe And through Strathdon upon my pony," the singer meets a maid so pretty that she makes him lightheaded. She turns him down; he cannot dance and speaks no Gaelic. He wishes he could do more to impress her
AUTHOR: unknown
EARLIEST_DATE: 1909 (Ord)
KEYWORDS: love courting rejection
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 135, "The Maid of Don" (1 text); p. 193, "The Haughs o Newe" (1 text)
Roud #6781
File: Ord193
===
NAME: Haughs o' Cromdale, The
DESCRIPTION: "As I came in by Auchindoun, a little wee bit frae the toon... To view the Haughs o' Cromdale," the singer hears that the Highland army has been defeated. But Montrose refuses to accept defeat, and in a second battle heavily defeats the English
AUTHOR: unknown
EARLIEST_DATE: 1819 (Hogg1)
KEYWORDS: patriotic Scotland Jacobites battle
HISTORICAL_REFERENCES: Apr 30, 1690 - Battle of Cromdale
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
Hogg1 2, "The Haughs of Cromdale" (1 text, 1 tune)
Greig #96, p. 1, "The Haughs o' Cromdale" (1 text) 
GreigDuncan1 113, "The Haughs of Cromdale" (2 texts, 5 tunes)
Roud #5147
RECORDINGS:
John MacDonald, "The Haughs O' Cromdale" (on Voice08)
BROADSIDES:
Bodleian, Harding B 25(814), "The Hearts of Campbell" ("As I came in from Auchindown"), W. Stephenson (Gateshead), 1821-1838; also Harding B 11(480), "The Hearts of Campbell"; 2806 c.14(66), "The Haughs of Crumdel"
Murray, Mu23-y1:070, "Haughs o' Crumdal," James Lindsay (Glasgow), 19C
NLScotland, RB.m.143(024), "Haughs o' Crumdale," unknown, c. 1890
SAME_TUNE:
The Herald's Approach (per broadside Murray, Mu23-y1:070)
On the Restoration of the Forfeited Estates 1784 (_Scots Musical Museum_ #298, to the tune "As I came in by Auchindown")
NOTES: Historical accuracy is rarely to be found in folksong, but this piece comes close to taking the cake. There was only one Battle of Cromdale, in which Williamite army of Thomas Livingstone beat the Jacobites under Buchan easily. Montrose (1612-1650) was not involved in any way, having been executed some 40 years before!
John Prebble, _Glencoe_, Martin Secker & Warburg, 1966 (I use the 1968 Penguin edition), p. 90, says taht Hugh Mackay, the Williamite commander in Scotland, "sent Sir Thomas Livingstone against Buchan [who had raised a standard of rebellion on behalf of James II] with twelve hundred horse and foot, and some levies from Clan Grant and Clan Mackay. The Jacobite leader was a brave and romantic fool. He made no proper reconnaissance, and posted too few sentinels. In the first dawn of May, while his army was still sleeping upon the haughs of Cromdale, Livingstone's six troops of dragoons galloped out of the mist, swinging their swords. It was a rout, not a battle.... Buchan [escaped] without hat, coat or sword. Four hundred Highlanders were taken prisoner and the rest went home in disgust."
That being the case, there have been various attempts to determine what battle the song is actually about. The best guess is the Battle of Auldern, May 9, 1645. Montrose, typically, had won a battle at Inverlochy in February, only to see most of his army dissolve. (A large part of his force was MacDonalds, and they were very inconsistent allies.) By May, the Covenanters felt strong enough to attack him. They managed an initial surprise, but Montrose won the day with a counterattack.
In some ways, the story of the song reminds me more of the raid on Dundee a month earlier (April 4-6), though that wasn't much of a battle -- but it did involve an attempt to attack Montrose, which miscarried. This was called a victory in London, but Montrose obviously was around to fight again a month later.
In neither case, though, did the result change the strategic situation much. Auldern came only a few weeks before the Battle of Naseby (June 14), and that much bigger and more important battle settled Charles I's hopes for good and all (though it was a while before people realized that).
Auldern does seem the best fit, but given the strange situation, I would not consider the connection proved. In particular, why conflate it with Cromdale?  The latter was not a significant battle in any way; most short histories don't so much as mention it.
The song, despite its inaccuracy, has survived well, but that seems to be mostly because of its excellent tune, beloved by pipers. - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 8" - 1.3.03 regarding John MacDonald's version of "The Haughs O' Cromdale": "It was a complete shambles, prefiguring the Battle of the Boyne fought two months later, and the present song reflects events very much the way they happened. Curiously enough, the first song called The Haughs o' Cromdale to be printed (_Jacobite Relics_, 1819, vol.1 song 2) makes the battle a Jacobite victory, and brings in the long-dead Montrose to retrieve the day. John's song, recorded 150 years later, is certainly older than the Jacobite Relics rewrite." There are not two songs, but only one (though an argument can be made that the radical difference in outcome would justify splitting them): Hogg's -- and the broadsides' -- version has the reporter "in tartan trews" report the victory for Montrose; MacDonald's reporter simply states
For MacDonalds' men, Clan Ronald's men,
MacKenzie's men, MacGelvey's men,
And the highland men and the lowland men
Lay dead and dying in Cromdale. - BS
File: BrHauCro
===
NAME: Haughs o' Gartly, The
DESCRIPTION: "Lang Lowrie o Bucharn He wis there wi's tree o' arn [alder stick] He said he wid them a' govern Upon the Haughs o' Gairtly"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: sports
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 647, "The Haughs o' Gartly" (1 text)
Roud #6070
CROSS_REFERENCES:
cf. "The Haughs o' Cromdale" (tune, per GreigDuncan3)
NOTES: The current description is all of the GreigDuncan3 entry.
GreigDuncan3 quoting a 1906 letter to Duncan: "[The Haughs o' Gartly] is a description of a New Year game of shinty." "Shinty" is "shinny" or -- in my day -- a pickup hockey game, not necessarily on ice.
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Gartly (647) is at coordinate (h4,v4) on that map [roughly 32 miles WNW of Aberdeen]. - BS
File: GrD3647
===
NAME: Haul 'Em Away: see Haul 'Er Away (Little Sally Racket) (File: FSWB086A)
===
NAME: Haul 'Er Away (Little Sally Racket)
DESCRIPTION: Shanty, with internal chorus "Haul 'er/'em away... Haul 'er away... Haul 'er away With a haul-ey-hi-o, Haul 'er away." Verses are about the "little" girls ashore ("Little Sally Racket," "Little Daisy Dawson" etc.) and their (sexual) exploits
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty bawdy sex whore
FOUND_IN: Britain
REFERENCES: (3 citations)
Hugill, pp. 315-317,  "Haul 'Er Away" (2 texts, 2 tunes) [AbEd, pp. 237-239]
Silber-FSWB, p. 86, "Little Sally Racket" (1 text)
DT, HAULRAWY
CROSS_REFERENCES:
cf. "Cheer'ly Man" (form, lyrics)
cf. "Tiddy High O!" (character of Sally Rackett)
ALTERNATE_TITLES:
Haul 'Em Away
Haul Him Away
Sally Rackett
NOTES: A. L. Lloyd, in the notes to the recording "A Sailor's Garland," reports that this shanty (to a tune known in Jamaica as "Mr. Ramgoat" or "Hill and Gully") was discouraged in American vessels, though the British allowed it to be sung. 
The song shares its verse form, and some lyrics, with "Cheer'ly, Man," but the choruses are distinct enough that we split themn rather tentatively. Lloyd, among others, lumps them. - RBW
File: FSWB086A
===
NAME: Haul Away, Boys, Haul Away
DESCRIPTION: Shanty. "Oh, Haul away an' let's get goin', boys. Haul away, boys, haul away! Oh, Haul away for merchant's money, boys. Haul away, boys, haul away!" No particular story line, but several verses have references to Cuba and sugar.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong animal
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, pp. 357-358, "Haul Away, Boys, Haul Away" (1 text, 1 tune) [AbEd, pp. 269-270]
CROSS_REFERENCES:
cf. "Old Bee Makes the Honey Comb" (lyrics)
File: Hugi357
===
NAME: Haul Away, Joe
DESCRIPTION: Shanty, characterized by, "Away, haul away, haul away, Joe" (or "...haul away, pull"). Some versions tell a story: the sailor has trouble with his Irish girl and goes to sea, or suffers grief from a Yankee girl, or otherwise suffers at women's hands
AUTHOR: unknown
EARLIEST_DATE: 1917 (what appears to have been a fragment of the chorus appears in the diary of Mary Bray, probably in 1859; see A. A. Hoehling _Ships that Changed History_, p. 18)
KEYWORDS: shanty sailor courting
FOUND_IN: US(MA,MW,NE)
REFERENCES: (11 citations)
Doerflinger, pp. 4-5, "Haul Away, Joe" (2 texts, 1 tune)
Walton/Grimm/Murdock, pp. 76-78, "Haul Away, Joe" (1 composite text, 1 tune)
Colcord, pp. 41-42, "Haul Away, Joe" (1 text, 1 tune)
Harlow, pp. 75-78, "Haul Away, Joe" (1 text, 1 tune)
Hugill, pp. 358-361, "Haul Away, Joe" (1 text plus several fragments, 3 tunes) [AbEd, pp. 270-272]
Sharp-EFC, XXVII, p. 32, "Haul Away, Joe" (1 text, 1 tune)
Linscott, pp. 138-139, "Haul Away, Joe" (1 text, 1 tune)
Shay-SeaSongs, p. 30, "Haul Away, Joe" (1 text plus some loose verses, 1 tune)
Silber-FSWB, p. 87, "Haul Away Joe" (1 text)
DT, HAULJOE*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Dance the Boatman Dance" is in Part 1, 7/14/1917. "Haul Away, Joe" is in Part 2, 7/21/1917.
Roud #809
RECORDINGS:
Almanac Singers, "Haul Away, Joe" (General 5015B, 1941; on Almanac02, Almanac03, AlmanacCD1)
Bob Roberts, "Haul Away Joe" (on LastDays)
CROSS_REFERENCES:
cf. "Haul Away, Old Fellow, Away" (similar chorus)
NOTES: The Silber text has a verse (also in Shay) "King Louis was the King of France Before the revolution... But then he got his head cut off Which spoiled his constitution." 
I have to suspect this is some wag's addition, but it is worth noting that Louis XVI's France did not have a constitution. (If it had, Louis might have survived the revolution). Louis (1754-1793) became king in 1774, was reduced to figurehead status by the Revolution in 1789 and failed in an escape attempt in 1791 (even though still theoretical head of state!). In 1792, with a Prussian invasion in progress, the Republic was proclaimed (though never properly constituted), and Louis was put on trial. He was guillotined on January 20, 1793. - RBW
Bob Roberts also sang the "King Louis" verse. - PJS
File: Doe004
===
NAME: Haul Away, Old Fellow, Away
DESCRIPTION: Halyard shanty. French verses with English choruses "Haul away, old fellow, away." Sailor tells of meeting and falling in love with a girl, but she's too fine for him; sailors only get the trollops. He's sick of it all and is going to ship out far away.
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet, _Chansons de bord_)
KEYWORDS: foreignlanguage shanty love farewell
FOUND_IN: France Britain
REFERENCES: (1 citation)
Hugill, pp. 361-363, "Haul Away, Old Fellow, Away" (2 texts-French & English, 1 tune)
CROSS_REFERENCES:
cf. "Haul Away, Joe" (similar chorus)
ALTERNATE_TITLES:
C'est en passant sur l'pont de Morlaix
File: Hugi363
===
NAME: Haul in Your Bowline: see A Trip on the Erie (Haul in Your Bowline) (File: Wa035)
===
NAME: Haul on th' Bowlin': see Haul on the Bowline (File: Doe009b)
===
NAME: Haul on the Bo'line: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul on the Bowline
DESCRIPTION: Shanty. Characteristic line: "Haul on the bowline, the bowline haul!" The lyrics may relate to the singer's friendship with Kitty on Liverpool (or elsewhere), or perhaps complain about a sailor's life.
AUTHOR: unknown
EARLIEST_DATE: 1869
KEYWORDS: shanty nonballad sailor
FOUND_IN: US(MA,NE) Canada(Mar,Newf) Britain(Scotland(Aber))
REFERENCES: (18 citations)
Doerflinger, pp. 9-10, "Haul on the Bowline" (1 text, 1 tune)
Walton/Grimm/Murdock, pp. 75-76, "Haul on the Bowline" (1 text, 1 tune)
Colcord, pp. 42-43, "Haul on the Bowline" (1 text, 1 tune)
Harlow, pp. 95-96, "Haul the Bowline" (1 text, 1 tune)
Hugill, pp. 354-357, "Haul the Bowline" (2 texts, 2 tunes) [AbEd, pp. 266-269]
Sharp-EFC, XXXVII, p. 42, "Haul on the Bow-line" (1 text, 1 tune)
Linscott, pp. 139-140, "Haul the Bowline" (1 fragment, 1 tune)
Greenleaf/Mansfield 167, "Haul on the Bo'line" (1 text, 1 tune)
GreigDuncan1 1, "Haul Away Your Bowline" (1 text, 1 tune)
Scott-BoA, p. 131, "Haul on the Bowline" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 12-13, "Haul on the Bowline" (1 text, 1 tune)
Smith/Hatt, p. 33, "Haul the Alabama Bowline" (1 text)
Bone, pp. 38-39, "Haul on th' Bowlin'" (1 short text, 1 tune)
Shay-SeaSongs, p. 27, "Haul on the Bowline" (1 text, 1 tune)
Darling-NAS, p. 310, "Haul on the Bowlin'" (1 text)
Silber-FSWB, p. 87, "Haul on the Bowline" (1 text)
DT, HAULBWLN* HAULBWL2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Haul the Bowline" is in Part 3, 7/28/1917, one verse only.
Roud #652
RECORDINGS:
Joseph Hyson, "Haul the Alabama Bowline" (on NovaScotia1)
Richard Maitland, "Haul the Bowline" (AFS, 1939; on LC26)
Stanley Slade & chorus: "Haul On the Bowlin'" (on Lomax41, LomaxCD1741)
ALTERNATE_TITLES:
Haul Away the Bowline
NOTES: Doerflinger says of this song, "Its unusual antiquity is shown by the fact that not since the sixteenth or early seventeenth century has the term 'bowline' been used for any rope on which a shanty would be sung."
Bone makes this statement even stronger; "'Haul on th' bowlin'... is probablly the oldest song we know at sea. The bowline has not been an important rope since, in about 1500, staysails were put in use to hold a ship on a wind. Before that date, the bowline was doutbless of stout cordage to haul the weather leech of a square-sail forward when the old carrack was sailing with the wind abeam. But, although a bowline of sorts was used in modern square rig, it could be set taut by a hand or two."
Linscott claims, without citing a source, that it "is said to have been a favorite in the time of Henry VIII" (1509-1547). Shay reports the same, again without a source. - RBW
File: Doe009b
===
NAME: Haul the Alabama Bowline: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul the Bowline: see Haul on the Bowline (File: Doe009b)
===
NAME: Haul, Haul, Haul, Boys
DESCRIPTION: "Haul, haul, haul, boys, haul and be lively, Haul, oh haul, boys, haul. She will come, she must come; haul, boys, haul. (x2) Well, it seems to me like the time ain't long; Haul and be lively, haul, boys, haul." 
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: fishing work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 226, "Haul, Haul, Haul, Boys" (1 text)
NOTES: The editors of Brown suggest that this is a fishing adaption of "Haul Away, Joe." Certainly possible -- but there is nothing compelling about the suggestion. - RBW
File: Br3226
===
NAME: Hauling Logs on the Maniwaki
DESCRIPTION: To the "Derry Down" tune, the singer tells of setting out for the Maniwaki -- a difficult trip. Once the loggers arrive in camp, the song settles in to a routine of describing the members of the crew
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger work lumbering moniker
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke-Lumbering #20, "Hauling Logs on the Maniwaki" (1 text, 1 tune)
Roud #4384
File: FowL20
===
NAME: Hauling Wood to Bangor
DESCRIPTION: Singer gets up at five to haul wood to Bangor; he arrives and gets drunk. His father comes to find him. A fiddler plays "The Bells of Old Ireland" and the men dance. To the old women: "Perhaps you done as bad yourself And perhaps a damn sight worse"
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: lumbering dancing drink music humorous
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 31-32, "Hauling Wood to Bangor" (1 text, 1 tune)
Roud #12475
File: Dib031
===
NAME: Haunted Falls: see Haunted Wood (File: FCW041)
===
NAME: Haunted Hunter, The
DESCRIPTION: Singer, walking toward camp, is joined by a snowshoed figure who leaves no tracks. The singer falls in a snowdrift, to be found with hair bleached white. The other trappers recognize the signs of an encounter with the haunted hunter; all leave the area. 
AUTHOR: possibly Billie Maxwell
EARLIEST_DATE: 1929 (recording, Billie Maxwell)
LONG_DESCRIPTION: Singer, walking toward camp, is joined by a mysterious snowshoed figure who leaves no tracks in the snow. The singer falls in a snowdrift, to be found the next morning with hair bleached white. The other trappers recognize the signs of an encounter with the haunted hunter, and all leave the area. 
KEYWORDS: hunting supernatural ghost
FOUND_IN: US
REFERENCES: ()

Roud #11521
RECORDINGS:
Billie Maxwell, "Haunted Hunter" (Victor V-40241, 1929; on AuthCowboys, WhenIWas1)
CROSS_REFERENCES:
cf. "Bill Was a Texas Lad" (tune)
File: RcHauHun
===
NAME: Haunted Wood
DESCRIPTION: A white man builds a home near "Haunted Falls." One day when he is away, Indians cast his wife to die on the rocks and burn his home with his children inside. "Now the old man wanders lonely... And the people... Call this place Haunted Wood."
AUTHOR: unknown
EARLIEST_DATE: 1946 (collected from Buck Lee; printed in JAF 1954); a related song was in existence by 1863; see NOTES
KEYWORDS: death murder Indians(Am.) revenge family
FOUND_IN: US(Ro)
REFERENCES: (3 citations)
Fife-Cowboy/West 41, "Haunted Wood" (1 text, 1 tune)
Burt, pp. 144-146, "(Haunted Wood)" (1 text, 1 tune)
Logsdon 34, pp. 190-194, "Haunted Falls" (1 text, 1 tune)
Roud #5503
RECORDINGS:
Eva Ashley Moore, "The Haunted Woods" (on Ashley02)
CROSS_REFERENCES:
cf. "Petit Rocher" (plot)
NOTES: Speculation about this song has involved hanging some very big coats on some very small pegs.
The first speculation seems to have been Burt's (later cited by Logsdon), who quotes her informant's guess that the song derives from the 1862 Sioux Uprising -- now officially designated the Dakota Conflict by Minnesota government agencies).
There are severe problems with this assumption. "Haunted Wood" takes place in woods near a waterfall in the mountains. But Minnesota has no mountains -- the highest point in the state, although called "Eagle Mountain," is merely a medium-sized hill, 2301 feet above sea level -- and it is in an area occupied by the Ojibwe, not the Dakota. Nor were there forests in Dakota country -- northern and eastern Minnesota were forested at the time of the Dakota Conflict, but the Dakota were prairie nomads; they never lived in the Big Woods!
Nor does the plot of the song seem to match anything that happened in Minnesota. The Dakota Conflict began with a massacre -- but it doesn't sound like *this* massacre.
We should note that our records of the Dakota Conflict are surprisingly patchy, due (I think) mostly to bad communications. (For the sources I cite, see the Bibliography at the end of this note.) At a time when Civil War armies transported forces by rail and communicated with each other by telegraph, almost all messages in the Dakota Conflict were carried by messenger, and railroads had no influence at all. The first major history of the state, Folwell's, is constantly stressing the rides people made to carry news (e.g. pp. 115, 147). There was a severe shortage of Springfield rifle muskets (Folwell, p. 158), and entrenching tools were even more rare. The whole thing sounds more like the French and Indian War than the Second Bull Run campaign then being fought in Virginia. Most estimates of casualties seem to have been pure guesses. Phisterer lists six battles of the Dakota Conflict on pp. 110-115, but in half the cases describes then only as "Fight with Indians" or "Organizations not recorded."
The roots of the Dakota Conflict went back almost sixty years. It was in 1805 that Zebulon Pike "bought" the region at the confluence of the Mississippi and Minnesota rivers (the heart of what is now the Twin Cities) from the local Indians for a little money and a lot of alcohol and trinkets (Beck, pp. 3-4). Fort Snelling, the first European settlement in the state apart from some old fur trade posts, was built beginning in 1819; at the time, it was the only American government post northwest of a line running from Fort Howard on Green Bay through Fort Crawford at Prairie du Chien, Wisconsin to Fort Atkinson at the junction of the Missouri and Platte rivers (see the map in Blegen, p. 98). At the time, Americans hadn't even surveyed the Minnesota River; that was done by Major Stephen Long in 1823 (Risjord, pp. 46-48). In 1825, the federal government tried and failed to create a peaceful boundary between the Dakota (Sioux) and Ojibwe (Chippewa). They failed (Beck, p. 4).
The real encroachments on Indian territory began in 1837, when the Dakota were forced to give up all their lands east of the Mississippi (Beck, p. 4; Risjord, p. 56). Then the Federals came up with the idea of reservations. It was the only way to make enough land available to meet migrants' demands. In 1849, when Minnesota became a territory, there were only about 4000 whites in the region. Nine years later, when Minnesota became a state, there were over 150,000 (Beck, p. 5). This was possible only because the Dakota had been bullied into making territorial concessions. By 1858, the Dakota were confined in a tiny area along the Minnesota river from its headwaters to a point somewhat west of New Ulm (see map in Blegen, p. 268). The whole thing was administered from two agencies (known, logically enough, as the Upper and Lower Sioux Agencies).
In return for these concession, the Dakota were supposed to receive a regular annuity. That, plus a conversion to an agricultural lifestyle, was supposed to allow them to live on a territory far smaller than their old nomadic range.
If you ignore the fact that it was destroying Dakota culture (which, frankly, would have had to happen soon anyway, because of population pressure -- even before the great European influx, Beck, p. 15, notes that the big game in Minnesota was largely hunted out; the Dakota, contrary to myth, did not live an environmentally sustainable lifestyle), the terms were sort of fair -- except for the footnotes. The Indians were tricked into giving up a large part of their annuity to settle alleged claims by whites (Risjord, p. 65). This meant that their income, which should have been reasonably sufficient, kept them in poverty. Jackson, p. 162, observes that "many more... would have entered on the agricultural life had the Government provided ways and means for them to do so." Beck, p. 15, adds that the government had neither improved the land nor supplied the instructors and material to let the Dakota do so themselves; not only did it cause resentment, it also caused many Dakota to go back to their old ways.
Beck, p. 67, tells us that the Dakota were often desperate enough to prostitute their daughters and wives to the soldiers at Fort Ridgely in exchange for food and clothing. On p. 128, he notes that the number of White settlers in the Minnesota Valley roughly tripled from 1860 to 1862, putting even more of a squeeze on the Dakota.
And then, in 1862, the annuity payments were late (Carley, p. 6. It wasn't the first time, either; in 1854 and 1855, the payments had been both too late and smaller than promised; Beck, p. 56). It had been a hard winter, and the Dakota were going hungry. The Agencies refused to give them food until the payment came, and trader Andrew Myrick callously declared that they should "eat grass or their own dung" (Lass, p. 128. When his body was later found, the mouth was stuffed with grass; Jones, p. 212). Even then, many of the Dakota opposed going to war. Folwell thinks that the whole war could have been avoided had the money arrived on time (cf. discussion in Blegen, p. 267). But some young hotheads could take no more.
According to Blegen, p. 260, "On Sunday, August 17, [1862,] four young devil-may-care Wahpetons attached to a Mdewakaton camp were returning from a deer hunt in the Big Woods. They happened to pass the farmstead of a settler in Meeker County [between Litchfield and Willmar]. Their almost incredible names were Killing Ghost, Breaking Up, Runs against Something When Crawling, and Brown Wing; and the farmer... [was named] Robinson Jones. The Indians... decided to kill Jones, went to his house, first requested liquor, were refused, then followed him to the neighboring house of one Howard Baker, where Mrs. Jones was visiting. There... the Sioux hunters first engaged in a seemingly innocent target practice with the white men. The game was a ruse. The white men did not reload after firing at the target; the Sioux did so immediately, then took aim and shot down Baker, Jones and his wife, and a man named Webster, who chanced to be there on a search for land.... The Indians rushed back to the first farm and shot a girl, while the wives of Baker and Webster and some children saved their lives by hiding."
It will be evident, since none of the husbands involved survived, that this could not be the source for "Haunted Wood."
There were few trained troops in Minnesota at the time; most had been transferred east. The regulars were long gone (something that didn't help Indian relations; most regulars had been replaced by volunteers, who tended to dislike the Sioux more than the regulars, according to Beck, p. 127), and even volunteers were being pulled away as quickly as possible. Malvern Hill, the last of the Seven Days' Battles, had been fought on August 5. Second Bull Run took place on August 30. Antietam followed in September. Braxton Bragg invaded Kentucky in late August. (Jones, p. 191, thinks the Union failures of this period contributed to the Dakota decision to rebel, although his chronology is a few weeks off.) Apart from a few under-strength companies, and a larger collection of untrained and unequipped recruits, every available soldier was on the front lines of the Civil War. It has been estimated that there were 7000 Dakota braves in the state at the time. Had they all been organized and properly led, they might very well have taken over the whole western half of the state. As it was, they pushed many settlers off of their homes, sometimes violently. But they failed to take Fort Ridgely, or New Ulm, or most of the other key sites where battles occurred.
Some of the killings of settlers qualify as atrocities (e.g. Jones, p. 203, tells of a child having her leg torn off and being left to die), but most were fairly clean. Stephen Osman, formerly of the Minnesota Historical Society, tells me that the Uprising involved quite a few acts of torture by the Dakotas, but this ended quickly (and I have to note that few of the atrocity stories seem to have been verified). On pp. 109-110, Folwell tells of the slaughter in battle of a company of the Fifth Minnesota on August 18, but those were soldiers. Folwell does observe that many of those who were attacked in the area were German settlers (p. 111). On p. 115, he notes the killing of "nearly... fifty peaceable German settlers" near Milford. The song "Minnehaha," cited below, seems to imply a slaughter of Germans or Scandinavians. But Folwell also notes that women generally were not killed. Similarly, there was a famous massacre at Lake Shetek in southwestern Minnesota, but men were the primary casualties; Carley, pp. 23-24, lists only widows, not widowers. Jones, pp. 194-199, tells many stories of attacks on August 18, but again, it was either men or whole families being killed; he tells only one story (p. 198) of a woman (Mrs. Joseph Stocker) being killed when her husband survived. Even in that instance, there seem to have been no children involved.
Still, Jackson, p. 163, states that "For three days the hostile bands, continually re-inforced, went from settlement to settlement, killing and plundering. A belt of country nearly two hundred miles in length and about fifty in width was entirely abandoned by the population, who flocked in panic to the towns and forts."
As soon as the Dakota chief Little Crow heard about the Jones affair, he tried to calm things down. Accused of cowardice by the young bravoes, he took charge of the uprising, but warned his people that "Yes, [the whites] fight among themselves, but if you strike at one of them, they will all turn upon you and devour you and your women and little children, just as the locusts in their time fall on the trees and devour all the leaves in one day. You will die like rabbits when the hungry wolves hunt them down in the hard moon" (Blegen, p. 261). He proved right.
After a month and a half of shifting fortunes, the Union finally managed to assemble the equivalent of a brigade to take on the Dakota. On September 23, at Wood Lake near Granite Falls, Union forces under Henry Sibley met those of Little Crow. The "battle" was not very well organized (Blegen, p. 274, calls it a "confused and random engagement"; Lass, p. 131, says it was an "awkward standoff punctuated by intermittent gunfire"; Risjord, p. 98, speaks of a "general melee...b[in which the Dakota] withdrew after two hours, leaving fourteen dead on the field, among them Mankato, Little Crow's most valuable lieutenant.") Carley, pp. 62-63, says that the whole thing came about because soldiers from the Third Minnesota (which had been forced to surrender to the Confederates and had returned to Minnesota without its officers) went foraging and ran into the Dakota. This let the Union forces stand largely on the defensive. They suffered seven killed and 33 wounded.
Little Crow and his forces retreated. Sibley did not really pursue; he wanted the Indians alive, so he could recover their captives (Jones, p. 217). Most of them were eventually released.
The Uprising was over. The retribution would follow.
No one knows how many Minnesotans were killed. Folwell p. 391, notes contemporary estimates that from 500 to 800 Europeans were killed, and on p. 392 seems to support an estimate of 644 as being roughly correct. Jackson, p. 163, says "Nearly a thousand were killed." Carley, p. 1, thinks the number between 450 and 800 but seems to favor the lower end of that range.
Little Crow would eventually be killed in a raid in 1863 (Blegen, p. 281) but that was after the Minnesota phase of the rising was crushed. The Indians may have had fewer losses at the time, but in the long run, they suffered severely. Carley, p. 1, says that no accurate estimate of Dakota losses in the war can be made; Dakota witnesses later admitted to 21 losses, but it is known that they carried off their injured and dead, and many surely died who were not counted.
In the aftermath, some 1700 Dakota were taken prisoner and held in a concentration camp below Fort Snelling. A military commission "tried" them, but each "trial" lasted only minutes; Lass, p. 132, notes that the commission sometimes settled forty cases in a day. It condemned fully 303 to death; Carley, p. 70. President Lincoln, to his great credit, ordered that all but 39 of them be spared; Carley, p. 72. One was later granted clemency, but the other 38 were hung on December 26, 1862; Carley, p. 73.
The remaining Sioux were then mostly forced out of the state, carted by steamship to the Dakotas, and later to Nebraska and other places (Lass, p. 133). The result was a new conflict in the Dakota Territory in 1863 (Jackson, p. 164), with occasional raids into Minnesota. Henry Sibley eventually led a long campaign through the Dakota region in 1863, adding to the tragedy (Carley, pp. 88-89; Beck, pp. 156-157). Back then, it was called "Manifest Destiny." These days, we have another term: "Ethnic cleansing." The Dakota remember it with bitterness to this day; I have heard them tell the tales of their anger and grief for those confined and often left to die by the banks of the Minnesota River.
Tales of massacres grew in the telling. The local newspapers had printed many false stories of Indian crimes even before the Uprising (Beck cites instances on pp. 46, 132 and elsewhere). During the Uprising, the _New York Tribune_ at one time claimed that the town of St. Peter, Henderson, and Glencoe had been burned. But of these three, only St. Peter was close to the conflict zone, and even it was some distance "behind the lines."
Bottom line; "Haunted Wood" does not fit conditions in Minnesota during the Dakota Conflict and does not appear to describe an actual incident of that conflict.
That isn't the end of the story, though. Because there is a possible ancestor of this song which has strong Minnesota ties.
According Dunn, pp. 124-125, "[T]here is at present no reason to doubt that Frank Wood's 'Minnehaha' was the first _song_ by a Minnesota to find local publication.... It followed Wood's initial composition by eight months, appearing in October, 1863. The words -- 'Minnehaha, laughing waters, cease thy laughing now for aye' -- were written by Richard H. Chittenden, a captain in the First Wisconsin Cavalry, who took part in the Sioux Uprising. The song is dedicated 'To the memory of the victims of the Indian Massacre of 1862.' It deals in lurid words the terrors of the Indian revolt and was as close to the Civil War as any of the local music came."
Dunn, p. 124, also notes that Wood was Minnesota's "first song writer"; he published at least eight songs and one march, and taught piano in Saint Paul until he died in 1899. Few of his songs had any success.
Except, perhaps, for "Minnehaha." I have found no certain copy of this (even Dunn did not seem to have access to the sheet music), but there is an item in the John A. Nelson papers at the Minnesota Historical Society, an anonymous poem called "Minnie-ha-ha!" The singer begs Minnehaha Falls ("Minnehaha" is usually said to be from Dakota words meaning "Laughing Waters" -- although it seems in fact to be a generic Dakota word for a waterfall) to stop laughing. The poet asks them to "Give me back my Lela's tresses," says, "See that smoke that was my dwelling," and asks, "Have they killed my Hans and Otto?"
The poem is printed on page 100 of Meier. Looking at this version, I find few verbal resemblances to "Haunted Falls," but the two songs are almost certainly about the same incident. In addition, Bessie Stanchfield collected a song "Minnehaha, Laughing Water" from Elma Snyder McDowell of Saint Cloud in the 1940s (I think). Stanchfield's papers in the Minnesota Historical Society archives are fragmentary and do not seem to have a full text, but it seems clear that it was the same song as in Meier. So this song appears to have had some slight hold on Minnesota tradition.
The problem is, as the above outline of the tale of the Uprising reveal, the "Minnehaha" song no more appears to refer to any actual event of the Dakota Conflict than does "Haunted Wood." Minnehaha Creek runs through the western Twin Cities, and Minnehaha Falls is right in the middle of the city of Minneapolis and only a couple of miles from Fort Snelling, the first permanent site of American government in Minnesota. And the name "Minnehaha Falls"  is attested on pp. 244-235 of Mayer/Heilbron as having been in common use in August 1851 (before Longfellow published "The Song of Hiawatha"). There are important Indian sites in the area, but all had been abandoned; by the time of the Dakota Conflict, there can't have been many Indians in the vicinity.
Blegen in fact has a map of the "hot spots" of the Dakota Conflict on p. 268, and none are closer to the Twin Cities than Mankato, which would be at least a two day march on foot. The chief battles of the early part of the war were even farther away up the Minnesota River, at Fort Ridgely between New Ulm and Redwood Falls (Folwell, pp. 125-130) and at New Ulm itself (Folwell, pp. 133-143). But Fort Ridgely was defended by soldiers; there were no children there. At the "First Battle of New Ulm" (another German community), only a single 13-year-old girl was killed. At the "Second Battle," 26 European men were killed and others wounded, but there were few if any female casualties. Thus these battles cannot explain the story of the song.
Folwell, p. 124, in fact notes that most of the refugees from the first stage of the conflict headed for the Twin Cities (then three cities, Minneapolis, Saint Anthony, and Saint Paul). Anyone who reached Minnehaha Falls would have been safe.
Plus I haven't found any references to Minnehaha Falls being called haunted. Unless the idea is somehow linked to "The Death of Minnehaha" in Longfellow's "Song of Hiawatha." Longfellow's poem seems to have inspired a number communities to adopt the name "Minnehaha." But Longfellow's poem was published only in 1855. That is stretching coincidence to the breaking point.
So we're  back where we started. "Minnehaha" may have inspired "Haunted Wood" (I suspect it did), but it still isn't true. On the other hand, so many stories were swirling around that it is perfectly possible that someone told a similar tale to whip up hatred against the Dakota.
I would add that I don't think the rewrite of "Minnehaha" which produced "Haunted Wood" was done by a Minnesotan. It *really* doesn't sound like a Minnesota story to me, and I live in Minnesota. That's not proof, of course -- not after a century and a half. But I do note that "Haunted Wood" (as opposed to "Minnehaha, Laughing Waters") found mostly in the west, and not in Minnesota.
If we assume that "Minnehaha, Laughing Waters" is the source, we can at least try to see what it might have described. There are other places called Minnehaha around the country . One is a county in South Dakota -- the county containing South Dakota's largest city Sioux Falls, in fact. Sioux Falls, on the Big Sioux River, was settled in 1857 and temporarily abandoned during the Dakota Uprising (Beck, p. 152, which notes that all but three buildings of the new town were burned in a raid). Could the "Minnehaha" of "Minnehaha, Laughing Waters" be falls of the Big Sioux in Minnehaha County, rather than Minnehaha Falls in Minneapolis? This would explain much. Alternately, there is a Minnehaha district in Pennsylvania, near Philadelphia, associated with an obscure folk Pennsylvania folk song, "Minnehaha (A Lament)." This is a region with woods and falls, although there doesn't seem to be any record of "Haunted Woods" there.
Consider too the Spirit Lake Massacre of 1857. A band of outcast Dakota, led by one Inkpaduta, attacked several households near Spirit Lake, Iowa on March 8-9. According to Beck, p. 43, "When they finished, thirty-four people, mostly women and children, were dead and four other women taken prisoner." (Folwell, p. 402, however says that "some thirty" were killed and three taken captive. Although he shows a map of the sites raided on p. 403, and most of the names are English, not German, making "Hans" and "Otto" unlikely names for the children.) Inkpaduta's Dakota  went on to attack Springfield, Minnesota (not the same site as the modern town of Springfield; it's on the Des Moines River just north of the Iowa border) on March 26. Army attempts to catch up with him failed (Blegen, p. 265); he fled into Dakota Territory -- perhaps giving the other Dakota more reason to think they could ignore White justice.
Spirit Lake, we note, is closer to South Dakota, and to Sioux Falls, than to the Twin Cities. Inkpaduta probably went very close to Sioux Falls in his flight. All in all, I rather suspect that it was one of the events at Spirit Lake, not the Dakota Conflict itself, which inspired this song.
Reinforcing this is the fact that Inkpaduta was reported to be roaming around the Yellow Medicine River in July 1862 (Beck, pp. 127-128). Stories of his outrages five years earlier would readily mix with the reports of the actual troubles of 1862.
I emphasize that all of this is extremely speculative. Still, I think the likelihood high that "Haunted Wood/Haunted Falls" is a rewrite of "Minnehaha, Laughing Waters," with the local Minnesota references deleted, perhaps to justify some local action against Indians.
>> BIBLIOGRAPHY <<
Beck: Paul N. Beck, _Soldier, Settler, and Sioux: Fort Ridgely and the Minnesota River Valley 1853-1867_, The Center for Western Studies, Augustana College, 2000
Blegen: Theodore C. Blegen, _Minnesota: A History of the State_ (1963; I use the 1975 University of Minnesota edition with a new final chapter by Russell W. Fridley, but this is merely an appendix to the Blegen book; it is actually placed *after* the index!). A very large single volume, considered one of the two great histories of the state (Folwell being the other). It is clearly more sympathetic with the Dakota than Folwell.
Carley: Kenneth Carley, _The Dakota War of 1862: Minnesota's Other Civil War_, revised edition, Minnesota Historical Society Press, 1976. Although devoted entirely to the Dakota Conflict, this is a thin book (102 pages), heavily illustrated; there is probably less text here than in Folwell, although the perspective is far more enlightened.
Dunn: James Taylor Dunn, "A Century of Song: Popular Music in Minnesota," _Minnesota History_ magazine, Winter 1974, pp. 122-141.  [Thanks to Stephen Osman for digging up this article.]
Folwell: William Watts Folwell, _A History of Minnesota_, Volume II, 1924 (I used the slightly revised 1961 Minnesota Historical Society edition with a forward by Russell W. Fridley). The first major history of the state, in four large volumes. It has, by modern standards, a clear prejudice against the Dakota.
Jackson: Helen Jackson, _A Century of Dishonor: A Sketch of the United States Government's Dealings with Some of the Indian Tribes_ (no copyright date listed; I use the 1994 Indian Head/Barnes & Noble edition). I've no idea how far to trust this; it has no index, no footnotes, and a completely inadequate table of contents. So you can't read it and look something up to verify it.
Jones: Evan Jones, _The Minnesota: Forgotten River_, being part of the Rivers of America series, Holt, Rinehart and Winston, 1962
Lass: William E. Lass, _Minnesota: A History_, second edition, 1998 (I use the 2000 Norton edition)
Mayer/Heilbronn: Bertha E. Heilbron, editor, _With Pen and Pencil on the Frontier in 1851: The Diary and Sketches of Frank Blackwell Mayer_, first published in two volumes in 1932 and 1941; I use the 1986 Minnesota Historical Society combined edition.
Meier: Peg Meier, _Bring Warm Clothes: Letters and Photos from Minnesota's Past_, Minneapolis Star/Tribune, 1981
Phisterer: Frederick Phisterer, _Campaigns of the Civil War: Statistical Record of the Armies of the United States_, 1883 (I use the 2002 Castle Books reprint)
Risjord: Norman K. Risjord, _A Popular History of Minnesota_, Minnesota Historical Society Press, 2005 - RBW
File: FCW041
===
NAME: Have a Little Banjo Beating: see Go Slow, Boys (Banjo Pickin') (File: R278)
===
NAME: Have Courage My Boy to Say No
DESCRIPTION: Singer exhorts his son, leaving home, to take a righteous path, despite temptation: he should shun "bright ruby wine," for "poison it stings like a viper," as well as "vile gambling dens," rather trusting in God. Refrain: "Have courage, my boy, to say no"
AUTHOR: unknown
EARLIEST_DATE: 1938 (recorded by Dixon Bros.)
KEYWORDS: virtue warning gambling drink wine nonballad religious 
FOUND_IN: US(Ro,SE)
REFERENCES: (1 citation)
DT, SAYNO
Roud #5263
RECORDINGS:
Dixon Bros. "Have Courage To Only Say No" (Bluebird B-7767, 1938; on Dixon04)
L. M. Hilton, "Have Courage My Boy to Say No" (on Hilton01)
File: RcHCMBSN
===
NAME: Have You Any Bread and Wine (English Soldiers, Roman Soldiers)
DESCRIPTION: "Have you any bread and wine, My fairy and my forey, Have you any.... Within the golden story?" More and more wine is requested, until the questioner is told to go away. The two sides declare allegiance to their lords, then prepare for a fight
AUTHOR: unknown
EARLIEST_DATE: 1903 (Newell)
KEYWORDS: food drink playparty nonballad fight
FOUND_IN: US(NE) Ireland
REFERENCES: (2 citations)
Linscott, pp. 40-42, "My Fairey and My Forey" (1 text, 1 tune)
Hammond-Belfast, pp. 24-25, "The Rovers Meet the Winders" (1 text, 1 tune)
ST Lins040 (Partial)
Roud #8255
NOTES: Hammond-Belfast: "This song is represented in hundreds of versions all over these islands, a conventionalized confrontation between two factions. According to Lady Gomme in her magnificent collection of 1894 [Alice B Gomme, _Children's Singing Games_], the game owes its origins to the ritual forays of the Border country. When two classes of mill worker arranged a ritual encounter in a Belfast street, they obeyed the rules of the games, confontation without contact. In this example, the rovers were aggressors, the winders in retreat."
The Hammond-Belfast version has the rovers issue a challenge, the rovers advance, the winders reply, the rovers advance again and the winders reply again. Rovers advance with "Ha! Ha! You had to go.... riding on a donkey" [as in some versions of "Hieland Laddie"]; winders reply with "Raddy daddy and we're not beat yet.... A button for your marley." This seems to have degenerated from something like text Ab of GreigDuncan 8 1600, "We Are All King George's Men" in which King George's men and King William's men alternate declaring allegiance, having wine, challenging to battle, pointing to a battlefield, and calling for support; GreigDuncan's text B, "With Eerie and With Orie," with no wine, has a pattern similar to Hammond-Belfast: only the sides alternating pointing to a battlefield and challenging to fight remains. - BS
File: Lins040
===
NAME: Have You Heard Geography Sung?
DESCRIPTION: "Oh, have you heard Geography sung? For if you've not 'tis on my tongue. Oceans and seas and gulfs and these All covered over with little green islands."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-SongCatcher, p. 75,  (no title) (1 fragment)
File: ScaSC075
===
NAME: Hawco, the Hero
DESCRIPTION: Jim Hawco drops his load of wood on the railroad track believing that the train has already passed by. Suddenly, the train comes and he risks his own life to take the wood off. He is arrested for his mistake but found in court to be a hero instead.
AUTHOR: M. A. Devine
EARLIEST_DATE: 1940
KEYWORDS: recitation train rescue trial
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Doyle2, p. 75, "Hawco, the Hero" (1 text)
Roud #7298
NOTES: According to Doyle, the song is about a true incident that happened in Harbour Main in Conception Bay around 1905. The song also uses the names of judges that were active during the time of the incident. - SH
File: Doy75
===
NAME: Hawk and the Crow, The: see The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat) (File: K295)
===
NAME: Hawkie: see Ca' Hawkie Through the Water (File: StoR132)
===
NAME: Hawkie Is a Schemin' Bird
DESCRIPTION: "Hawkie is a schemin' bird, He schemes all round the sky, He schemes into my chicken house And makes my chickens fly." Remaining verses and chorus seem to float.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: bird chickens hunting floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 192, "Hawkie Is a Schemin' Bird" (1 text, with the "Hawkie" first stanza, a chorus from "Lynchburg Town," and verses such as "Went up on a mountain To give my horn a blow" and "Climbed up on a mountain... To sweeten Liza Jane")
File: ScaNF192
===
NAME: Hawks and Chickens Play: see Chickee Chickee Ma Craney Crow (Hawks and Chickens) (File: R570)
===
NAME: Hawthorne Tree, The: see Katie's Secret (File: R778)
===
NAME: Hay Marshall: see Rosie Anderson (File: Log392)
===
NAME: Haymaker's Jig: see Turkey in the Straw (File: R274)
===
NAME: Hayseed
DESCRIPTION: The hayseed finishes his work and decides to go on a spree. He goes to town and takes an expensive ("five dollars a minit"!) room in a hotel. Before going to bed, he blows out the gas -- and dies of the fumes
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: death corpse technology money
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Sandburg, p. 50, "Hayseed" (1 text, 1 tune)
DT, HAYSEED*
Roud #12498
File: San050
===
NAME: Hayseed (II), The: see A Hayseed Like Me (File: Grnw060)
===
NAME: Hayseed Like Me, A
DESCRIPTION: "I once was a tool of oppression And as green as a sucker could be, And monopolies bundled together To beat a poor bum like me." The newly energized singer promises to strike back: "The ticket we vote next November Will be made up of hayseeds like me."
AUTHOR: Words: Arthur L. Kellogg?
EARLIEST_DATE: 1943 (Rochester, "The Populist Movement in the United States")
KEYWORDS: political poverty hardtimes derivative
FOUND_IN: US
REFERENCES: (3 citations)
Greenway-AFP, p. 60, "A Hayseed Like Me" (1 text)
Darling-NAS, pp. 359-360, "Hayseed Like Me" (1 text)
Silber-FSWB, p. 117, "The Hayseed" (1 text)
Roud #12497
RECORDINGS:
Pete Seeger, "Hayseed Like Me" (on PeteSeeger13)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune) and references there
cf. "Acres of Clams (The Old Settler's Song)" (tune, floating lyrics)
NOTES: I've seen versions of "Acres of Clams" which seem to have swallowed this song almost entire. But as it seems to have originated separately, I list it in its own right.
The Folksinger's Wordbook lists this as by Arthur L. Kellogg, but Greenway treats it as a traditional song from the populist movement of the nineteenth century. Certainly portions of it have "swapped" in and out of tradition; the amount of Kellogg influence on a particular version may be open to question. - RBW
File: Grnw060
===
NAME: He Arose from the Dead
DESCRIPTION: Story of the crucifixion, burial, and resurrection of Jesus. He tells his disciples to meet him in Galilee; he is crucified; Mary comes running to see him, the angels roll away the stone, and he arises from the dead
AUTHOR: Unknown
EARLIEST_DATE: 1883 ("The Story of the Jubliee Singers; with their songs")
KEYWORDS: execution resurrection death burial Bible religious Jesus
FOUND_IN: US(So, SE)
REFERENCES: (0 citations)
RECORDINGS:
Willie & Minder Coleman, "He Rose" (AFS 5089 A1, 1941)
Fisk Jubilee Singers, "He Arose" (on Fisk01)
Blind Lemon Jefferson, "He Arose from the Dead" (Paramount 12585 [as Deacon L. J. Bates], 1927/Herwin 93004, 1929; on Jefferson01, JeffersonCD01)
Rev. D. C. Rice & congregation "He Arose Them from the Dead" (Vocalion 1520, 1930)
Congregation of the Wesley Methodist Church, "He Rose From The Dead" [fragment] (JohnsIsland1)
Rev. S. J. "Steamboat Bill" Worell, "He 'Rose From the Dead" (Vocalion 1089, 1927)
Unidentified church parishioners, "Moaning" (AFS 4767 A1, 1941)
NOTES: The common version of this may have been adapted by Blind Lemon Jefferson, but it appears to be older. - (PJS, RBW)
File: RcHAFTD
===
NAME: He Comes Down Our Alley: see Do You Love an Apple? (File: K203)
===
NAME: He Is Coming to Us Dead: see The Express Office (He Is Coming to Us Dead) (File: R696)
===
NAME: He Lies in the American Land
DESCRIPTION: A man emigrates to America, leaving wife and children back in Europe. When he sends for them, they arrive to find only his grave; he has been killed in the steel mill. She cries out to him; his voice tells her not to wait, for he lies in the American land
AUTHOR: Andrew Kovaly
EARLIEST_DATE: 1956 (recording, Pete Seeger)
KEYWORDS: emigration separation reunion death work wife children worker technology
FOUND_IN: US(MA)
REFERENCES: (0 citations)
RECORDINGS:
Pete Seeger, "He Lies in the American Land" (on PeteSeeger13, AmHist2, PeteSeeger48)
CROSS_REFERENCES:
cf. "I Have a Father in My Native Land" (theme)
NOTES: Many, perhaps most of the workers who made steel in the two great centers of South Chicago and western Pennsylvania were eastern European immigrants. - PJS
I don't know if this is an authentic folk song; Paul thinks so, or he would not have submitted it. Certainly it has the genuine folk sensibility. - RBW
File: RcHLITAL
===
NAME: He Never Came Back
DESCRIPTION: Stories of people who "never came back." The first is a soldier lost at Bull Run. The rest are humorous: A waiter who never returned with a patron's steak, a swain who never returned with a ring for an old maid, a mother-in-law set loose in a balloon 
AUTHOR: William Jerome ?
EARLIEST_DATE: 1892 (Delaney)
KEYWORDS: humorous separation family technology soldier oldmaid
HISTORICAL_REFERENCES: July 21, 1861 - First battle of Bull Run fought between the Union army of McDowell and the Confederates under Johnston and Beauregard
Aug. 29-30, 1862 - Second battle of Bull Run, fought between the Union army of Pope and the Confederate army of Lee
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 399, "He Never Came Back" (1 text, 1 tune)
Randolph/Cohen, pp. 368-371, "He Never Came Back" (1 text, 1 tune -- Randolph's 399)
BrownIII 394, "He Never Came Back" (1 text)
Roud #4948
RECORDINGS:
Carter Family, "He Never Came Back" (Decca 5447, 1937)
Peg Moreland, "He Never Came Back" (Victor V-40101, 1929)
Pickard Family, "He Never Came Back" (Perfect 12607, 1930)

File: R399
===
NAME: He Never Said a Mumbalin' Word: see Never Said a Mumbling Word (File: LxU102)
===
NAME: He Never Went Back on the Poor: see Jim Fisk [Laws F18] (File: LF18)
===
NAME: He Plowed the Lowlands Low: see Edwin (Edmund, Edward) in the Lowlands Low [Laws M34] (File: LM34)
===
NAME: He Rambled: see Didn't He Ramble (File: CSW174)
===
NAME: He Rode the Strawberry Roan: see (references under) "The Strawberry Roan" [Laws B18] (File: LB18)
===
NAME: He Took Her by the Lily-White Hand
DESCRIPTION: Perhaps the remains of a play-party song: "He took her by the lily white hand and lifted her over the gutter, With a kiss for you and a kiss for me and a kiss for the governor's daughter."
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton and Senior)
KEYWORDS: playparty courting
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton/Senior, pp. 260, "He Took Her by the Lily-White Hand" (1 text, 1 tune)
File: CrSe260
===
NAME: He Was a Friend of Mine
DESCRIPTION: "He was a friend of mine (x2), Never had no money to pay his fine..." "He died on the road, Never had no money to pay for his board." "He never done no wrong, He was just a poor boy a long way from home." "I stole away and cried...."
AUTHOR: reportedly Bob Dylan, Dave Van Ronk, Eric Von Schmidt
EARLIEST_DATE: 1962 (recording, Bob Dylan)
KEYWORDS: rambling friend death
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 60, "He Was A Friend of Mine" (1 text)
DT, FRNDMINE
CROSS_REFERENCES:
cf. "Shorty George"
NOTES: In 1964 Roger McGuinn rewrote the song as a tribute to the recently assassinated President Kennedy. - PJS
File: FSWB060
===
NAME: He Was a Travelling Man: see Traveling Man (Traveling Coon) (File: RcTMTC)
===
NAME: He Was Boasting of His Shearing
DESCRIPTION: "He was boasting of his shearing Up in Jimmy Homlan's Bar...." This strange little fellow "tried to murder Hogan" for doubting his exploits. At last the quarrelling is silenced by the free availability of beer
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: drink fight bragging Australia
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 201, "He Was Boasting of His Shearing" (1 text)
File: MA201
===
NAME: He Was Standing by the Window: see The Broken Engagement (I -- She Was Standing By Her Window) (File: R771)
===
NAME: He-Back, She-Back: see Old Moke Pickin' on the Banjo (Song of the Pinewoods) (File: Be022)
===
NAME: He's Comin' This Away
DESCRIPTION: "Yonder comes my Lord (x2), He's comin' this away (x2), Yonder comes my Lord (x2), He's comin' this away (x2)." "A Bible in his hand...." "He's come to judge the world, Livin' an' the dead...." "Yonder comes that train...." "My mother's on that train...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious train death mother
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 259-260, "He's Comin' This Away" (1 text)
File: ScaNF259
===
NAME: He's Coming to Us Dead: see The Express Office (He Is Coming to Us Dead) (File: R696)
===
NAME: He's Gone Away: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: He's Got the Money Too
DESCRIPTION: The singer describes being engaged to someone who is a fine person -- and rich, too: "Oh don't I love my honey, And won't I spend his money? I'm as happy as a flower that sips the morning dew, For I've got a little (feller) and he's got the money too!"
AUTHOR: C. T. Lockwood?
EARLIEST_DATE: 1875 (sheet music, LOCSheet, sm1875 03568)
KEYWORDS: courting marriage money
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 299, "I Know a Little Feller" (1 text)
Roud #7827
RECORDINGS:
Uncle Dave Macon, "She's Got the Money Too" (OKeh 45552 [w. Sam McGee], 1931; rec. 1930) (Bluebird 7549, 1938)
BROADSIDES:
LOCSheet, sm1875 03568, "And He's Got the Money Too," Brainard's Sons (Cleveland), 1875
ALTERNATE_TITLES:
She's Got the Money Too
I Went Down to New Orleans
NOTES: LOCSheet, sm1875 03568 lists this as by C. T. Lockwood, but it's not clear if he wrote the whole thing, or the tune, or just the arrangement.
Randolph reports his (single-stanza) text as a fragment of a piece called "I Went Down to New Orleans."  The recordings I've heard (Macon's and other folk revival versions) don't seem connected -- but that may be a case of Uncle Dave free-associating about the song. - RBW
File: R299
===
NAME: He's Got the Whole World in His Hand(s)
DESCRIPTION: "He's got the whole world (right) in his hand (x3); He's got the whole world in his hand." The number of additional verses probably approximates the number of English speakers on earth; most are spiritual, but you can probably imagine some that aren't
AUTHOR: unknown
EARLIEST_DATE: 1927
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Warner 168, "He's Got the Whole World in His Hand" (1 text, 1 tune)
Silber-FSWB, p. 361, "He's Got The Whole World In His Hands" (1 text)
Fuld-WFM, p. 273, "He's Got the Whole World in His Hand"
DT, WHOLWRLD
Roud #7501
RECORDINGS:
Bessie Johnson's Sanctified Singers, "The Whole World in His Hand" (OKeh 8765, 1930; rec. 1929; on Babylon)
File: Wa168
===
NAME: He's the Man for Me
DESCRIPTION: Singer plans to go to the mining areas, marry a rich senorita, wear fine clothes, and live without working. If necessary, he will divorce her and, although morally opposed to it, live by stealing
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: marriage theft clothes nonballad
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "He's the Man for Me" (on LEnglish02)
CROSS_REFERENCES:
cf. "Rosin the Beau" (tune)
NOTES: Pity we don't have keywords "laziness" and "loafing." - PJS
File: RcHtMfM
===
NAME: Healin' Waters
DESCRIPTION: "Healin' waters done move (x2), What's de matter now?" "Healing waters done move (x2), Come to Jesus!" "... Soul gittin' happy now!" "...Hallelujah!"
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, p. 581, "Healin' Waters" (1 text, 1 tune)
Roud #15564
File: LxA581
===
NAME: Health to All True-Lovers, A: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Health to the Company, A (Come All My Old Comrades)
DESCRIPTION: Singer, preparing to emigrate, gives a toast: "Come all my old comrades, Come now let us join, Come blend your sweet voices in chorus with mine.... So here's a health to the company, and one to my lass... For we may and might never all meet here again."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord); Ord claims a report from 1836
KEYWORDS: emigration drink farewell
FOUND_IN: Canada(Mar) Britain(Scotland) Ireland
REFERENCES: (6 citations)
Creighton/Senior, pp. 222-223, "Come All My Old Comrades" (2 texts, 1 tune)
Creighton-NovaScotia 59, "Come All Ye Old Comrades" (1 text, 1 tune)
Ord, pp. 350-351, "The Emigrant's Farewell to Donside" (1 text plus sundry stanzas, 1 tune)
Tunney-StoneFiddle, p. 172, "Kind Friends and Companions" (1 text, 1 tune)
Morton-Ulster 50, "We May and Might Never All Meet Here Again" (1 text, 1 tune)
DT, HLTHCOMP*
Roud #1801
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "The Parting Song" (on SCStewartsBlair01)
NOTES: There is a broadside, NLScotland, L.C.Fol.70(41b), "Drink and be Merry, or The Bold 42!," (There was a puir lassie, I pity her lot"), Poet's Box (Dundee), c. 1890, which has this chorus, but the rest is about a girl saying goodbye to a soldier off to the wars. It's not clear which is earlier, but the broadside is quite commonplace. - RBW
File: CrSe222
===
NAME: Hear Dem Bells!
DESCRIPTION: "All day I works in de cotton an' de corn... Waiting for Gabriel to blow his horn, So I won't have to work any more." "Hear dem bells -- oh, don't you hear dem bells? Dey's ringing out de glory of de dawn." "I sings and shouts wid all my might."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 229, "Hear Dem Bells!" (1 text)
File: ScNF229A
===
NAME: Hear that Rumbling
DESCRIPTION: "(Hear/I heard) that (rumbling/lumbering) (up/down) in the (ground/sky)." With many variants and floating material, the listener is told to reform, asked to pray for the singer, admonished to wait for Jesus, etc.
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 577, "Hear that Rumbling (I Heard a Mighty Rumbling)" (2 texts plus a fragment)
Roud #11895
File: Br3577
===
NAME: Hearken, Ladies, and I Will Tell You: see Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)
===
NAME: Hearse Song, The: see The Worms Crawl In (File: San444)
===
NAME: Heart of Oak
DESCRIPTION: In praise of the British Navy that can drive off any foe: "Heart of oak are our ships, Jolly tars are our men: We are always ready. Steady, boys, steady, We'll fight and we'll conquer again and again."
AUTHOR: Words: David Garrick/Music: "Dr. Boyce"
EARLIEST_DATE: 1759 ("Harlequin's Invasion")
KEYWORDS: navy sailor patriotic ship nonballad
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Chappell/Wooldridge II, pp. 189-191, "Heart of Oak" (1 text, 1 tune)
DT, HEARTOAK*
ADDITIONAL: C. H. Firth, _Publications of the Navy Records Society_ , 1907 (available on Google Books), p. 220,"Hearts of Oak" (1 text)
CROSS_REFERENCES:
cf. "Bold Hawke" (context of the Battle of Quiberon Bay)
SAME_TUNE:
Liberty (Darling-NAS, p. 340)
NOTES: This may not, at first glance, seem a folk song -- but it is one of Great Britain's leading patriotic songs; Samuel Elliot Morison (_The Oxford History of the American People_, p. 165) notes that "British throats went hoarse bawling out 'Heart of Oak"" in 1759, the year of England's greatest success in the Seven Years' War (Morison quotes the song on p. 170).
It appears that the song and the furor were inspired by the English success at Quiberon Bay, in which Admiral Hawke's British squadron demolished a French fleet and ended any possibility of France invading Britain. (See Arthur Herman, _To Rule the Waves_, p. 290. For Hawke and his various victories, see the notes to "Bold Hawke.")
The song is quite correct in describing British ships as built of oak. Oak was the preferred wood for ships because it resisted rot -- presumably because of the tannic acid found in it. It didn't last forever, but other woods usually wore out sooner; see David Cordingly, _The Billy Ruffian: The _Bellerophon_ and the Downfall of Napoleon_ (Bloomsbury, 2003), p. 18. - RBW
File: ChWII189
===
NAME: Heart that Forms for Love, A
DESCRIPTION: The young man reports that he is tired of the single life. He has seen his love in dreams, but does not know where she is. He describes her looks. He declares he will seek her everywhere: "I'll mount old Barney... And find my Delsenia as soon as I can."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: courting separation dream
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 675, "A Heart that Forms for Love" (1 text)
Roud #7367
NOTES: Randolph conjectures that the proper title of this piece is "A Heart that Yearns for Love." I'd suggest "A Heart that Mourns for Love."
"Delsenia" makes me think of "Dulcinea," as in Don Quixote's girlfriend. Sounds awfully literary for an Ozark Folksong, though. - RBW
File: R675
===
NAME: Hearts of Gold
DESCRIPTION: The sailor compares sea life with that on land. The landlubbers work at the plow, go home at night, and sleep with their wives; the sailors work all hours and face storms. The sailor declares his life is better, and tells the girls to appreciate it
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal from the _Bengal_)
KEYWORDS: sailor work home farming nonballad
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Huntington-Whalemen, pp. 68-70, "Hearts of Gold" (1 text, 1 tune)
Colcord, p. 137, "Sailor's 'Come-All-Ye'" (1 text-quoted from Eckstorm & Smyth's "Minstrelsy of Maine")
Harlow, pp. 219-222, "Edgartown Whaling Song" (1 text)
Roud #2022
File: SWMS068
===
NAME: Heathen Chinese, The
DESCRIPTION: "I've a very sad pitiful story to tell you, Although it's a common one too... But alas! there is no work for a white man to do; They're hiring the Heathen Chinese." The singer tells of his poor family; he will join the Knights of Labor to stop the Chinese
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: labor-movement poverty foreigner
HISTORICAL_REFERENCES: 1869 - Establishment of the Knights of Labor by Uriah S. Stephens
1879 - Terence V. Powderly becomes Grand Master Workman of the Knights, opening membership to the unskilled -- and to minorities
1886 - Haymarket Riot causes the decline of the Knights of Labor
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 233, "The Heathen Chinese" (1 text)
Roud #15777
File: Br3233
===
NAME: Heather Down the Moor (Among the Heather; Down the Moor)
DESCRIPTION: The singer wanders "down the moor" and meets a beautiful girl. He courts her "the live-long day," and she stays with him even as her flocks wander. At the end, she leaves him. He wishes he could find her again and make her his "queen among the heather"
AUTHOR: unknown
EARLIEST_DATE: 1914 (Journal of the Irish Folk Song Society, according Morton-Ulster)
KEYWORDS: love courting beauty separation sheep
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H177, pp. 271-272, "O'er the Moor amang the Heather" (1 text, 1 tune)
Morton-Ulster 3, "Heather on the Moor" (1 text, 1 tune)
OLochlainn-More 6, "Doon the Moor" (1 text, 1 tune)
DT, HTHRMOOR*
Roud #375
CROSS_REFERENCES:
cf. "Queen Among the Heather" (plot, lyrics)
cf. "The Magpie's Nest" (lyrics)
cf. "Banks of Sullane" (theme)
NOTES: This song is very close to "Queen among the Heather" (Kennedy #141, etc.); they have similar plots and occasional common lyrics. There will be versions where it is almost impossible to tell which is which. I thought about listing them as one song.
But on consideration, this song has two characteristics rarely seen in "Queen among the Heather." First, this song tends to follow a complex stanza pattern:
One morn in may, when fields were gay,
Serene and pleasant was the weather.
I chanced to roam some miles from home
Among the bonnie bloomin' heather
   Down the heather
   O'er the moor and through the heather.
   I chanced to roam some miles from home
   Among the bonnie bloomin' heather
   Down the moor.
"Queen among the Heather" usually has simple four-line stanzas.
"Heather down the Moor" also tends to end with the lines
But if I were a king, I would make her a queen,
The bonnie lass I met among the heather
Down the moor. - RBW
File: HHH177
===
NAME: Heather Jock
DESCRIPTION: "Heather Jock's noo awa' (x2), The muircock noo may crousely craw, Since Heather Jock's noo away'." Jock can hide anywhere, and steal anything; bad from his youth, he also plays music on the sabbath. Now he is caught and on his way to Botany Bay
AUTHOR: credited by Ford to Dr. James Stirling
EARLIEST_DATE: 1899 (Ford)
KEYWORDS: thief transportation
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (3 citations)
SHenry H39, pp. 123-124, "Heather Jock" (1 text, 1 tune)
Ford-Vagabond, pp. 131-135, "Heather Jock" (1 text, 1 tune)
GreigDuncan2 255, "Heather Jock" (1 text, 1 tune)
Roud #2339
BROADSIDES:
NLScotland, L.C.Fol.178.A.2(093), "Heather Jock," unknown, c. 1875; also L.C.Fol.70(132b), c. 1890
NOTES: The tune here is not quite "Bobby Shaftoe" (or relatives such as "Katie Beardie"), but it sounds to me as if it might be derived from that type.
Even though Jock was apparently a scourge of the community, you can't help but feel that the singer admired him.
Ford gives extensive notes regarding John Ferguson, who reportedly inspired the song. He is said to have been placed on trial in 1812 and transported for life, primarily for stealing cattle.  - RBW
File: HHH039
===
NAME: Heathery Hills, The
DESCRIPTION: "I mind it well, and I see it yet" The singer recalls past days meeting Rory on the Heathery Hill. She misses her mother and her father's fields. "The city holds no pleasure" and she would give it up for a summer eve with Rory on the Heathery Hill.
AUTHOR: Ethna Carbery (Mrs. Seamus MacManus, Anna Johnston) (1866-1902) (source: _A Celebration of Women Writers_ on the University of Pennsylvania Library site)
EARLIEST_DATE: 1906 (Ethna Carbery, _The Four Winds of Erinn_, according to _A Celebration of Women Writers_ on the University of Pennsylvania Library site)
KEYWORDS: homesickness love separation lyric nonballad lover mother
FOUND_IN: Ireland Britain(Scotland(Bord))
REFERENCES: ()

Roud #5295
RECORDINGS:
Brigid Tunney, "The Heathery Hills" (on IRTunneyFamily01)
NOTES: IRTunneyFamily01: Brigid Tunney explains that she learned the song from her sister; it was among the songs she learned in Glasgow and brought back to Ireland on her annual return. - BS
According to Patrick C. Power, _A Literary History of Ireland_ (Mercier, 1969), p. 160, Ethna Carbery, a native of Belfast, took Donegal as her theme; her "fame rests on one volume alone -- _The Four Winds of Erinn_. This was published posthumously in 1902. She essentially belongs to the nationalistic ballad tradition which goes back to the _Nation_ writers."
According to Kathleen Hoagland, _1000 Years of Irish Poetry_, p. 775, Carbery's true name was Anna Johnston McManus. (I have no idea why she needed a pen name after her death.) Her one song work well-known in folk circles is "Roddy McCorley." - RBW
File: RcHeaHil
===
NAME: Heave and Go, My Nancy O
DESCRIPTION: Capstan shanty. "Come all ye jolly sailors bold. Heave and go, my Nancy O! Listen till my tale is told. Heave and go, my Nancy O!" English version of a Danish shanty. No particular story line to the verses, but some make reference to Danish place names.
AUTHOR: unknown
EARLIEST_DATE: 1888 (L. A. Smith, _Music of the Waters_)
KEYWORDS: shanty sailor foreignlanguage
FOUND_IN: Denmark Britain
REFERENCES: (1 citation)
Hugill, p. 319, "Heave and Go, My Nancy O" (1 text)
ALTERNATE_TITLES:
Om Dannebrog Man Ved
NOTES: This was quoted from L.A. Smith's _Music of the Waters_ where it was included as a translation of a Danish shanty. It may have some connection with a song that Doerflinger found "Pull Away Now, my Nancy O!" but Smith didn't give a tune. The Danish version was called "Om Dannebrog Man Ved." - SL
File: Hugi319
===
NAME: Heave Away (I): see Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go) (File: Doe062)
===
NAME: Heave Away (II): see Heave Away, Me Johnnies (File: Doe063)
===
NAME: Heave Away (III): see Heave Away, Boys, Heave Away (I) (File: Hugi308)
===
NAME: Heave Away Cheerily
DESCRIPTION: Chorus: Sing me lads cheerily, Heave me lads cheerily, Heave away cheerily o-ho! For the gold that we prize an' for sunnier skies, away to the south'ard we go!"
AUTHOR: unknown
EARLIEST_DATE: 1912 (JFSS)
KEYWORDS: shanty money
FOUND_IN: Britain US
REFERENCES: (2 citations)
Harlow, pp. 43-46, "Heave Away Cheerily" (1 text, 1 tune)
Hugill, pp. 310-311, "Heave Away Cheerily O!" "As Off to the South'ard We Go" (2 texts, 2 tunes) [AbEd, pp. 232-233]
Roud #932
ALTERNATE_TITLES:
Off to the South'ard We Go
NOTES: Hugill gives the second text, "As Off to the South'ard We Go," as a variant of "Heave Away Cheerily" and quotes it from vol. 5 of the _Journal of the Folk Song Society_ where was taken down by a Mr. Piggot from the singing of shantyman J. Perring of Dartmouth in 1912. - SL
File: Hugi310
===
NAME: Heave Away, Boys, Heave Away (I)
DESCRIPTION: Shanty. "Heave away, heave away, for the merchant's money, Ch: Heave away boys, heave away!" Verses mostly about money, "Heave away for the buckra's silver," etc...
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill); the Allen/Ware/Garrison version is from 1867 but might be any of several "Heave Away" songs
KEYWORDS: shanty worksong money
FOUND_IN: West Indies
REFERENCES: (2 citations)
Hugill, p. 308, "Heave Away, Boys, Heave Away" (2 texts, 2 tunes; the "a" text is this piece; "b" is "Heave Away, Boys, Heave Away (II)") [AbEd, pp. 230-231]
Allen/Ware/Garrison, p. 61, "Heave Away" (1 short text, 1 tune)
NOTES: Hugill says this (and the other "Heave Away, Boys, Heave Away") are halyard shanties, despite the use of the word "heave" in the chorus. - SL
The easiest way to distinguish the two may be the fact that this one is in 2/4; "Heave Away, Boys, Heave Away (II)" is in 3/4.
The fragment in Allen/Ware/Garrison is so short as to be almost unclassifiable; Roud sticks it in with "Heave Away, Me Johnnies," but that seems to be simply a case of a catchall entry. I classify it here because the form fits better here than elsewhere.
One line in the Allen/Ware/Garrison text occurs occasionally elsewhere: "I'd rather court a yellow gal than work for Henry Clay." Henry Clay was, of course, one of the most important American politicians of the early nineteenth century, who was only fifteen years dead at the time Allen/Ware/Garrison picked up their text. So it might be about him, or perhaps about someone who opposed his presidential ambitions. It might also be about a different Henry Clay.
On the other hand, given that it is a sea song, there is a possibility that the line should not read "for Henry Clay," but rather "on the Henry Clay," referring to one of the ships by that name.  - RBW
File: Hugi308
===
NAME: Heave Away, Boys, Heave Away (II)
DESCRIPTION: Shanty. "Oh I love the sailor an' the sailor loves me. Heave away, boys, heave away! He comes to my window ev'ry mornin' at three. Heave away, boys, heave away."
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
LONG_DESCRIPTION: Shanty. "Oh I love the sailor an' the sailor loves me. Heave away, boys, heave away! He comes to my window ev'ry mornin' at three. Heave away, boys, heave away." Verses all nonsense rhymes with some typical floating verses, i.e. "when I was a young man well in me prime, I'd love them yaller gals two at a time."
KEYWORDS: shanty worksong nonsense
FOUND_IN: West Indies
REFERENCES: (1 citation)
Hugill, p. 309, "Heave Away, Boys, Heave Away" (2 texts, 2 tunes; the "b" text is this piece; "a" is "Heave Away, Boys, Heave Away (II)") [AbEd, p. 231]
NOTES: Hugill says this (and the other "Heave Away, Boys, Heave Away") are halyard shanties, despite the use of the word "heave" in the chorus. - SL
The easiest way to distinguish the two may be the fact that this one is in 3/4; "Heave Away, Boys, Heave Away (I)" is in 2/4. - RBW
File: Hugi309
===
NAME: Heave Away, Me Johnnies
DESCRIPTION: Shanty. Characteristic line: "Heave away, me johnnies/jollies, heave away, ay!" The sailor lists some of the ports the ship has been sent to, but now rejoices to be returning to (Liverpool) and its girls.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Doerflinger)
KEYWORDS: shanty
FOUND_IN: US(MA) Canada(Newf)
REFERENCES: (8 citations)
Doerflinger, pp. 61-64, "Heave Away" (3 texts, 1 tune, but only the last text goes with this piece; the others are "Yellow Meal")
Colcord, pp. 93-94, "Heave Away" (1 text, 1 tune)
Harlow, pp. 14-17, "Heave Away My Johnnies" (2 texts, 2 tunes)
Hugill, pp. 303-308, "Heave Away, Me Johnnies" (3 texts, 3 tunes) [AbEd, pp. 226-230]
Sharp-EFC, XXVI, p. 30, "Heave Away, My Johnny" (1 text, 1 tune)
Lehr/Best 49, "Heave Away!" (1 text, 1 tune)
DT, HEAVJHN* HEAVEJH2*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "We're All Bound Away" is in Part 1, 7/14/1917.
Roud #616
CROSS_REFERENCES:
cf. "Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go)" (tune, meter, chorus)
cf. "Yellow Gals (Doodle Let Me Go)" (style)
ALTERNATE_TITLES:
We're All Bound to Go
NOTES: This song is probably identical in origin to "Yellow Gals (Doodle Let Me Go)," and perhaps also akin to "Yellow Meal." As, however, those songs have taken on a completely separate plot, I treat them separately. - RBW
File: Doe063
===
NAME: Heave Away, My Johnny (I): see Heave Away, Me Johnnies (File: Doe063)
===
NAME: Heave Away, My Johnny (II): see Hieland Laddie (File: Doe050)
===
NAME: Heave Her Up and Bust Her
DESCRIPTION: "The St. Clair River is thirty miles long, Heave 'er up, lads, Heave 'er high, An' we'll set our canvas to this merry song, Heave 'er up and bust her." The sailors head for Lake Huron, talking about the tasks of sailing the lakes
AUTHOR: unknown
EARLIEST_DATE: before 1963 (Walton collection)
KEYWORDS: sailor river
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 45-46, "Heave Her Up and Bust Her" (1 text)
File: WGM045
===
NAME: Heave, My Boys, Away
DESCRIPTION: Shanty. "Walk 'er round for we're rollin homeward. Heave me boys together! The bully ol' ship is a-lyin windward, Heave me boys away!" Verses have simple rhymes on sailing themes. Full ch: "Heave 'er an' we'll break 'er, For the old ship's a-rollin home"
AUTHOR: unknown
EARLIEST_DATE: 1904 (Bradford & Fagge, _Old Sea Chanties_)
KEYWORDS: shanty ship sailor
FOUND_IN: Scandinavia Britain
REFERENCES: (1 citation)
Hugill, pp. 528-529, "Heave, My Boys, Away" (1 text, 1 tune) [AbEd, pp. 384-385]
CROSS_REFERENCES:
cf. "Hob-y-derri-dando" (very similar tune)
ALTERNATE_TITLES:
Capstan Bar
NOTES: Hugill learned this from Swedish sailors, and says he has no idea how popular it was in British ships. - SL
File: Hugi528
===
NAME: Heaven Bell a-Ring
DESCRIPTION: "My Lord, my Lord, what shall I do? And a heaven bell ring and praise God." "What shall I do for a hiding place?" "I run to the sea, but the sea run dry." God's promises to the faithful are briefly summarized; listeners are advised to listen
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Allen/Ware/Garrison, p. 20, "Heaven Bell A-Ring" (1 text, 1 tune)
Darling-NAS, pp. 322-323, "Heaven Bell a-Ring" (1 text)
Roud #12065
CROSS_REFERENCES:
cf. "Sinner Man" (lyrics)
File: DarNS32
===
NAME: Heaven Bells, The
DESCRIPTION: "O Mother, I believe (x3) That Christ was crucified." "Oh, don't you hear the heaven bells a-ringing over me? A-ringing over me? Oh, don't you hear the heaven bells a-ringing over me? It sounds like judgment day."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 79, "The Heaven Bells" (1 text, 1 tune)
Roud #12040
File: AWG079
===
NAME: Heaven is a Beautiful Place (I)
DESCRIPTION: "Heaven is a beautiful place, I know (x2), If you want to go to heaven on time, Sure got to plumb the line." "Ain't no sorrow in heaven I know...." "Ain't no (murders/gamblers/etc.) in heaven...." ""Loving union in heaven I know...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 579, "Heaven Is a Beautiful Place" (2 texts, but only "A" is this piece; "B" is "Heaven is a Beautiful Place (II)")
Roud #11830
CROSS_REFERENCES:
cf. "Heaven is a Beautiful Place (II)" (lyrics)
NOTES: The editors of Brown saw fit to lump the two "Heaven is a Beautiful Place" songs, but while they share the "Heaven is a beautiful place... If you want to go to heaven on time" stanza, the rest seems quite distinct; version (I) is a description of heaven; version (II) is mostly about Elisha. - RBW
File: Br3579A
===
NAME: Heaven is a Beautiful Place (II)
DESCRIPTION: "Elisha has done and seen the beautiful place. Heaven is a lovely place I know, I know." "Elisha done seen the sight, And said he didn't need any light. He has gone on to Heaven to rest. Heaven is a beautiful place, I know."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Bible nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 579, "Heaven Is a Beautiful Place" (2 texts, but only "B" is this piece; "A" is "Heaven is a Beautiful Place (I)")
Roud #11830
CROSS_REFERENCES:
cf. "Heaven is a Beautiful Place (I)" (lyrics)
NOTES: The editors of Brown saw fit to lump the two "Heaven is a Beautiful Place" songs, but while they share the "Heaven is a beautiful place... If you want to go to heaven on time" stanza, the rest seems quite distinct; version (I) is a description of heaven; version (II) is mostly about Elisha.
It's not at all clear to me why Elisha is singled out in this song; he reported no visions of heaven, and it was Elijah, not Elisha, who was carried up into heaven (2 Kings 2). Elisha simply died and was buried in an ordinary manner (2 Kings 13).
It's true that Elisha was responsible for an astonishing number of miracles (including one after his death) -- but they were not really *inspiring* miracles; the result reads almost like a Davy Crockett story, but with miracles rather than animals: Where Davy might kill a bear and defeat a wildcat, Elisha would cure a leper and feed a multitude.... - RBW
File: Br3579B
===
NAME: Heavenly Aeroplane, The
DESCRIPTION: "One of these days about twelve o'clock... The sinner's going to tremble and cry with pain And the Lord will come in his aeroplane." Jesus will take the saved on a very smooth, easy passage to heaven in the aeroplane.
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: religious pilot technology Jesus travel
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Thomas-Makin', pp. 214-215, "The Aeroplane Song" (1 text)
Randolph 660, "The Heavenly Aeroplane" (1 text)
Roud #7384
File: R660
===
NAME: Heavenly Sunlight (Heavenly Sunshine)
DESCRIPTION: A hymn praising Jesus who allows us to "Walk... in sunlight all of my journey" and who will never forsake us. Chorus: "Heavenly sunlight (x2) / Flooding my soul with glory divine / Hallelujah, I am rejoicing / Singing his praises, Jesus is mine"
AUTHOR: words: George H. Cook / music: Henry J. Zelley
EARLIEST_DATE: 1899
KEYWORDS: religious nonballad
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 80, "Heavenly Sunshine" (1 text, 1 tune, combined with #81, "My Lord Knows the Way")
ST FSC080 (Partial)
NOTES: Not to be confused with the Carter Family song "Sunshine in the Shadows" or "Sunshine in the Mountains," which is also properly titled "Heavenly Sunshine." - RBW
File: FSC080
===
NAME: Heavy-Hipped Woman (Black Gal II)
DESCRIPTION: "Quit yo' long-time talkin' bout yo' heavy-hipped woman, she done gone, she done gone." "My woman, she keeps on grumblin', Bout a new pair of shoes." Verses about poverty, work, prison, courting, a runaway woman, almost anything else.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: courting work prison railroading hardtimes poverty courting separation loneliness floatingverses
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Lomax-ABFS, pp. 13-14, "Heavy-Hipted Woman" (1 text, 1 tune)
DT, HEAVYHIP*
Roud #6714
CROSS_REFERENCES:
cf. "Black Gal (I)" (lyrics)
NOTES: Since this is one of those wonderful Lomax accumulations of unrelated verses (from, e.g. "Take This Hammer"/"Swannanoah Tunnel"), it's hard to tell what the real story of this song is. I hope you can identify its relatives....
For a while I lumped this with "Black Gal (I)"; this follows Roud. But "Black Gal (I)" has a much stronger plot than this, which is mostly a complaint song. I suspect that song may have inspired this, but I would now consider them distinct. - RBW
File: LoF294
===
NAME: Hebrew Children, The: see Where Is Old Elijah? (The Hebrew Children, The Promised Land) (File: San092)
===
NAME: Hector MacDonald
DESCRIPTION: Hector joins the army and defeats Afghans in Kandahar. At Omdurman "in his great roll of glory It added the crown to his wide-world fame." "Now the great soldier's brave soul has departed ... he died broken hearted"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan1)
KEYWORDS: battle death Africa nonballad soldier
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 141, "Hector MacDonald" (1 text)
Roud #5774
NOTES: GreigDuncan1: "Hector Macdonald (1853-1903) became a hero in Britain, and particularly in Scotland, following the spectacular part he played in the battle of Omdurman fought in the Sudan on 2 September 1898. He shot himself when about to be court-martialled on a charge which has never been divulged but is presumed to have been one of homosexuality."
For an account of MacDonald's part on September 2 see Winson Churchill, _The River War_ (London, 1997), pp. 209-218. Churchill: "All depended on MacDonald, and that officer, who by valour and conduct in war had won his way from the rank of a private soldier to the command of a brigade, was equal to the emergency" [p. 215]. See also Wikipedia article _Battle of Omdurman_ - BS
Byron Farwell, _Queen Victoria's Little Wars_, 1972 (I use the 1985 Norton edition), p. 207. says that MacDonald first came to be noticed two dozen years before his death, in Afghanistan. As Lord Roberts traveled with a small escort in 1879, his force was attacked by Afghans. "In the sharp engagement that followed, Roberts was struck by the bravery and leadership shown by a colour sergeant of the 92nd. His name was Hector MacDonald and during the course of the action one of his men had called out to him, 'We'll make ye an officer for this day's work, Sergeant!' And another added, 'Aye, and a general too!' Roberts gave MacDonald a battlefield commission...."
He certainly didn't seem destined to be an officer in the very class-conscious British army, being a draper's assistrant who had run away from home to become a soldier (Farwell, p. 247). And, indeed, he was more than nine years in the ranks before his promotion, and was still only a lieutenant in 1881, when he fought at Majuba Hill (for which see the song of that name). MacDonald was so determined that, once all else had failed, he actually fought the Boers with his fists, but finally was taken prisoner (Farwell, p. 250). Soon after, he was selected by General Evelyn Wood to be one of the two dozen officers Wood took to Egypt to rebuild the Egyptian army (Farwell, p. 282).
Initially he served as a battalion commander of Sudanese troops (Farwell, p. 332) -- another job looked down on by the snobs. He seems to have been known at this time as "Fighting Mac" (Farwell, p. 333). In 1898, as Kitchener went to fight in Sudan, Macdonald (then a colonel) was given command of a brigade of local troops (Farwell, p. 334). The Battle of Omdurman came about because Kitchener, without knowing it, planned to march across the front of a major force of dervishes. MacDonald was rather far from the main body when the Africans attacked. He calmly swung his brigade to face them, and beat off a force estimated at 20,000 (Farwell, p. 338). Farwell credits MacDonald solely with the victory; he thinks Kitchener botched his part.
Other battles in which Macdonald served included Gemaizah, Toski, Tokar, Firket, and Hafir (Farwell, p. 334).
"The fate of the crofter's son was [sad]. Macdonald further distinguished imself in the Boer War and he eventually became a major-general, but in 1903, while commanding the British forces in Ceylon, he was charged with being a practicing homosexual. He went to London to defend himself, but was ordered back to Ceylon to face a court of inquir. He got no further than Paris. There in a hotel room this officer, so brave under the fire of Afghans, Dervishes and Boers, shot himself" (Farwell, p. 338).
MacDonald would have been 61 in 1914 -- still young enough, probably, for field service. I can't help but wonder what would have happened if he, rather than the excitable John French (one year older) or the unimaginative Douglas Haig (eight years younger) had commanded the British in France. - RBW
File: GrD1141
===
NAME: Hedgehog, The: see Three Jolly Huntsmen (File: R077)
===
NAME: Hedger and Ditcher: see My Father's a Hedger and Ditcher (Nobody Coming to Marry Me) (File: BrII185)
===
NAME: Hedger, The: see Jolly Thresher, The (Poor Man, Poor Man) (File: R127)
===
NAME: Heel and Toe Polka
DESCRIPTION: Descriptions of how to dance the polka and other dances: "First the heel And then the toe And that's the way the polka goes." Or, "Heel and toe, we always go," etc. Similarly, "First the toe and then the heel, That's the way to dance a reel."
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: dancing nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Montgomerie-ScottishNR 110, "(First the heel)" (1 text, with the curious tag line "And we'll meet Johnnie Cope in the morning"!)
Roud #7932
File: MSNR110
===
NAME: Heelin' Bill
DESCRIPTION: "Contestants galore and fans by the score Set roostin' the gates of Saint Pete...." The various rodeo riders who have died are recalled. Finally we see "amongst them all, on old Fireball, There set ol' Heelin' Bill."
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: cowboy death recitation moniker
HISTORICAL_REFERENCES: 1937 - Death of Pete Knight
1950 - Death of "Heelin'" Bill Nix
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 36, "Heelin' Bill" (1 text)
NOTES: The number of famous bronc riders listed in this song probably tells us something about the profession.... - RBW
File: Ohr036
===
NAME: Heenan and Sayers [Laws H20]
DESCRIPTION: Heenan travels from America to fight the British boxers. Sayers draws first blood, but Heenan is ahead after thirty-seven rounds, and the British stop the fight
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: fight injury
HISTORICAL_REFERENCES: April 17, 1860 - Boxing match between John C. Heenan and Tom Sayers
Events mentioned in some versions of the song:
c. 1541-1596 - Life of Sir Francis Drake
June 17, 1775 - Battle of Bunker Hill (fought on Breed's Hill, and won by the British, though at heavy cost)
Oct 19, 1781 - Cornwallis surrenders at Yorktown
Sapt 10, 1813 - Perry defeats the British at the Battle of Lake Erie
FOUND_IN: US(MA,MW,NE) Ireland Australia
REFERENCES: (9 citations)
Laws H20, "Heenan and Sayers"
Rickaby 49, "Heenan and Sayers" (2 texts)
Dean, pp. 24-25, "Heenan and Sayers" (1 text)
Warner 9, "The British-American Fight" (1 text, 1 tune)
O'Conor, pp. 76-77, "Heenan and Sayers" (1 text)
Fahey-Eureka, pp. 214-215, "Heenan and Sayers" (1 text, 1 tune, "reconstructed" by the collector)
Kennedy 321, "Heenan and Sayers" (1 text, 1 tune)
OLochlainn-More, pp. 253-255, "Heenan and Sayers" (1 text, tune referenced; OLochlainn 26)
DT 679, HEENSAYR
Roud #2148
CROSS_REFERENCES:
cf. "The Whole Hog or None" (subject)
cf. "Donnelly and Cooper" (subject, tune)
cf. "Morrissey and the Black" (subject)
cf. "Morrissey and the Russian Sailor" (tune, subject)
cf. "Morrissey and the Benicia Boy" (subject)
ALTERNATE_TITLES:
The Bold Benicia Boy
NOTES: John C. Heenan (Johnny Morrissey's last opponent) was born in New York but was called "the Benicia Boy" after Benicia, California, where he lived during his late teens. His match with Tom Sayers, which was stopped after 42 rounds, is said to have been the last of the (official) bare-knuckle boxing matches.
Tom Sayers was so successful as a boxer that his ability to land a blow had already entered the realm of proverb at the time of the Crimean War.
If you are wondering about all those historical references which appear to have nothing to do with the Heenan/Sayers fight, they are all appropriate to the Warner text, sung by "Yankee" John Galusha. This text is so distinct from all other "Heenan and Sayers" versions I've seen that I am tempted to list it as its own song. But it does have some common lyrics; it probably doesn't deserve a separate listing. - RBW
[Abraham Lincoln Papers] at the Library of Congress American Memory site: "Outside of the politicians there is in this city very little care or talk about party or candidates.  Heenan & Sayers eclipsed the Charleston Convention ..." Letter from Orville H. Browning to Abraham Lincoln, June 29, 1860, re prospects in Pennsylvania.
America Singing at the Library of Congress American Memory site does not have this ballad but has eight other distinct ballads about Heenan and Sayers:
LOCSinging, as201320, "Heenan the Champion of the World," H. De Marsan (New York), 1864-1878; also sb20189b, "Heenan, Champion of the World"
LOCSinging, as201310, "Heenan the Champion of the World," H. De Marsan (New York), 1864-1878; also sb20189a, "Heenan the Champion of the World"
LOCSinging, as100200, "The American Eagle and British Lion" or "Yankee Heenan and English Sayers," unknown, n.d.
LOCSinging, sb20171a, "Happy Land of Canaan," H. De Marsan (New York), 1864-1878; also cw102250, "Happy Land of Canaan"
LOCSinging, sb20170a, "Happy Land of Canaan," H. De Marsan (New York), 1861-1864; also cw102250, "Happy Land of Canaan"
LOCSinging, sb10143b, "Great Champion Prize Fight," H. De Marsan (New York), 1864-1878
LOCSinging, sb20190b, "Heenan the Pride of America," H. De Marsan (New York), 1864-1878
LOCSinging, sb10021a, "Ballad in Answer to Sayers, England's Pride," H. De Marsan (New York), [imprint: 1860] [before the fight]
Bodleian Library site Ballads Catalogue does not have this ballad but has six others about Heenan:
Bodleian, Firth b.25(587/588)[could not be downloaded], "A New Song on Heenan and King," J.F. Nugent & Co. (Dublin), 1850-1899
Bodleian, Harding B 18(234),"Heenan the Champion of the World" (New York), H. De Marsan (New York), 1864-1878
Bodleian, Harding B 18(235),"Heenan the Pride of America," H. De Marsan (New York), 1864-1878 attributed to A. Scott
Bodleian, Firth c.19(19),"The English Prize-Fighter and the American Champion," J.F. Nugent & Co. (Dublin), 1850-1899 about the fight with Sayers
Bodleian, Harding B 26(247),"Heenan's Arrival in England," unknown, n.d. before the fight with Jem Mace
Bodleian, Harding B 19(62),"Heenan's Challenge to Mace," unknown, n.d.; 2806 c.15(229),"Heenan's Challenge to Mace" before the fight with Jem Mace
Broadside H. De Marsan dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site.
Broadsides LOCSinging as201320 and Bodleian Harding B 18(234) are duplicates, [as are] broadsides LOCSinging sb20190b and Bodleian Harding B 18(235). - BS
File: LH20
===
NAME: Heezh Ba: see Rock-A-Bye Baby (File: Wa190)
===
NAME: Heifer, The
DESCRIPTION: The heifer, a fabulous creature "with horns upon her heels," does incredible damage till the owner determines to sell her. She begs that she not be killed; she is the spirit of Lord Leitrim. The company determines to blow up the heifer
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: animal Devil commerce humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H675, pp. 24-25, "The Heifer" (1 text, 1 tune)
Roud #13347
NOTES: I'm sure this is political in some sense or other, but I can't tell the nature of the beast. - RBW
File: HHH675
===
NAME: Heights at Alma, The: see The Heights of Alma (I) [Laws J10] (File: LJ10)
===
NAME: Heights of Alma (I), The [Laws J10]
DESCRIPTION: The British and French land outside Alma. They attack and rout the Russians (most versions give the primary credit to the British,and especially the Scots), forcing them back to Sevastopol. Both sides suffer heavy casualties
AUTHOR: James Maxwell?
EARLIEST_DATE: 1904 (Ford); c.1854 (broadside, NLScotland RB.m.143(159))
KEYWORDS: war battle patriotic
HISTORICAL_REFERENCES: Sept 14, 1854 - Anglo-French landing near the mouth of the Alma
Sept 20, 1854 - Battle of Alma. The allies win an expensive victory over the Russians
FOUND_IN: Britain(Scotland) US(MW) Canada(Mar,Newf,Ont) Ireland
REFERENCES: (13 citations)
Laws J10, "The Heights of Alma"
Ford-Vagabond, pp. 249-251, "The Heights of Alma" (1 text, 1 tune)
GreigDuncan1 158, "The Battle of Alma" (1 fragment)
SHenry H123, p. 90, "The Heights of Alma" (1 text with variants, 1 tune)
Gardner/Chickering 90, "The Heights at Alma" (1 text, 1 tune)
Peacock, pp. 1000-1001, "The Heights of Alma" (1 text, 1 tune)
Creighton-NovaScotia 67, "Battle of Alma" (1 text, 1 tune)
Creighton-Maritime, pp. 148-149, "Battle of Alma" (2 texts, 1 tune)
Leach-Labrador 55, "The Battle of Alma" (1 text, 1 tune)
Mackenzie 74, "The Heights of Alma" (1 text)
Manny/Wilson 73, "The Heights of Alma" (1 text, 1 tune)
Dean, pp. 40-41, "The Heights of Alma" (1 text)
DT 394, HGHTALMA*
Roud #830
RECORDINGS:
O. J. Abbott, "The Heights of Alma" (on Abbott1)
BROADSIDES:
Bodleian, Johnson Ballads 2336, "The Battle of Alma" ("You loyal Britons pray draw near"), unknown, n.d.; also Harding B 26(41)[faded to almost total illegibility], Firth c.14(47)[faded to almost total illegibility], "The Battle of Alma"; Harding B 19(88), 2806 b.9(245), "Bloody Alma"
Murray, Mu23-y1:116, "The Battle of Alma," James Lindsay (Glasgow), 19C
NLScotland, RB.m.143(159), "The Battle of Alma," unknown, c.1854
CROSS_REFERENCES:
cf. "The Victory Won at Richmond" (meter, lyrics)
cf. "The Waggoner" (meter, lyrics)
cf. "The Kilties in the Crimea" (subject)
cf. "Grand Conversation on Sebastopol Arose (I)" (subject: British boasting about the Crimea)
cf. "Grand Conversation on Sebastopol Arose (II)" (subject: Battle of Alma)
NOTES: Bodleian Library site Ballads Catalogue has other broadsides about the battle:
Bodleian, 2806 c.14(62), "We'll Hae Nane but Hielan' Bonnets Here!" ("Alma field of heroes, hail!"), unknown, n.d.
Bodleian, Harding B 26(43), "Battle of Alma" ("Oh boys have you heard of the battle, the allies have gained on the shore"), J. Harkness (Preston), 1840-1866; Harding B 12(246), "Battle of Alma"
Bodleian, Harding B 26(42), "The Battle of Alma" ("Come all you true-bred Irishmen, and listen unto me"), unknown, n.d.
Manny/Wilson: "[This version] differs in words and tune from any published version we have seen. It may possibly have been altered by Jared MacLean [the singer] himself." This version does share two verses with Mackenzie 74; lacking Mackenzie's chorus it still has the same pattern and seems close enough to me for this to be considered Laws J10. 
GreigDuncan1 has the one verse augmented by "Hey, Menschikoff, are ye waukin' yet? Sebastapol bells, are ye ringing yet? Gin ye were waukin, I wad wait, An' meet ye on the banks o' Alma" and sung to the tune of "Johnny Cope." - BS
The Crimean War probably doesn't set a record for strange beginnings (there was, after all, the War of Jenkins's Ear), but it came close: It started with a conflict over who had keys to which rooms in churches in the Holy Land (see Binkley, pp. 168-171; for references, see the Bibliography at the end of this note). But this involved politics in the Ottoman and Russian Empires plus the various Catholic states, and that meant Napoleon III was involved, and the British were trying to reform the Ottoman Empire, and mash it all up, and you ended up with a war.
A singlularly inefficient war. The Russians were fighting the Turks by 1853. Britain and France allied with the Turks in March 1854, and sent off their armies to the east. "An Anglo-French expeditionary force appeared at Varna in June to drive out the Russians, but the Russians had already gone. Without even seeing the enemy the expeditionary force lost a fourth of its numbers through sickness" (Binkley, p. 174).
Finally, in the fall of 1854, the allies managed to locate some real live Russians in the Crimea, and set out to attack them.
The English commander was Lord Raglan, who had fought against Napoleon forty years earlier (and had lost an arm; see Woodham-Smith, p. 131), but he was now 65 years old and perhaps lacking in initiative (Woodham-Smith, p. 156).
According to Hibbert, p. 2, he was so like the Duke of Wellington that they were sometimes thought to be father and son (they differed by about twenty years in age). After brief service as a very junior officer, Lord Fitzroy Somerset, as he was then known, joined Wellington's staff, and served on it for some forty years, until Wellington died.
His life was amazingly limited. Hibbert, pp. 4-5, reports these traits: "His private life... was happy and successful, He was devoted to his wife and to his four young chldren. He was not rich, but had enough to spend between three and four thousand a year... He loved hunting and shooting and good food and the company of good-looking women and the pleasures of society. And like so many members of that society he cared little for the changing world outside it. Science and mechanics, which were beginning already to change the whole life of Europe [and the weapons their armies used, and hence military tactics] meant nothing to him. Nor did painting, nor music; nor did books. In fact in the great mass of his private correspondence only once does he mention having read one.... Even politics interested him only when they impinged upon the Army. In the six years that he sat as a High Tory Member for Truro he never once spoke in the House. He nonetheless was made the first Lord Raglan in 1852 (Hibbert, p. 6).
The British didn't really have much choice about picking such inferior commander; all their officers were either ancient or inexperienced or both -- or had earned their experience in India, which made them socially inferior; see  Farwell, p. 69. Plus the British still followed the rule of commission by purchase (Hibbert, p. 8), which was to foist upon then such fools as Lord Lucan and Lord Cardigan of Light Brigade infamy. This lack of competent officers was to cost them dearly in the course of the war. Hibbert, p. 16, says that four officers were considered for command of the expeditionary force -- and that only Raglan was under seventy. Compared to the alternatives, he may actually have been a good choice.
Give Raglan this much credit, at least: It was he who pushed the British army to adopt rifle muskets rather than smoothbores (Hibbert, pp. 18-19). These would utterly change the nature of war, and Raglan probably didn't understand them -- but they were a big advantage to the side that had them, since they had a much greater range than smoothbores, and they could actually hit a target.
To add to Raglan's age and conservatism, and the general incompetence of the British staff system, was the fact that Raglan was sick. Heat and dysentery affected him no less than his men (Hibbert, p. 21) -- and he was older and permanently crippled.
At the beginning of the war, Raglan's failings didn't matter. His stubbornness was important to getting the British and French to actually take action (Hibbert, p. 21), which had the secondary benefit of getting them out of the disease pits of their first landing place near Varna (Hibbert, pp. 29-31). Sadly, that didn't really get the armies to do anything useful; British forces had not coordinated their plans with that of the French under Saint Arnaud. (Liaison between the two forces was terrible -- indeed, even within the armies, commanders were hardly willing to work together. Part of it was political, but most of it was sheer personal jealousy.) This was one of the reasons it took so many months to get the forces actually on their way to the Crimea. To add to the absurdity of it all, the time spent in Bulgaria was completely wasted; no one used the time to gather useful intelligence. The Allies would be going into the Crimea blind (Hibbert, p. 33).
No one had even managed to gather decent information on a landing site; in the end, Raglan and his staff cruised the shoreline north of Sebastopol and simply picked a likely-looking spot (Hibbert, pp. 37-38).
Even the landing was a botch, despite being unopposed; although a buoy had been set out to delimit the British and French landing areas, the buoy somehow moved in the night before the landing, so the French had the entire beach and the British had to take their landing craft and hunt for a new spot to go ashore (Hibbert, p. 40). The landing took place September 14, 1854. By the time the rains began that afternoon, men were already collapsing -- some of them dying -- on the beach due to the stress of trying to travel while sick (Hibbert, p. 41).
When the song says the British troops spent the first night on the "cold, cold ground," it is no less than the truth; their tents had been sent back aboard ship after the landing (Hibbert, p. 42, attributes this to the impossibility of the weary troops to carry them, though I wouldn't be surprised if the staff botched things up again).
The British were so disorganized that it took them four days to get moving; the French had been ready two days earlier. Even after all that waiting, most men were not supplied with water for their canteens -- worsening their problems with the day's heat (Hibbert, p. 45). They also did not have time to cook their rations.
After a cavalry mix-up, the Russians settled in to their position of "enormous strength" on the Alma River. "...the Russsians withdrew from the ridges of Bulganak, and the British army came up on them to advance to bivouac for the night in order of battle. When darkness came the men, most of them too exhausted even to eat, fell to the ground, permitted at last to sleep.... Beyond the river, on steep ridges with rise to a formidable height, an untouched Russian army lay encamped" (Hibbert, p. 51). The troops would also have to cross the Alma, but at this time of the year, the water was low and it was a relatively minor obstacle; there were many fords (Hibbert, p. 54).
It is estimated that the 38,000 Russians faced 65,000 Allies (30,000 French, 26,000 British, and 9,000 Turks fought at the Alma, although both sides were starting to suffer severely from disease, and the European allies didn't let the Turks do much). The allies also had an advantage in armaments: The British forces, as noted, had rifle muskets, while almost all of the Russians still had the old smoothbore muskets, which couldn't hit anything beyond a few dozen yards (Wawro, p. 10).
The battle of Alma took place on September 20, 1854. The Russians occupied a position they thought impregnable, but they left parts of it essentially unoccupied (Woodham-Smith, pp. 180-182; Hibbert, p. 54). The allies marched south toward them; with the French on the right (east), with the sea guarding their flank; the British were on the left, with their left flank in the air (not that the Russians were going to leave their strong position to attack it).
According to Hibbert, pp. 56-57, the French commander St. Arnaud, apparently proposed that the French attack on the seaward side while the British tried to outflank the Russians on the landward side. Lord Raglan did not bother arguing with the sick man, but he didn't exactly do as planned, either.
By good luck rather than coordination, the French and British managed a sort of an attack en echelon (Hibbert, pp. 58-59, blames it on the nearsightedness of a British division commander, who couldn't see what he was doing and drifted off-line). The Russians could have made the British pay by attacking their flank -- but they made no move. Instead, the British advance -- though it stalled for some time, forcing the soldiers to face artillery fire they could not answer (Hibbert, p. 61) -- progressively involved the Russian forces and at last brought extra force into play on the Russian flank, causing it to break. (I'm vastly oversimplifying here, but the see-saw battle that actually happened really requires a map to explain.) Raglan's oblique movement had cost heavy casualties, but had -- potentially -- won the war. (Only to have the victory dissolve in more failure of coordination.)
Casualties figures at Alma are uncertain, particularly since many men were dying of cholera all the while. Initial reports had 1755 Russians killed, 362 British, and 60 French (!). Of these, only the Russian figure is possible. Warner, p. 33, gives figures of 6000 Russians, 2000 British, and French negligible -- though he also quotes a contemporary officer's letter claiming 2000 British and 5000 French casualties (Warner, p. 39), while on p. 40 he lists 342 British soldiers killed while noting that conditions for the injured were so bad that most of them would die and on p. 44 quotes a contemporary as saying there were 1400 French losses including those from disease.
After this much time, no reliable figures will ever be known, but it is a reasonable guess that at least 5000 men died. In any case, battle casualties in the Crimea were a joke; men were dying of disease so fast that many formations just melted away. Disease casualties far outnumbered those caused by fighting.
The song is generally fairly accurate about details: There was a downpour on the night after the landing, the British troops were without tents (the French were better off), meaning that the men did sleep on the ground. They were hardly better off on the day before Alma:  The day the men marched to the Alma was indeed very hot and dry (Woodham-Smith, p. 170). The dry ground above the Alma River was indeed very high and a potentially strong defensive position (I seem to recall reading that at some points it rose 300 feet above the river) -- though it was not fully fortified (Warner, p. 29). The song is wrong about one thing: the landing took place on September 14, not September 18 as found in several versions (the confusion probably came about because, while the army landed starting September 14, it just sat there for four days. The advance toward the Alma began September 18; Hibbert, pp. 44-45).
The comment, "Scottish lads in kilts and hose Were not the last, you may suppose" is nothing less than the truth; according to Alan Palmer, _The Crimean War_, Dorset, 1987 (originally published as _The Banner of Battle_), "To the Russians, Sir Colin Campbell's kilted Black Watch an Cameron Highlanders seemed an irresistable force, 'the savages without trousers,' as the mortally wounded General Karganov alled them with grudging admiration." According to Woodham-Smith, pp. 187-188, it was the Highlanders who won the battle, taking the redoubt that anchored the Russian line despite extremely heavy fire. It was the second time the British had taken the position (the Russians had weakened it by pulling out its artillery, according to Hibbert, p. 70; they had a very strong tradition of not allowing guns to fall into enemy hands), but they had been driven out the first time (due in part to mistaken orders and the almost-standard confusion of battle; Hibbert, p. 72). The Highlanders took it and held it.
The song also says "The shot it flew like wind and rain When we the battery strove to gain." Again, this may be based on an eyewitness report; while crossing the river, a sergeant said many men were "shot down with grape and cannister -- which came amongst us like hail -- while attempting to cross [the Alma]" (Hibbert, p. 66).
Versions of this song give chief credit to different regiments for the victory at Alma; Ford's and Henry's texts mentions the "Thirty-third and the Fusiliers," but chief credit is probably due (as even the Ford and Henry texts imply) to Sir Colin Campbell's Highland Brigade: 42nd Highlanders (Black Watch), 78th Highlanders (Seaforth, though this regiment was not given honours for Alma) and 93rd Highlanders (Sutherland).
The additional stanzas in some of the Sam Henry variants mention "Prince Metchnikoff"; this is General Prince Alexander Sergeievich Menshikov/Menschikov/Menschikoff (1789-1869; the variant spellings of course arise because his name is written in the Cyrillic alphabet, but no source I've checked spells it the way Henry does). He was commander of Russian forces in the Crimea until his recall for reasons of health during the Sebastopol siege. Menshikov proved an utter disaster to the Russians (Warner, p. 42, says that "Raglan was inept, Menshikov was more so"); before the war, he had been sent to the Turks as an ambassador. His orders gave him little leeway to avoid war, but he did nothing to use what leeway he had.
The Henry text says that Menshikov left his coach at Alma. This is not true, but there was a Russian review before the battle, and many fine gentlemen and ladies turned out. Many of them fled, leaving coaches and picnic baskets behind.
Jacques Letoy de Saint Arnaud (1796-1854), who helped put Napoleon III on the French throne and was rewarded with a marshal's baton, was the overall commander of Allied forces in the battle, but this wasn't much to his credit; Raglan's movement, which was expensive but which won the battle, was against his orders.
Saint Arnaud did not die in combat at Alma, as the Henry text implies; instead, he was sick (one source suggests heart disease and cholera, another stomach cancer) at the time of the engagement, and died nine days later.
His timing was abominable. Had the allies moved straight on Sebastopol after winning at Alma, they might have taken it by siege -- but Saint Arnaud and others delayed things (Woodham-Smith, p. 191), and then wasn't around to straighten things out; the invaders instead tried a flank march around an army that was too disorganized even to have a flank at this time (Woodham-Smith, p. 192). The delay would cause great misery, at Balaclava, Inkerman, Sebastopol, and all the lands around, where men died of cholera, bad food, and all the other ills that plagued the ill-supplied Crimean armies.
Sam Henry twice credits this song to James Maxwell (fl. 1870), a schoolteacher from near Dungiven, to whom he credits several other songs. I'm not particularly confident of this; the other two Maxwell songs ("Adieu to the Banks of the Roe" and "Dungiven Priory Church") are poor pieces, different in style and quality, with no such historical allusions. I suppose Maxwell could have been a One Hit Wonder, but I'd like better proof of authorship.
Whoever the author was, he appears to have had access to Raglan's remarks on the battle; Raglan spoke of "the hill opposite, over which the Russians fled, quite thick with dead and wounded... the work of the Highland Brigade."
For further information about the Crimean War and the Sebastopol campaign, see "The Famous Light Brigade."
We might also note that "Alma" gives strong evidence of being molded on some earlier piece, though I haven't managed to locate such an exemplar. Neither does Laws mention such a piece. But the fact that the Alma form was used for "The Victory Won at Richmond" (1860s) and "The Waggoner" (internally dated to some time prior to 1840) clearly implies the existence of a "proto-Alma" ballad.
>>BIBLIOGRAPHY<<
Binkley: Robert G. Binkley, _Realism and Nationalism 1852-1871_ (Harper, 1935; I used the 1963 reissue)
Farwell: Byron Farwell, _Queen Victoria's Little Wars_ (1972; I used the 1985 Norton edition)
Hibbert: Christopher Hibbert, _The Destruction of Lord Raglan_, (1961; I used the 1999 Wordsworth edition)
Palmer: Alan Palmer, _The Crimean War_ (originally published as _The Banner of Battle_), Dorset, 1987
Warner: Philip Warner, _The Crimean War: A Reappraisal_ (1972; I used the 2001 Wordsworth edition)
Wawro: Geoffrey Wawro, _The Austro-Prussian War: Austria's War with Prussia and Italy in 1866_ (Cambridge University Press, 1996)
Woodham-Smith: Cecil Woodham-Smith, _The Reason Why_ (McGraw-Hill, 1954) - RBW
File: LJ10
===
NAME: Heir of Linne, The [Child 267]
DESCRIPTION: The Heir wastes his money in gambling and wild living, (sells his lands,) and falls into poverty. He remembers a (letter/key) to be used only when he is in need. It tells him where to find a treasure; the Heir is once again rich -- and now wiser
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: money gambling drink poverty begging
FOUND_IN: Britain(Scotland(Aber)) US(SE)
REFERENCES: (10 citations)
Child 267, "The Heir of Linne" (3 texts)
Bronson 267, "The Heir of Linne" (4 versions)
Greig #72, p. 1, "The Heir o' Linne" (1 text)
GreigDuncan2 273, "The Heir o' Linne" (3 texts, 2 tunes) {A=Bronson's #2, B=#3}
Percy/Wheatley II, pp. 138-150, "The Heir of Linne" (2 texts, one from the Percy folio and one the heavily-expanded version printed in the _Reliques_)
Dixon IV, pp. 30-36, "The Heir of Linne" (1 text)
Davis-Ballads 41, "The Heir of Linne" (1 text)
Leach, pp. 637-641, "The Heir of Linne" (1 text plus one text for comparison)
OBB 80, "The Heir of Linne" (1 text)
DT 267, LAIRDLIN*
Roud #111
NOTES: Child lists many foreign analogues to this ballad. It should not be assumed, however, that they are actually related; the theme is commonplace. Indeed, it could easily be suggested by the Biblical story of the Prodigal Son (Luke 15:11-32); the only real difference is that, in the New Testament story, the father is still alive.
Still, Bronson links the tune loosely with "The Boom o' Cowdenknowes" -- which would make sense if someone were translating a text and fitting it to a British tune. - RBW
File: C267
===
NAME: Helen of Kirconnell
DESCRIPTION: The singer laments, "I wish I were where Helen lies." The two had been together when Helen was shot and died. The singer pursues and kills her slayer, then promises to be true forever. The rest of the song is a wish to join his love in death
AUTHOR: (published by Robert Burns)
EARLIEST_DATE: 1797 (_Scots Musical Museum_ #155); seemingly also in Herd
KEYWORDS: courting love death revenge
FOUND_IN: 
REFERENCES: (5 citations)
OBB 152, "Helen of Kirconnell" (1 text)
HarvClass-EP1, pp. 324-325, "Helen of Kirconnell" (1 text)
BBI, ZN1856, "My sweetest sweet and fairest fair"
DT, HELNLIES
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #424, "Helen of Kirconnell" (1 text)
ST OBB152 (Full)
Roud #8191
ALTERNATE_TITLES:
I Wish I Were Where Ellen Lies
NOTES: Under the title "Fair Helen," this is one of the handful of traditional songs in Palgrave's _Golden Treasury_ (item CXXXV).
This song, or the folktale that underlies it, is said to have inspired Wordsworth's "Ellen Irwin." - RBW
File: OBB152
===
NAME: Helg yn Dreean: see Hunt the Wren (File: K078)
===
NAME: Hell and Heaven (I've Been Buked and I've Been Scorned)
DESCRIPTION: "I been 'buked and I been scorned, Childrens... I been talked 'bout sure as you're born." The singer tells how to drive Satan away with the gospel, how he will ride to heaven with Jesus, and declares that he will enjoy himself there
AUTHOR: unknown
EARLIEST_DATE: 1918 (recording, Tuskegee Institute Singers)
KEYWORDS: religious Jesus nonballad Devil
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, pp. 588-591, "Hell and Heaven" (1 text, 1 tune, composite)
Roud #15565
RECORDINGS:
Tuskegee Institute Singers, "I've Been Buked and I've Been Scorned" (Victor 18447, 1918)
CROSS_REFERENCES:
cf. "Oh, Mary Don't You Weep" (floating lyrics)
cf. "Hand Me Down My Walking Cane" (floating lyrics)
File: LxA588
===
NAME: Hell and Texas: see Hell in Texas (File: R196)
===
NAME: Hell in Texas
DESCRIPTION: The Devil, bored with Hell, decides it's time to expand the franchise. The sandiest place available is Texas; the Devil acquires a lease from God after negotiating the water rights. The Devil adds tarantulas, cacti, etc. and opens for business
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: Devil humorous Hell
FOUND_IN: US(So,SW)
REFERENCES: (5 citations)
Randolph 196, "Hell and Texas" (1 text, 1 tune)
Lomax-ABFS, pp. 397-399, "Hell in Texas" (1 text, 1 tune)
Fife-Cowboy/West 27, "Hell in Texas" (3 texts -- one each for Texas, Arizona (this one properly filing with "Arizona") and Alaska, 1 tune)
DT, HELLTEXS*
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 55-56, "Hell in Texas" (1 text)
Roud #5104
CROSS_REFERENCES:
cf. "Arizona" (theme)
NOTES: This song and "Arizona" clearly are related; one probably suggested and influenced the other. But there is no way to clearly demonstrate which came earlier, so I list them separately. - RBW
File: R196
===
NAME: Hell-Bound Train, The
DESCRIPTION: The drunk passes out and dreams of the hell-bound train. The Devil is the engineer. When he announces that Hell is the next stop, the riders beg for mercy; the Devil replies with a list of tortures they face. The drunkard awakens and reforms
AUTHOR: unknown
EARLIEST_DATE: 1910 (Railroad Men's Magazine, according to Cohen)
KEYWORDS: train Devil Hell drink
FOUND_IN: US(So) Canada(Mar)
REFERENCES: (9 citations)
Cohen-LSRail, pp. 638-644, "The Hell-Bound Train" (1 text plus extensive excerpts and aportion of "Ride on the Black Valley Railroad" and a broadside print of "Railroad to Hell"; 1 tune)
Randolph 599, "The Hell-Bound Train" (1 text, 1 tune)
Lomax-FSNA 210, "The Hell-Bound Train" (1 text, 1 tune, the latter allegedly by Lomax himself)
Fife-Cowboy/West 125, "The Hell-Bound Train" (1 text, 1 tune)
Ohrlin-HBT 15, "The Hell-Bound Train" (1 text, 1 tune)
Beck 94, "The Hell-Bound Train" (1 text)
Ives-DullCare, pp. 163-164,246, "The Hell-Bound Train" (1 text, 1 tune)
Darling-NAS, p. 263, "The Hell Bound Train" (1 text)
DT, HELLBOND* HELLBND2*
Roud #5103
RECORDINGS:
Frank Hutchison, "Hell Bound Train" (OKeh 45452, 1930) (Velvet Tone 2366-V, 1931)
Sunset Jubilee Singers, "The Hellbound Train" (Hub 3004, n.d.) [Note: I'm not certain this is the same song, but I'm playing the odds]
Joseph Walsh, "The Hell-Bound Train" (on MREIves01)
NOTES: Lomax editions suggest "J. W. Pruitt(e)" as the author of this piece. One of Randolph's sources mentions a "Tom Gray." I wouldn't bet much on either attribution. - RBW
In the Beck version, Tom Gray is the protagonist, rather than the author (the song is in third person). - PJS
Cohen notes a strong similarity in concept to"Ride on the Black Valley Railroad," credited to I. N. Tarbox and printed in 1876. For more on this, one should see Cohen. - RBW
File: R599
===
NAME: Hello Girls: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Hello Stranger
DESCRIPTION: Floating verses describing singer's grief because her sweetheart is in prison.
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Carter Family)
KEYWORDS: loneliness separation prisoner floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Asch/Dunson/Raim, p. 114 "Hello Stranger" (1 text, 1 tune)
Roud #15144
RECORDINGS:
Carter Family, "Hello Stranger" (Decca 5479, 1938)
File: ADR114
===