NAME: I Never Shall Forget: see The Day Columbus Landed Here (File: FJ178)
===
NAME: I Never Will Marry [Laws K17]
DESCRIPTION: The singer meets a fair woman by the seashore. She (is reading a letter which) reveals that her lover is dead. The singer asks her to marry him. She vows she never will marry, and ensures it by drowning herself 
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden)
KEYWORDS: love death suicide
FOUND_IN: Britain US(SE,So)
REFERENCES: (8 citations)
Laws K17, "Down by the Sea Shore"
Belden, pp. 167-168, "The Lover's Lament for her Sailor" (2 texts)
Randolph 84, "Down by the Sea-Shore" (2 texts plus 1 fragment and 1 excerpt, 2 tunes)
McNeil-SFB1, pp.130-131, "The Maiden's Lament" (1 text, 1 tune)
Lomax-FSNA 114, "I Never Will Marry" (1 text, 1 tune)
PSeeger-AFB, p. 29, "I Never Will Marry" (1 text, 1 tune)
Silber-FSWB, p. 181, "I Never Will Marry" (1 text)
DT 405, CONSTLOV NEVMARRY* (FORSAKMM)
Roud #466
RECORDINGS:
Carter Family, "I Never Will Marry" (Montgomery Ward M-7356, c. 1935; Bluebird B-8350, 1940)
Texas Gladden w. Hobart Smith, "I'm Never to Marry" (Disc 6080, 1940s)
Pete Seeger, "I Never Will Marry" (on HootenannyCarnegie) (on PeteSeeger27)
CROSS_REFERENCES:
cf. "Chowan River" (theme)
ALTERNATE_TITLES:
The Shells of the Ocean
File: LK17
===
NAME: I Never Will Marry a Man Who Is Rich: see I'll Not Marry at All (File: E072)
===
NAME: I Never Will Turn Back Any More
DESCRIPTION: "When I was a boy I had a little mule That I always rode to Sunday School. Lord, I never will turn back any more." Humorous stanzas of religious life: The mule "got in an awful way"; the singer meets Satan in a meadow or runs into a hornet's nest
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: religious humorous floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 345, "I Never Will Turn Back Any More" (1 text)
Roud #11739
CROSS_REFERENCES:
cf. "Chased Old Satan Through the Door" (floating verses)
NOTES: This reads like a humorous take on a church hymn; several of the verses float. It looks a lot like "Chased Old Satan Through the Door," but that seems to be built on a different hymn. - RBW
File: Br3345
===
NAME: I Often Think of Writing Home
DESCRIPTION: Singer, a California miner, often thinks of writing to his family, but seldom does; he's half a mind to tell them he's coming home. "For it keeps a man a-hunting round to keep up with the times And pen and ink is very scarce for people in the mines...."
AUTHOR: unknown
EARLIEST_DATE: 1858 (Put's Golden Songster)
KEYWORDS: homesickness loneliness poverty home separation travel mining hardtimes nonballad
HISTORICAL_REFERENCES: 1848 - gold found in Sutter's Mill, California. 
1849 - multitudes of easterners emigrate west, hoping to "make their pile" 
FOUND_IN: US(SW)
REFERENCES: (0 citations)
RECORDINGS:
Logan English, "I Often Think of Writing Home" (on LEnglish02)
CROSS_REFERENCES:
cf. "My Irish Molly-O" (tune)
File: RcIOTOWH
===
NAME: I Once Did Know a Farmer: see Treat My Daughter Kindly (The Little Farm) (File: R668)
===
NAME: I Once Had a Granny
DESCRIPTION: "I once had a granny And songs she had many And there ne'er will be any Shall sing them so well." She sang as she baked "of lovers who parted ... Of soldiers and sailors Of tinkers and tailors ...." Before she died she bade the singer not to cry.
AUTHOR: Hugh Quinn (1884-1956) (source: Hammond-Belfast)
EARLIEST_DATE: 1952 (_Rann Magazine_ Summer 1952, according Roud)
KEYWORDS: music nonballad family
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hammond-Belfast, p. 17, "I Once Had a Granny" (1 text, 1 tune)
Roud #5109
File: Hamm017
===
NAME: I Once Had a True Love
DESCRIPTION: Singer bids adieu to Molly whose parents slight him for his "want of gear" He dreams she comes to him and says "it will not be long love, till our wedding day" Floating lines. But she is not here. "I'll think of you Molly when I am alone"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Tunney-StoneFiddle)
KEYWORDS: love rejection dream floatingverses nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 153, "I Once Had a True Love" (1 text)
CROSS_REFERENCES:
cf. "If I Were a Fisher" (floating verses)
cf. "She Moved Through the Fair" (floating verses)
NOTES: The "floating lines" include "if I was a fisher ... and my love was a salmon" and "if I was a blackbird and had wings to fly"; there are also lines that are more explicit than most floaters I have seen: "In a grove of green laurels I'd lay my love down And with my strong wings I would her surround" and "Since the notion has took me to make my own will Sure my own rod beats sorest and does hurt me still." 
Tunney-StoneFiddle notes Tunney's hearing this song in 1960. He makes it "the original traditional song" behind Padraic Collum's "She Moved Through the Fair." Also see his comment on "My Young Love Said to Me" at "She Moved Through the Fair." - BS
File: TSF153
===
NAME: I Once Loved a Girl in Kilkenny: see Eileen, The Flower of Kilkenny (File: GrMa76)
===
NAME: I Once Loved a Lass: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: I Onct Was Young
DESCRIPTION: "I onct was young but now I'm old, Am blind, but yet I have a soul, That soul to save... Or else sink down to endless woe." "My threescore years is at an end." "I have three sons before me gone... By faith through prayer we'll win the day."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Scarborough)
KEYWORDS: injury death religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-SongCatcher, pp. 40-41, (no title) (1 text)
ST ScaSC040 (Partial)
Roud #8814
NOTES: Reportedly composed by the uncle of Grandma Bell on his deathbed. There are quite a few hints of older songs, though; I suspect he adapted rather than wrote. And, yes, that's "onct" in the title. - RBW
File: ScaSC040
===
NAME: I Picked My Banjo Too
DESCRIPTION: "Come all you sons of freedom, Come listen unto me...." "I used to be a rebel, I wandered from the Lord...." "The conflict between two parties, the gray coats and the blue, I volunteered for freedom, And picked my banjo too." But he then turns to Jesus
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: religious music freedom soldier slave
FOUND_IN: US(Ap,SE)
REFERENCES: (2 citations)
BrownIII 594, "I Picked My Banjo Too" (1 text)
Thomas-Makin', pp. 175-177, (no title listed, but perhaps to be called "Rufus Mitchell") (1 text)
Roud #11904
CROSS_REFERENCES:
cf. "The Southern Wagon (Confederate)" (lyrics, themes)
NOTES: I have to suspect that this was composed in imitation of "The Southern Wagon," but I can't prove it.
It also shows signs of conflation: On the one hand, a slave who joins the Union armies (common and natural enough), on the other a banjo-picking sinner brought back to Christianity (and induced to give up the banjo). The problem with *that* is that almost all slaves were Christian -- and played the banjo anyway.
Frankly, the result looks like a modern banjo joke. And I'll also say that, instead of burning his banjo, the singer should have bashed that alleged preacher over the head with it. If he had to ruin the instrument, at least do something useful with it along the way. - RBW
File: Br3594
===
NAME: I Put My Little Hand In: see Looby Lou (File: R554)
===
NAME: I Reckon You Know What I Mean: see The Trooper Watering His Nag (File: RL044)
===
NAME: I Ride an Old Paint
DESCRIPTION: "I ride an old paint, I lead an old Dan/dam... Ride around, little dogies, ride around 'em slow...." Verses on various topics: The cowboy's travels, the strayed children of Old Bill Jones, the cowboy's hopes for his funeral
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: cowboy horse rambling funeral children
FOUND_IN: US(SW)
REFERENCES: (8 citations)
Larkin, pp. 33-35, "I Ride an Old Paint" (1 text, 1 tune)
Lomax-FSUSA 63(B), "Old Paint" (1 text, 1 tune)
Sandburg, pp. 12-13, "I Ride an Old Paint" (1 text, 1 tune)
Scott-BoA, pp. 260-261, "I Ride an Old Paint" (1 text, 1 tune)
Botkin-AmFolklr, pp. 857-858, "I Ride an Old Paint" (1 text, 1 tune)
PSeeger-AFB, p. 25, "I Ride An Old Paint" (1 text, 1 tune)
Silber-FSWB, p. 106, "I Ride An Old Paint" (1 text)
DT, RIDEPNT*
Roud #915
RECORDINGS:
Almanac Singers, "I Ride an Old Paint" (General 5020B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Harry Jackson, "I Ride an Old Paint" (on HJackson1)
Tex Ritter, "A-Ridin' Old Paint" (Conqueror 8144, 1933; on BackSaddle)
Pete Seeger, "I Ride an Old Paint" (on PeteSeeger17)
CROSS_REFERENCES:
cf. "Goodbye, Old Paint"
File: LxU063B
===
NAME: I Rock from Selma
DESCRIPTION: "I rock from Selma, ting tang, I'm a Georgia ruler, ting tang, I'm a Mobile gentelman, Susie-annah, Loan me de goar to drink water!" "Den all back-shuffle and clap yo' hands." "Come shuffle up, ladies, ting tang, Oh Miss Williams, ting tang."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: dancing nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 114, (no title) (1 short text)
NOTES: This sounds like it's made up of floating verses -- but it isn't; none of the lyrics are familiar. So I guess it gets its own entry. - RBW
File: ScaNF114
===
NAME: I Saw a Man at the Close of Day: see Drunkard's Doom (I), The (File: R306)
===
NAME: I Saw a Ship a-Sailing: see Ship a-Sailing, A (File: OBB104)
===
NAME: I Saw the Beam in My Sister's Eye
DESCRIPTION: "I saw the beam in my sister's eye, Can't see the beam in mine. You'd better lef' your sister door; Go keep your own door clean." "And I had a mighty battle like Jacob of old." "I didn't intend to lef' 'em go Till Jesus bless my soul."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious fight
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 17-18, "I Saw the Beam in My Sister's Eye" (1 text, 1 tune)
Roud #11842
NOTES: The first verse of this is a curious twist on Matt. 7:3f.=Luke 6:41f., in which Jesus warns of seeing a mote/speck in a brother's eye but ignores the log/beam in one's own. The story of Jacob wrestling God or an angel and demanding a blessing is in Genesis 32:22-32. - RBW
File: AWG017
===
NAME: I Saw the Light from Heaven (Dry Bones (I))
DESCRIPTION: "Enoch lived to be Three hundred and sixty-five And the Lord came down And took him up to heaven alive. I saw, I saw, I saw the light from heaven come shining all around." Other assorted Bible stories, such as the dry bones in the valley
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Bascom Lamar Lunsford)
KEYWORDS: religious Bible
FOUND_IN: US(SE)
REFERENCES: ()

Roud #17922
RECORDINGS:
Bascom Lamar Lunsford, "Dry Bones" (Brunswick 231, 1928; Brunswick 314, 1929; on AAFM2, BLLunsford01, Babylon)
NOTES: Among the incidents outlined here:
* Enoch's disappearance at age 365: Gen. 5:21-24
* Paul (and Silas) in prison during an earthquake: Acts 16:25-26
* Moses and the Burning Bush: Exodus 3:2ff.
* Dry bones walking: Ezek. 37:1-10
Other incidents, such as Eve's account of "Satan a-tempting me," are not directly Biblical (e.g. in Gen. 3:13, Eve blamed the Serpent for her behavior, but Satan is not named). - RBW
File: RcISTLFH
===
NAME: I Saw the Pale Moon Shining on Mother's White Tombstone
DESCRIPTION: "I am a little orphan, My mother she is dead, My father is a drunkard and won't give me no bread." "I saw the pale moon shining on mother's white tombstone, The roses round it twining it's just like me." The child, with "no mother now," tells of her grief
AUTHOR: unknown
EARLIEST_DATE: 1964 (recording, Betty Garland)
KEYWORDS: mother children orphan burial mourning grief
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Betty Garland, "I Saw the Pale Moon Shining on Mother's White Tombstone" (on BGarland01)
CROSS_REFERENCES:
cf. "Row Us Over the Tide" (subject)
cf. "Orphan's Lament (Two Little Children, Left Jim and I Alone)" (subject)
File: RcISPMSM
===
NAME: I Saw Three Ships
DESCRIPTION: (While sitting on a sunny bank,) the singer sees three ships arrive on Christmas. In the ship are (pretty girls) or Mary, (Joseph), and/or (Jesus). (They/all) (sing/whistle/rejoice) as they sail on to Bethlehem
AUTHOR: unknown
EARLIEST_DATE: 1666 (Forbes's Cantus)
KEYWORDS: religious Jesus nonballad ship
FOUND_IN: Britain(England(Lond),Wales) US(Ap,MW,SE)
REFERENCES: (11 citations)
OBB 104, "I Saw Three Ships" (1 text)
OBC 3, "Sunny Bank"; 18, "I Saw Three Ships" (2 texts, 2 tunes)
Combs/Wilgus 315, pp. 141-142, "Three Ships Came Sailing In" (1 text)
BrownII 53, "I Saw Three Ships Come Sailing In" (1 fragment)
Ritchie-Southern, p. 43, "I Saw Three Ships" (1 text, 1 tune)
Gardner/Chickering 152, "As I Sat on the Sunny Bank" (1 text)
Opie-Oxford2 471, "I saw three ships come sailing by" (2 texts)
Baring-Gould-MotherGoose #331, pp. 180-181, "(I saw three ships come sailing by)"
Silber-FSWB, p. 379, "I Saw Three Ships Come Sailing In" (1 text)
DT, ISAW3SHP*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #35, "I Saw Three Ships Come Sailing In" (1 text)
ST OBB104 (Full)
Roud #700
BROADSIDES:
Bodleian, Douce adds. 137(22), "The Sunny Bank," T. Bloomer (Birmingham), 1821-1827; also Harding B 7(38), Harding B 7(30), Harding B 7(37), Harding B 7(35), "As I Sat on a Sunny Bank" ("As I sat on a sunny bank")[some have no title]; Harding B 7(16), "The Sunny Bank"
ALTERNATE_TITLES:
As I Sat Under a Sycamore Tree
NOTES: It probably need not be pointed out that there is no Biblical basis for this story, and that Bethlehem is nowhere near the ocean nor any body of water large enough for any kind of ship.
This makes it worthwhile to ask, Which version is older? The "Christmas" version is the one now widely sung, and the Combs version (the only one I think that's traditional in America) is a religious text -- but two of Gomme's three versions are secular.  On the other hand, several texts refer to "Our Savior Christ and His Lady." This sounds very Catholic -- and hence probably old -- to me.
Ian Bradley, in the _Penguin Book of Carols_, raises the question of why three ships are needed to bring two passengers -- in his version, Jesus and Mary. This is logical, but the likely answer is that the original included Joseph as well, but he was later written out or accidentally dropped. Bradley, though, has an explanation: That three ships sailed in because they were bearing the relics of the three Magi, or perhaps the Magi themselves. Of course, the Bible nowhere says that there were three Magi.
Personally, I'd guess that three is simply an auspicious number. Sure, one ship could carry Jesus and his mother, but three ships gives him an escort -- with the other two ships representing the other two persons of the trinity. - RBW
Also see Calennig, "Sandy Banks" (on Callenig, "A Gower Garland," Wild Goose WGS 299 CD (2000)). The notes have it noted in Wales by Rev J.D. Davies in 1877. Just two ships here. - BS
File: OBB104
===
NAME: I Saw Three Ships Come Sailing By: see I Saw Three Ships (File: OBB104)
===
NAME: I Saw Three Ships Come Sailing In: see I Saw Three Ships (File: OBB104)
===
NAME: I See the Moon
DESCRIPTION: "I see the moon, the moon sees me, God bless the (moon/sailors) and God bless me."
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: nonballad religious
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Opie-Oxford2 356, "I see the moon" (1 text)
Baring-Gould-MotherGoose #425, p. 202, "(I see the moon, and the moon sees me)"
ADDITIONAL: Walter de la Mare, _Come Hither_, third edition, 1928, notes to #444 ("I see the moon") (1 short text)
NOTES: I believe I learned this, or the first line of it at least, somewhere in my youth, with a tune similar to the "Fiddle-I-Fee" versions of "I Had a Little Rooster." I know of no folk recordings, but that seems to imply some sort of tradition somewhere. And I have seen variants printed in non-folk sources.
Apparently there was a very popular recording issued some decades back, but I know no details- RBW
File: BGMG425
===
NAME: I Sent a Letter to My Love: see Atisket, Atasket (I Sent a Letter to My Love) (File: BAF806A)
===
NAME: I Sent My Brown Jug Downtown: see Brown Jug, The (Bounce Around) (File: R534)
===
NAME: I Sent My Love a Letter: see Down in the Valley; also Green Grows the Laurel (Green Grow the Lilacs) (File: R772)
===
NAME: I Shall Not Be Blue: see We Shall Not Be Moved (File: SBoA344)
===
NAME: I Shall Not Be Moved
DESCRIPTION: "I shall not, I shall not be moved/Just like a tree that's planted by the water/I shall not be moved". Other verses substitute "I'm sanctified and holy, I shall not be moved..." "I'm on my way to heaven..." etc..
AUTHOR: Alfred H. Ackley
EARLIEST_DATE: 1906 (Ackley, "Hymns for His Praise No. 2")
KEYWORDS: virtue floatingverses nonballad religious
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 596, "I Shall Not Be Blue" (2 texts)
Jackson-DeadMan, pp. 288-289, "I Shall Not Be Moved" (2 texts, 1 tune)
Roud #9134
RECORDINGS:
A. P. Carter Family, "I Shall Not Be Moved" (Acme DF-103, n.d. but prob. early 1950s)
Rev. Edward Clayborn, "I Shall Not Be Moved" (Vocalion 1243, 1929; rec. 1928)
Davis & Nelson, "I Shall Not Be Moved" (QRS 9023, c. 1929)
Jimmie Dickens, "I Shall Not Be Moved" (Columbia 21068, 1953; rec. 1952)
Dixie Reelers, "I Shall Not Be Moved" (Montgomery Ward M-7100, 1937; Bluebird B-7958, 1938; rec. 1936)
Folkmasters, "I Shall Not Be Moved" (on Fmst01)
Roosevelt Graves, "I Shall Not Be Moved" (Paramount 12974, 1930; rec. 1929; on StuffDreams1)
George Herod, "I Shall Not Be Moved" (on MuSouth07)
Harmonizing Four, "I Shall Not Be Moved" (Gotham G772, rec. early 1950s)
Harvesters, "I Shall Not Be Moved" (Columbia 41074, 1957)
I. C. Glee Club, "I Shall Not Be Moved" (OKeh 8872, 1931; rec. 1930)
Kentucky Holiness Singers, "I Will Not Be Removed" (Vocalion 5439; rec. 1930)
Frank & James McCravy, "I Shall Not Be Moved" (Brunswick 196, 1928; Brunswick 3784, 1928; Oriole 8103, c. 1932; rec. 1927) (Banner 32308, 1931)
Charley Patton, "I Shall Not Be Moved" (Paramount 12986, 1930; rec. 1929)
Rev. D. C. Rice & congregation "I Shall Not Be Removed" (Vocalion 1675, 1932; rec. 1929)
Joe & Emma Taggart, "I Will Not Be Removed" (Vocalion 1062, 1926)
Taskiana Four, "I Shall Not Be Moved" (Victor 20183, 1926)
Utica Jubilee Singers, "I Shall Not Be Moved" Victor 24113, 1932)
CROSS_REFERENCES:
cf. "We Shall Not Be Moved"
NOTES: I include this hymn, common in African-American tradition, primarily because it formed the basis for the labor/civil rights anthem, "We Shall Not Be Moved." For the story of that song, see its entry. - PJS
As Paul says, it does have a place in tradition -- e.g. it is nearly the only pure hymn in Jackson-DeadMan. - RBW
File: RcISNBM
===
NAME: I Shot My Poor Teacher (With a Big Rubber Band)
DESCRIPTION: "On top of (something), All covered with (something), I shot my poor teacher With a (big) rubber band. I shot her with glory, I shot her with pride. I hardly could miss her; she's forty feet wide." The student describes harassing, killing, burying teacher
AUTHOR: unknown
EARLIEST_DATE: 1975
KEYWORDS: humorous murder abuse burial parody derivative
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 93, "I Shot My Poor Teacher" (1 text, tune referenced)
CROSS_REFERENCES:
cf. "On Top of Old Smokey" (tune)
NOTES: The proof that this is a folk song is that I've learned at least two versions in my life. It's just that few adults will admit to knowing it. - RBW
File: PHCFS093
===
NAME: I Thank You, Ma'am, Says Dan: see Thank You, Ma'am, Says Dan (File: HHH184)
===
NAME: I Think By This Time He's Forgot Her: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: I Thought to the Bottom We Would Go
DESCRIPTION: The singer recalls a voyage "with the skipper Of a god-damned Yankee clipper" in which "I thought to the bottom we would go."  Leaving port with a large cargo of supplies and a few passengers (half of them whores), the crew narrowly averts disaster
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: ship storm hardtimes whore
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, pp. 97-98, "I Thought to the Bottom We Would Go" (1 text, 1 tune)
NOTES: I feel quite sure that this is a fragment of something else -- but the surviving portion is so damaged that I cannot tell what. - RBW
File: MCB097
===
NAME: I Tickled Nancy
DESCRIPTION: "I'm living in the city, but I like the country life." The singer recalls his happy past: "I'd tickle Nancy, and Nancy'd tickle me, Before we get married, some pleasure we'd see."
AUTHOR: unknown (but probably patched up by Uncle Dave Macon)
EARLIEST_DATE: 1935 (recorded by Uncle Dave Macon")
KEYWORDS: courting
FOUND_IN: US
REFERENCES: ()

Roud #18323
RECORDINGS:
Uncle Dave Macon, "I'll Tickle Nancy" (1935)
CROSS_REFERENCES:
cf. "She Tickled Me" (theme)
NOTES: This is similar enough to "She Tickled me" that I considered lumping them. But the divergences are also large, and I can't find a connecting link. - RBW
File: RcITckNa
===
NAME: I Told 'em Not to Grieve After Me: see Don't You Grieve After Me (I) (File: R257)
===
NAME: I Told Him Not to Grieve After Me: see Don't You Grieve After Me (I) (File: R257)
===
NAME: I Told Them That I Saw You
DESCRIPTION: The singer and girl of "Just Tell Them That You Saw Me" meet again. He tells her that her family "wants her to come home. Their hearts are breaking for you while far away to roam." She breaks down as she thinks of her aged mother and her childhood
AUTHOR: George M. Cohen
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: mother children separation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 125, "I Told Them That I Saw You" (1 text)
Roud #9599
CROSS_REFERENCES:
cf. "Just Tell Them That You Saw Me" (characters)
NOTES: This is a direct sequel to Paul Dresser's "Just Tell Them That You Saw Me," though with even less place in tradition. - RBW
File: Dean125
===
NAME: I Truly Understand You Love Another Man
DESCRIPTION: Floating verses; "I wish to the lord I'd never been born," "Who's going to shoe your foot," "I'll never listen to what no other woman says...." Chorus: "I truly understand that you love another man/And your heart shall no longer be mine."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, "Shortbuckle" Roark and family)
KEYWORDS: love floatingverses nonballad rejection
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Cohen/Seeger/Wood, pp. 24-25, "I Truly Understand" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 125-126, "I Truly Understand That You Love Some Other Man" (1 text, filed under Child #76 along with a "Pretty Little Foot" fragment and a text of "New River Train/Honey Babe)
ST CSW025 (Full)
Roud #49
RECORDINGS:
New Lost City Ramblers, "I Truly Understand You Love Another Man" (on NLCR01, NLCRCD1)
Shortbuckle Roark and Family, "I Truly Understand You Love Another Man" (Victor V-40023, 1929; rec. 1928; on GoingDown, KMM)
CROSS_REFERENCES:
cf. "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)" (floating lyrics)
cf. "Long Lonesome Road" (floating lyrics)
File: CSW025
===
NAME: I Tuck Me Some Corn to the County Seat
DESCRIPTION: "I tuck me some corn to the county seat, Three bushel of corn, three bushel of wheat. The miller tuck fur his millin'-turn, Three bushel of corn, three bushel of wheat."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: miller commerce nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 179, "I Tuck Me Some Corn to the County Seat" (1 text)
Roud #6583
File: BrII179
===
NAME: I Used to Have a Father
DESCRIPTION: "I used to have a father who sat and talked to me, But now I have no father -- what pleasure do I see? I looked out of the window to hear the organ play And there I saw my father as in his grave he lay."
AUTHOR: unknown
EARLIEST_DATE: 1932 (JAFL 45, from Harold Greene)
KEYWORDS: death father music
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 247, "I Used to Have a Father" (1 short text)
Roud #4194
File: MHAp247
===
NAME: I Used to Work in Chicago
DESCRIPTION: The singer works in a succession of stores, asking female customers their desires, mistakenly fulfilling them and getting fired.
AUTHOR: unknown
EARLIEST_DATE: 1946 (recording, Three Bits of Rhythm)
KEYWORDS: bawdy humorous
FOUND_IN: Australia Britain(England) US(Ro,SW)
REFERENCES: (2 citations)
Cray, pp. 245-251, "I Used to Work in Chicago" (3 texts, 1 tune)
DT, CHCAGO*
Roud #4837
RECORDINGS:
Pearl Trio [Larry Vincent], "I Used to Work in Chicago" (Pearl 53-A, 1947)
Three Bits of Rhythm, "I Used to Work in Chicago" (Modern Music MM118, 1946)
CROSS_REFERENCES:
cf. "Haben Aboo an a Banner"
cf. "The Jolly Tradesmen"
cf. "My Husband's a Mason" (theme)
NOTES: Oscar Brand has claimed a copyright of some of the verses of this song current in oral tradition. - EC
Larry Vincent claimed to have written the basic song, and it certainly has his, er, style. But the Three Bits of Rhythm record predates his, and they claim authorship credit themselves. Who knows? -PJS
File: EM245
===
NAME: I Walk the Road Again
DESCRIPTION: The singer is "a poor unlucky chap" and "very fond of rum." He has rambled far and wide, taking odd jobs here and there. Whenever things go bad, "I got up and hoisted my turkey and I walked the road again." (Now he hopes to find a job and settle down.)
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: rambling work drink unemployment
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 178, "I Walk the Road Again" (1 text, 1 tune)
ST FSC178 (Partial)
Roud #4602
CROSS_REFERENCES:
cf. "From Ogemaw" (floating lyrics)
cf. "The Feeing Time (II)" (floating lyrics)
ALTERNATE_TITLES:
I'll Hit the Road Again, Boys
NOTES: Cazden, early in his career, attributed this to the father of his informant George Edwards (who probably did adapt the text somewhat), but later retracted the claim. - RBW
File: FSC178
===
NAME: I Wandered by the Brookside
DESCRIPTION: Walking by the mill at night the only sound the singer hears is her heart beating. She waits to hear one footstep or word. Finally "a touch came from behind ... the beating of our own two hearts Was all the sound I heard"
AUTHOR: words: R.M. Milnes/music: A.B. Clark ?
EARLIEST_DATE: 1848 (broadside, LOCSheet sm1848 440340)
KEYWORDS: courting love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 35, "As I Wandered by the Brookside" (1 text, 1 tune)
Roud #2418
BROADSIDES:
Bodleian, Harding B 11(405), "As I Wandered by the Brookside," J. Cadman (Manchester), 1850-1855; also Firth b.27(524), Harding B 11(3526), "As I Wandered by the Brookside"; Harding B 11(3162), "I Wandered by the Brook Side"
LOCSheet, sm1848 440340, "I Wandered by the Brookside," Wm. Hall and Son (New York), 1848; also sm1848 440400, sm1875 08167, sm1880 15884, "I Wandered by the Brookside" (tune)
LOCSinging, as106450, "I Wandered by the Brookside," J. Andrews (New York), 1853-1859; also as106440, "I Wandered by the Brookside"
NOTES: Broadside LOCSinging as113120: 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: CrMa035
===
NAME: I Wanna Play Piano in a Whorehouse
DESCRIPTION: The singer tells us of his preferred profession, noting that "carnal copulation is here to stay."
AUTHOR: unknown
EARLIEST_DATE: 1986
KEYWORDS: work music bawdy whore
FOUND_IN: US
REFERENCES: (2 citations)
Cray, pp. 251-252, "I Wanna Play Piano in a Whorehouse" (1 text, 1 tune)
DT, PLAYPIAN*
File: EM251
===
NAME: I Want a Nice Little Fellow
DESCRIPTION: The singer hopes for a rich, pleasant husband so she won't spend her whole life working. Johnny promises her wealth, but mother notes that her husband made the same promise and broke it. The girl promises to return if Johnny breaks his promise
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: courting love money hardtimes mother children father betrayal abuse technology drink
FOUND_IN: US
REFERENCES: ()

Roud #13154
RECORDINGS:
Kelly Harrell, "I Want a Nice Little Fellow" (Victor 20867, 1927; on KHarrell02)
NOTES: The reference to automobiles implies that this song is not much older than Harrell's recording. It also has a sort of a prohibitionist undertone. But it feels traditional. While I suspect it of being a composed song, I don't think Harrell learned it from sheet music. - RBW
File: RcIWANLF
===
NAME: I Want to Be a Cowboy
DESCRIPTION: "I want to be a cowboy and with the cowboys stand, Big spurs on my bootheels and a lasso in my hand." The singer desires life on the range, hopes to get drunk in Cheyenne, and expects to "rope the slant old heathen and yank them straight to hell."
AUTHOR: unknown
EARLIEST_DATE: 1922
KEYWORDS: cowboy drink
FOUND_IN: US(Ro)
REFERENCES: (1 citation)
LPound-ABS, 79, pp. 173-174, "I Want to Be a Cowboy" (1 text)
Roud #4977
File: LPnd173
===
NAME: I Want to Die Like-a Lazarus Die
DESCRIPTION: "I want to die like-a Lazarus die, Die like-a Lazarus die, I want to die like-a Lazarus die, like-a Lazarus die, like-a Lazarus die." "Titty Rita die like-a Lazarus die...."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious death nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 98, "I Want to Die Like-a Lazarus Die" (1 text, 1 tune)
Roud #12055
NOTES: There are two Lazaruses mentioned in the New Testament, and both die in ways which would probably be considered desirable. The first Lazarus, described in Luke 16:9ffff., is merely a character in a parable, but he dies and goes to "Abraham's bosom." The story of the second fills much of John 11, which tells how Jesus brought him back to life. - RBW
File: AWG098
===
NAME: I Want to Go Home: see No More Rain Fall for Wet You (File: AWG046A)
===
NAME: I Want to Go to Baltimore
DESCRIPTION: "I want to go to Baltimore, I want to go to France, I want to go to Baltimore To see the ladies dance."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: playparty travel dancing nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 101, "I Want to Go to Baltimore" (1 fragment)
NOTES: Clearly a fragment of something, but it's not clear what. - RBW
File: Br3101
===
NAME: I Want to Go to Morrow
DESCRIPTION: Singer sets out for the town of Morrow. He tries to buy a ticket to Morrow "and return tomorrow night." The agent says he should have gone to Morrow yesterday and back today, for "the train that goes to Morrow is a mile upon its way."
AUTHOR: Lew Sully
EARLIEST_DATE: 1898 (sheet music published)
KEYWORDS: questions train travel railroading humorous nonsense paradox
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Dean, pp. 32-33, "To Morrow' (1 text)
DT, MORROW1
Roud #9554
RECORDINGS:
Dan W. Quinn, "I Want to Go to Morrow" (Improved Berliner 438, c. 1900; Victor [Monarch] 12, 1900)
Bert Shepard, "I Want to Go to Morrow" (Victor 899, 1901)
Harry Spencer, "How I Got to Morrow" (Columbia 855, 1902)
CROSS_REFERENCES:
cf. "Yuba Dam" (subject, such as it is, and general atmosphere)
NOTES: Morrow, Ohio, said to be the subject of this song, is a small town just northeast of Cincinnati. - RBW
That may be, but according to the WPA guide for Kansas, the town of Morrowville "was named for its founder, Cal Morrow, State Senator (...). Until 1896 the town was called Morrow, but its name was changed to Morrowville after the railroad company had complained that its ticket agents were confused when travelers asked for 'a ticket to Morrow (tomorrow).'" Perfect timing for Lew Sully's song, published two years later. - PJS
You have me there. The only counterargument is, Why would enough people want to go to Morrow, Kansas for it to be a problem? - RBW
And, to be fair, the song does say, "There is a town called Morrow in the state of O-hi-o". Did the same thing happen twice? - PJS
File: DTmorrow
===
NAME: I Want to See Jesus (Bathe in the River)
DESCRIPTION: "I want to see Jesus in the morning -- Bathe in the river. I want to go to heaven -- Bathe in the river. Oh, chillun, get on board, Oh, chillun, get on board; Oh, Jesus is aboard, Oh, chillun, get aboard; Oh, preacher get on board."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Henry, from "the singing of Negroes at Skyland, Virginia")
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 192, "I Want to See Jesus" (1 text)
CROSS_REFERENCES:
cf. "Get On Board, Little Children" (lyrics)
NOTES: This looks a lot like "Get On Board, Little Children," but with no tune, seemingly only the one text, and several lines quite unique, I think I have to keep them separate.
Henry records the second line as "Bathe in the River" (note the capitalization), implying the River Jordan and the washing away of sins. This is probably a correct interpretation, but I have avoided this usage since we do not know what the singers meant with certainty. - RBW
File: MHAp192
===
NAME: I Want to See My Wife
DESCRIPTION: The worker (on the rail line?) expresses his loneliness and frustration: "I want to see my wife and children, Bim!... Captain Walker, where in the world did you come from?... Captain, send me a cool drink of water...."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: work worker hardtimes loneliness separation
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 94-95, (no title) (2 texts, probably partial, 1 tune)
File: CNFM094
===
NAME: I Want You All to Be There
DESCRIPTION: "When I get on the mountain top, I want you all to be there, And hear my wings go flippety-flop, I want you all to be there."
AUTHOR: unknown
EARLIEST_DATE: 1939 (Randolph)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 455, "When I Get on Yonder Hill" (2 texts, but only the "B" fragment goes here)
Roud #(911)
NOTES: Randolph, for no reason I can see, classifies this with "When I Get On Yonder Hill," a fragment of "Shule Agra." To me it looks like a fragment of a southern hymn, which was also the understanding of the informant. - RBW
File: R455
===
NAME: I Wanter Jine de Ban: see I Hope I'll Join the Band (Soon in the Morning) (File: R266)
===
NAME: I Was Born About Four Thousand Years Ago: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: I Was Born About Ten Thousand Years Ago (Bragging Song)
DESCRIPTION: "I was born about ten thousand years ago, And there's nothing in this world that I don't know." The singer boasts of his past accomplishments, e.g. watching Adam and Eve eat the apple (and eating the core); teaching Solomon to read....
AUTHOR: unknown
EARLIEST_DATE: 1913
KEYWORDS: humorous bragging lie Bible
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (10 citations)
Randolph 410, "I Was Born About Four Thousand Years Ago" (3 texts, 2 tunes)
BrownIII 426, "I Was Born About Ten Thousand Years Ago" (2 texts plus a fragment and mention of 2 more)
Gardner/Chickering 187, "The Historian" (1 text, 1 tune)
Sandburg, pp. 330-331, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-FSUSA 10, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-ABFS, pp. 346-350, "The Highly Educated Man" (1 text, 1 tune)
Rorrer, p. 69, "I'm the Man That Rode the Mule 'Round the World" (1 text, with a a final verse, and probably an extended introductory verse, by Charlie Poole)
Pankake-PHCFSB, p. 170, "I Was Born About Ten Thousand Years Ago" (1 text)
Silber-FSWB, p. 26, "I Was Born About Ten Thousand Years Ago" (1 text)
DT, (JUSTFACT) (BORN10K)
Roud #3127
RECORDINGS:
Clarence Ashley & Tex Isley, "I'm The Man That Rode the Mule Around the World" (on Ashley01)
Fiddlin' John Carson, "When Abraham and Isaac Rushed the Can" (OKeh 40181, 1924)
Cramer Brothers, "I Was Born Four Thousand Years Ago" (Broadway 757, c. 1927 [as "I Was Born 4000 Years Ago"]; Broadway 8059, c. 1932; rec. 1927)
Crockett's Kentucky Mountaineers "I Was Born 10,000 Years Ago" (Crown 3101, 1931)
Vernon Dalhart, "I'm the Man That Rode the Mule Around the World" (CYL: Edison 5278, n.d.)
Otto Gray & his Oklahoma Cowboys, "4000 Years Ago" (Vocalion 5479, rec. 1931)
Georgia Organ Grinders, "Four Thousand Years Ago" (Columbia 15445-D, 1929)
Kelly Harrell, "I Was Born About 10,000 Years Ago" (OKeh 40486, 1925; on KHarrell01)
Bradley Kincaid, "Four Thousand Years Ago" (Gennett 6761/Champion 15687 [as Dan Hughey]/Supertone 9362, 1929; Superior 2656, 1931; Champion 45057 [as Dan Hughey], c. 1935)
Uncle Dave Macon, "Man That Rode the Mule Around the World" (Vocalion 5356, 1929)
Lester McFarland & Robert Gardner, "I Was Born Four Thousand Years Ago" (Brunswick 110/Vocalion 5028, 1927; Supertone S-2033, 1930)
Charlie Poole and the North Carolina Ramblers, "I'm the Man That Rode the Mule 'Round the World" (Columbia 15043-D, 1925, with an extended introductory verse by Poole; on CPoole04)
Pete Seeger, "I Was Born 10,000 Years Ago" (on PeteSeeger11)
Smoky Mountain Twins, "I Was Born 4000 Years Ago" (Conqueror 7065, 1928)
Dock Walsh, "Educated Man" (Columbia 15057-D, 1925)
CROSS_REFERENCES:
cf. "The Day Columbus Landed Here"
cf. "Sara Jane" (lyrics of some versions)
NOTES: It need hardly be stated that there is very little truth in this song (even if one accepts the Bible as literally true). I won't state examples; they would just bore you.
I do suspect that the "Ten Thousand Years" title is original, and "four thousand years" is a later correction by those who thought the braggart couldn't have been born before 4004 BCE. - RBW
Not to be confused with the bawdy "Three Thousand Years Ago". -PJS
The verse "She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Mary Ann"  (sung as part of this song, e.g., by Charlie Poole) is also associated with "Hungry Hash House," and that's where I've listed it when it occurs on its own. It's not clear that it belongs there, but for the moment I'm listing that song with this one because it fits better metrically. - RBW
File: R410
===
NAME: I Was Born in Killarney: see I Wish They'd Do It Now (File: Gil111)
===
NAME: I Was Born in Pennsylvania: see Young Companions [Laws E15] (File: LE15)
===
NAME: I Was Born on the River
DESCRIPTION: "I was born on the river, and the river is my home, As long as I can carry a chain, I won't leave the river alone." The singer asks the Captain for money, describes how the Captain bosses the gang, and advises against gambling
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work river boss gambling money hardtimes poverty
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 33-35, "I Wuz Borned on the Rivuh" (1 text, 1 tune); p. 118, "Woman, Woman, I See Yo' Man" (1 text, 1 tune)
Roud #10007
NOTES: The Wheeler text "Woman, Woman, I See Yo' Man" differs in from from "I Was Born on the River," but half its verses are found in the longer song. As is often the case in Wheeler's material, there is no good way to classify the result. I combine because, if I didn't, I'd have to list every piece in Wheeler separately.
File: MWHee033
===
NAME: I Was Despised Because I Was Poor: see I'm Despised for Being Poor (File: Beld195)
===
NAME: I Was Drunk Last Night
DESCRIPTION: "I was drunk last night, my darlin', And drunk the night before, But if ever I get sober, I'll never get drunk any more. Beautiful light o'er the sea...." "An' now I'll gather the roses To twine in my long braided hair...."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Randolph)
KEYWORDS: drink courting nonballad religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 407, "I Was Drunk Last Night" (1 text, 1 tune)
Roud #7681
RECORDINGS:
Red Patterson's Log Rollers, "I'll Never Get Drunk Any More" (Victor 20936, 1927)
Riley Puckett, "I'll Never Get Drunk Anymore" (Columbia 15063, 1926)
CROSS_REFERENCES:
cf. "Drunk Last Night" (initial line)
NOTES: This song is, in a way, impressive: In the space of twelve lines, it manages to invoke three songs: a "Never Get Drunk Any More" piece, the hymn "Beautiful Light," and something similar to "Wildwood Flower." Now all it needs is a stanza of a murder ballad to include every song-type known to humanity. - RBW
Not quite; it doesn't mention trains, trucks, prison, or mama. -PJS
"Trucks"? What do you think this is? A Nashville Nonsense Index? :-) - RBW
File: R407
===
NAME: I Was Just Sixteen
DESCRIPTION: "I was just sixteen when I first started roving" the sinful world. He meets and leaves a pretty girl. They agreed to be true but she thinks "on the vows she broke." She commits suicide.  At her funeral a letter arrives; "Willie fell from the yardarm"
AUTHOR: unknown
EARLIEST_DATE: 1921 (Greenleaf/Mansfield)
KEYWORDS: courting love parting death funeral suicide lover mistress mother sailor separation
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 102, "I Was Just Sixteen" (1 text)
Peacock, pp. 720-721, "The Spanish Main" (1 text, 1 tune)
Karpeles-Newfoundland 40, "The Spanish Main" (1 text, 1 tune)
Roud #17721
File: GrMa102
===
NAME: I Was Once a Sailor
DESCRIPTION: "Yes, I was once a sailor boy, I plowed the restless sea. I saw the sky look fair and glad And I felt proud and free." The sailor recalls his travels, but notes he made little profit. He now has a small farm and thinks his life is sweet
AUTHOR: unknown
EARLIEST_DATE: 1843 (Journal from the Florida)
KEYWORDS: sailor travel farming home
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 66-67, "I Was Once a Sailor" (1 text)
Roud #2021
NOTES: Huntington thinks this might be related to "The Faithful Sailor Boy" [Laws K13]. I don't see any signs of kinship. - RBW
File: SWMS067
===
NAME: I Was Once in a Dark and Lonesome Valley
DESCRIPTION: "I was once in a dark and lonesome valley, And Satan led with trouble on de way. But de devil tryin' hard to stop me, And dey laugh at me whatever dey hears me say." "Here's a light, chillun (x2), Here's a light where de angels led before us."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious Devil
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 599, "I Was Once in a Dark and Lonesome Valley" (1 short text)
Roud #11909
File: Br3599
===
NAME: I Was Sitting on a Stile: see I'm Sitting on the Stile, Mary (The Irish Emigrant II) (File: Pea462)
===
NAME: I Was the Boy for Bewitching Them
DESCRIPTION: Mothers warn their daughters to beware of the singer, irresistable Teddy. He had few rivals and, when Pat Mooney just met his Shelah, Teddy "twigged" him. "Beauties no matter how cruel ... Melted like mud in a frost"
AUTHOR: unknown
EARLIEST_DATE: c.1809 (Croker-PopularSongs); c.1815 (broadside, Bodleian Firth b.26(452))
KEYWORDS: bragging rake
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, p. 122, "I Was the Boy for Bewitching Them" (1 fragment)
BROADSIDES:
Bodleian, Firth b.26(452), "I Was the Boy for Bewitching Them" ("I was the boy for bewitching 'em"), Todd and Son (Easingwold), c.1815; also Harding B 25(931), "I Was the Boy for Bewitching 'em "; Harding B 17(143a), "I Was the Boy, &c"; Harding B 28(128), "I Am the Boy for Bewitching Them"
NOTES: Croker-PopularSongs has a fragment not in the broadsides but which "was a favourite some thirty years ago [c.1809]." The tone fits the broadsides but the words parallel "My God, How the Money Rolls In":
My father he married a Quaker,
My aunt she made hay with a fork;
And my uncle's a great grand brogue-maker
In the beautiful city called Cork
Croker-PopularSongs is a fragment; broadside Bodleian Firth b.26(452) is the basis for the description. The Croker fragment is quoted again in Croker-PopularSongs by a Mr Windle "borrowing the words of an old song." (p. 162)
A note, _Preliminary Finding List for Early Irish Tunes_, at The Wrapper Band site says "I was the boy for bewitching 'em [Said to be from play, Matrimony, c 1804. Music by P. M. King. Song attributed to Kenny in US1 [The Universal Songster or Museum of Mirth, Vol. I,1825], p. 180]; CIR 49 [1808. Crosby's Irish Musical Repository]: The Boy for bewitching them; HIA 7 [One Hundred Irish Airs. New York: Pub. by P. M. Haverty]" _Matrimony_ opened Nov 20, 1804, at Drury Lane "by James Kenny (librettist) and M.P. King (composer)," according to William J Burling [Version 1.2 copyright 3/7/2003] at Missouri State University site. - BS
File: CrPS122
===
NAME: I Went Down to My Girl's House Last Night
DESCRIPTION: "I went down to my girl's house last night, She met me at the door. She knocked me in the head with a rolling pin And I ain't been back no more."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: courting abuse abandonment floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 451, "I Went Down to My Gul's House Last Night" (1 fragment)
Roud #11785
NOTES: Obviously this is a floating fragment. It's not clear what it's floated free of. - RBW
File: Br3451
===
NAME: I Went Down to My Gul's House Last Night: see I Went Down to My Girl's House Last Night (File: Br3451)
===
NAME: I Went Down to New Orleans (I)
DESCRIPTION: Discovered in bed with the daughter of the landlord and landlady, the rover has sex with the mother too, and violates the father with a brace of pistols.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous landlord seduction sex
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Cray, pp. 105-106, "I Went Down to New Orleans" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "O'Reilly's Daughter"
File: EM105
===
NAME: I Went Down to New Orleans (II): see He's Got the Money Too (File: R299)
===
NAME: I Went Down to the Depot: see Jesse James (I) [Laws E1] (File: LE01)
===
NAME: I Went Down to the Lowground: see BrownIII 187, "I Went Down to the Lowground" (1 text) (File: Br3187)
===
NAME: I Went Home One Night: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: I Went Out A-Hunting, Sir: see The Sally Buck (File: SKE70)
===
NAME: I Went to Atlanta
DESCRIPTION: "I went to Atlanta, Never been there befo'; White folks eat de apple, Nigger wait fo' co'." The singer finds similar unfairness when visiting Charleston, Raleigh, etc. Chorus: "Cath dat Suth'n, Grab dat train, Won't come back no mo'."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: travel hardtimes Black(s) discrimination
FOUND_IN: US
REFERENCES: (1 citation)
Greenway-AFP, p. 106, "I Went to Atlanta" (1 text)
File: Grnw106
===
NAME: I Went to Cincinnati: see Turkey in the Straw (File: R274)
===
NAME: I Went to My Sweetheart's House
DESCRIPTION: Stanzas of the form "I went to my sweetheart's house, I never was thar before, They sot me in the corner as still as a mouse, An' I ain't gwine thar no mo', mo', mo, An' I ain't gwine that no mo', my love, An' I ain't gwine that no mo'." Verses float
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: floatingverses home animal courting
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 166-167, "I Went to My Sweetheart's House" (1 text)
ST ScaNF166 (Partial)
CROSS_REFERENCES:
cf. "Raccoon" (floating lyrics)
NOTES: I thought seriously about filing this with "Raccoon"; they have that many stanzas in common. But some have floated in from other places, and the form is different, so I'm separating them. - RBW
File: ScaNF166
===
NAME: I Went to the Fair at Bonlaghy
DESCRIPTION: "I went to the fair at Bellaghy, I bought a wee swad of a pig, I got it up in my arms And danced 'The Swaggering Jig." In all contexts, man, pig, poorhouse inmates, passersby, flowers, whistle and/or dance the jig.
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: animal humorous commerce dancing
FOUND_IN: Ireland US(MW)
REFERENCES: (2 citations)
SHenry H758, p. 23, "Bellaghy Fair" (1 text, 1 tune)
Eddy 151, "I Went to the Fair at Bonlaghy" (1 fragment, 1 tune)
ST E151 (Partial)
Roud #5349
File: E151
===
NAME: I Went to the Hop-Joint: see The Hop-Joint (File: ScaNF090)
===
NAME: I Went to the Woods
DESCRIPTION: "Shure I went to the woods where I heard a big drum. 'By the holy Saint Patrick,' says I, 'that's a drum.'" The Irishman complains about the land where he lives: Cold weather, girls always chewing gum, the dreadful smell of fermented cabbage
AUTHOR: unknown
EARLIEST_DATE: 1958 (Fowke)
KEYWORDS: food hardtimes
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke-Lumbering #51, "I Went to the Woods" (1 text, 1 tune)
Roud #4563
NOTES: Fowke describes this song as "somewhat indelicate." This refers primarily to the first verse, which on its face is about a woodpecker drilling for food, but which Fowke considers to have a secondary meaning.
Personally, I suspect the song is composite; the first verse is, well, either about a bird or about something that is describes as one but isn't -- but the rest is a straightforward gripe about a the place the Irishman lives. - RBW
File: FowL51
===
NAME: I Went Up on the Mountain Top: see Liza Jane (File: San132)
===
NAME: I Whipped My Horse
DESCRIPTION: "I whipped my horse till I cut the blood (x3) And then I made him tread the mud." "I fed my horse in a poplar trough (x3) And there he caught the whooping cough." "Now my old horse is dead and gone (x3) But he left his jaw-bones ploughing the corn."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection)
KEYWORDS: animal nonsense nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
SharpAp 219, "I Whipped My Horse" (1 text, 1 tune)
Sharp/Karpeles-80E 71, "I Whipped My Horse" (1 text, 1 tune)
Roud #3267
CROSS_REFERENCES:
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)"
cf. "Ox Driving Song" (floating lyrics)
File: SKE71
===
NAME: I Will Give My Love an Apple: see I Gave My Love a Cherry
 (File: R123)
===
NAME: I Will Give You a Red Dress: see The Keys of Canterbury (File: R354)
===
NAME: I Will Love Thee Always: see Out In the Moonlight (I Will Love Thee Always) (File: R803)
===
NAME: I Will Put My Ship In Order
DESCRIPTION: The singer puts his ship in order to sail to his true love. He arrives wet and tired, knocks at her window, and asks her to let him in. She delays (perhaps her parents are watching), and he leaves before she comes. She laments his departure
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: ship love reunion separation nightvisit betrayal
FOUND_IN: Britain(England(North),Scotland)
REFERENCES: (3 citations)
Stokoe/Reay, pp.  35-36, "I Drew My Ship into the Harbour" (1 text, 1 tune, with a "ripest apples" floating verse)
Ord, pp. 318-319, "I Will Set My Ship in Order" (1 text)
DT, SHIPORDR* SHIPORD2*
Roud #402
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4] (plot)
cf. "Rise Up Quickly and Let Me In (The Ghostly Lover)" (lyrics, theme)
NOTES: This song is about 80% identical with the piece I've titled "Rise Up Quickly and Let Me In (The Ghostly Lover)"; the only differences are in the first verse (about the ship) and the ending (in this, the lover leaves; in the other, the girl arrives in time to admit him). Fragments could file with either song.
Some, including Roud, have identified this song with "The Drowsy Sleeper," and there is some justice to this; there may be cross-influence. Indeed, for a time I listed this as an alternate title of "Drowsy Sleeper." But we are splitters, and so the two are now separate. I think that's the proper decision anyway.
The last few verses of this song bear a resemblance to Song of Solomon 5:2-6, but that may be coincidence. - RBW
File: Ord318
===
NAME: I Will Sail the Salt Seas Over
DESCRIPTION: "I will sail the salt seas over And the Shannon after me, For your equal in Loch Ray love Is rare to be seen. I would rather than a horse And a bridle for to steer That I ne'er mentioned the name of Loch Ray la she sheer"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: love separation
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 102, "I Will Sail the Salt Seas Over" (1 fragment, 1 tune)
Roud #2776
NOTES: The current description is all of the Creighton-SNewBrunswick fragment.
Creighton-SNewBrunswick: "The spelling of the last line ["Loch Ray la she sheer"] may be incorrect." - BS
File: CrSNB102.
===
NAME: I Will Set My Ship In Order: see I Will Put My Ship In Order (File: Ord318)
===
NAME: I Will Take You Back Again, Kathleen: see I'll Take You Home Again, Kathleen (File: RJ19083)
===
NAME: I Will Tell You My Troubles
DESCRIPTION: "I will tell you of my troubles, my ups and downs through life...." The singer complains about the life of a cowboy. Life is hard and lonely, and there is too much to do; the cows wander off even during the monotonous meals
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: work cowboy
FOUND_IN: US(So)
REFERENCES: (1 citation)
Fife-Cowboy/West 25, "The Little Old Sod Shanty" (7 texts, 2 tunes, with the "G" text going here)
Roud #11208
CROSS_REFERENCES:
cf. "The Little Old Log Cabin in the Lane" (tune) and references there
File: FCW025G
===
NAME: I Will Tell You of a Fellow: see Common Bill (File: R119)
===
NAME: I Wish I Been Dere (I Wish I Been There)
DESCRIPTION: "My mother, you follow Jesus, My sister, you follow Jesus, My brother, you follow Jesus, To fight until I die. U wish I been there yonder, To climb Jacob's ladder, I wish I been there yonder, To wear the starry crown."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 29, "I Wish I Been Dere" (1 text, 1 tune)
Roud #11982
File: AAWG029A
===
NAME: I Wish I Had Someone to Call My Own
DESCRIPTION: "I wish I had someone to call my own; I wish I had someone to take my care." The singer lists all that he's tired of: coffee, tea, living, eating, sleeping, plus, "I"m so tired of livin' I don't know what to do; You're tired of me, an' I'm tired of you."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: hardtimes nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 279, "I Wish I Had Someone to Call My Own" (1 text)
NOTES: Get help. - RBW
File: ScaNF279
===
NAME: I Wish I Had Someone to Love Me: see Meet Me Tonight in the Moonlight (File: R746)
===
NAME: I wish I was a Child again: see Died for Love (I); also The Butcher Boy [Laws P24] (File: McST055)
===
NAME: I Wish I Was a Little Bird (Nobody Cares for Me)
DESCRIPTION: "I wish I was a little bird, I'd fly up in a tree, I'd sit and sing my little sad song (spoken:) But I can't stay here by myself." "I wish I was a little fish, I'd swim way down in the sea, I'd sit and sing my little sad song,  But I can't stay here..."
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: loneliness nonballad animal bird
FOUND_IN: US(MA,So)
REFERENCES: (3 citations)
Belden, p. 489, "I Wish I Was a Little Bird" (1 text)
Sandburg, p. 338, "I Wish I Was a Little Bird" (1 text, 1 tune)
Randolph 722, "Nobody Cares for Me" (1 short text, 1 tune)
Roud #6357
CROSS_REFERENCES:
cf. "I Have No Loving Mother Now (Oh, See My Father Layin' There)" (lyrics)
File: San338
===
NAME: I Wish I Was a Little Sparrow: see Fair and Tender Ladies (File: R073)
===
NAME: I Wish I Was a Mole in the Ground
DESCRIPTION: "I wish I (was/were) a mole in the ground (x2), If I was a mole in the ground, I'd root that mountain down...." The singer complains of Kempy's expensive  tastes and his troubles with drink and/or the law. He may wish to be other things.
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: animal money hardtimes floatingverses dancetune
FOUND_IN: US(SE,So)
REFERENCES: (6 citations)
BrownIII 173, "Mole In the Ground" (1 text)
Botkin-AmFolklr, pp. 900-901, "I Wish I Wuz a Mole in the Ground" (1 text, 1 tune)
Courlander-NFM, p. 144, "(I Wish I Was a Mole in the Ground)" (1 text)
Lomax-ABFS, pp. 152-153, "I Wish I Was a Mole in the Ground" (1 text, 1 tune)
Silber-FSWB, p. 394, "Mole In The Ground" (1 text)
DT, WISHMOLE*
Roud #4957
RECORDINGS:
Green Bailey, "I Wish I Were A Mole In The Ground" (Conqueror 7255 [as Amos Baker], 1929; rec. 1928; on KMM)
Frank Bode, "Tempy" (on FBode1)
Chancey Bros., "I Wish I Was a Mole in the Ground" (on FolkVisions2)
Eugene Jemison, "Girls, Quit Your Rowdy Ways" (on Jem01)
Bascom Lamar Lunsford, "I Wish I Was a Mole in the Ground" (OKeh 40155, 1924); (Brunswick 219B, 1928; on AAFM3, BLLunsford01); (BLLunsford02, FMUSA)
Pete Seeger, "Mole in the Ground" (on PeteSeeger09, PeteSeegerCD02)
CROSS_REFERENCES:
cf. "I Don't Like No Railroad Man" (floating lyrics)
cf. "My Last Gold Dollar" (floating lyrics)
cf. "New River Train" (tune, floating lyrics)
cf. "Oh, Honey, Where You Been So Long?" (lyrics)
File: BAF900
===
NAME: I Wish I Was at Home
DESCRIPTION: "I'm marchin' down to Washington With a heavy load an' a rusty gun, An' I wish I was at home (x2). They carried me down to the navy yard, An' round me they placed a mounted guard, An' I wish I was at home (x2)."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Randolph)
KEYWORDS: home homesickness soldier
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 240, "I Wish I Was at Home" (1 text)
Roud #7710
File: R240
===
NAME: I Wish I Were a Single Girl Again
DESCRIPTION: "When I was single, marriage I did crave. Now I am married, it's trouble to my grave. Lord, I wish I was a single girl again!" The wife complains of hard work in the kitchen, of poverty, of poor clothes, hungry children, and a husband who steals her money
AUTHOR: unknown
EARLIEST_DATE: 1907 (Belden)
KEYWORDS: husband wife marriage poverty
FOUND_IN: US(Ap,SE)
REFERENCES: (13 citations)
Warner 126, "I Wish I Were a Single Girl Again"
Belden, p. 437, "When I Was Single" (1 text, with no letter designation; the lettered texts are all "I Wish I Were Single Again (I - Male)")
BrownIII 28, "I Wish I Was a Single Girl Again" (3 texts)
Scarborough-SongCatcher, pp. 320-321, "The Single Girl" (1 text plus a fragment of "I Wish I Were Single Again (I - Male)"; tune on p. 442)
Fuson, p. 188, "Oh, I Wish I Were Single Again" (1 text)
SharpAp 86, "The Single Girl" (5 texts, 5 tunes)
Scott-BoA, p. 171, "The Single Girl" (1 text, 1 tune)
Lomax-FSUSA 13(A), "When I Was Single (I)" (1 text, 1 tune)
Lomax-FSNA 84, "Single Girl" (1 text, 1 tune)
Lomax-ABFS, pp. 154-155, "When I Was Single" (1 text, 1 tune)
Darling-NAS, pp. 272-273, "Single Girl" (1 text)
Arnett, p. 59, "Single Girl" (1 text, 1 tune)
DT, SNGLGRL3*
Roud #436
RECORDINGS:
Anne, Judy, & Zeke Canova, "I Wish I Was a Single Girl Again" (Brunswick 264, 1928)
Cousin Emmy [Cynthia May Carver], "I Wish I Was a Single Girl, Again" (Decca 24215, 1947)
Vernon Dalhart & Co., "I Wish I Was a Single Girl Again" (Edison 51610, 1925)
Sid Harkreader, "I Wish I Was A Single Girl Again" (Vocalion 15035, 1925)
Kelly Harrell, "I Wish I Was a Single Girl Again" (Victor 19563, 1925; on KHarrell01) (Victor 20242, 1926; on KHarrell01)
Roscoe Holcomb, "I Wish I Were a Single Girl Again" [LP] or "Single Girl" [CD] (on MMOK, MMOKCD)
Lulu Belle & Scotty, "I Wish I Was a Single Girl Again" (Conqueror 9189, 1938; Vocalion 04772, 1939)
New Lost City Ramblers, "Single Girl" (on NLCR14)
Frank Proffitt, "Single Girl" (on FProffitt01)
Riley Puckett ,"I Wish I Was a Single Girl Again" (Bluebird B-8083, 1939)
Pete Seeger, "When I Was Single" (on PeteSeeger07, PeteSeeger07b)
Henry Whitter, "I Wish I Was a Single Girl Again" (OKeh 40375, 1925)
CROSS_REFERENCES:
cf. "I Wish I Were Single Again (II - Female)"
cf. "Single Girl, Married Girl"
cf. "Sorry the Day I Was Married"
cf. "When I Was Young (II)" (theme)
cf. "For Seven Long Years I've Been Married" (theme)
cf. "Married and Single Life" (subject)
NOTES: Roud lumps "I Wish I Were a Single Girl Again" and "Single Girl, Married Girl" (and perhaps others). Definitely a stretch, though the songs can easily cross-fertilize. - RBW
File: Wa126
===
NAME: I Wish I Were Single Again (I - Male)
DESCRIPTION: The singer recalls the happy days when he was single. He recalls marrying a wife, "the plague of my life." She died and was buried, so he went and married again, to find that he "wished for the old one again"
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: funeral marriage shrewishness wife
FOUND_IN: US(Ap,MW,SE,So) Canada(Mar) Britain(England,Scotland)
REFERENCES: (25 citations)
Randolph 365, "I Wish I Was Single Again" (4 texts, 1 tune)
Randolph/Cohen, pp. 329-331, "I Wish I Was Single Again" (1 text, 1 tune -- Randolph's 365A)
Eddy 69, "When I Was a Young Man" (2 texts, 2 tunes)
Kennedy 204, "I Wished To Be Single Again" (1 text, 1 tune)
BrownIII 19, "When I Was Single" (3 texts plus an excerpt and mention of 13 more, though most of the omitted texts are single stanzas)
Chappell-FSRA 75, "When I Was Single" (1 text)
Scarborough-SongCatcher, pp. 320-321, "The Single Girl" (1 text plus a fragment; the song is "I Wish I Were a Single Girl Again," but the fragment is this)
McNeil-SFB2, pp. 47-50, "I Wish I Was Single Again"; "I Wish I Were Single Again" (2 texts, 2 tunes)
Warner 127, "When I Was Single" (1 text, 1 tune)
Belden, pp. 437-439, "When I Was Single" (3 texts, plus a text of "I Wish I Were a Single Girl Again")
Fuson, pp. 85-86, "Oh Then" (1 text, in which the second wife apparently plans to hang the husband before she, like the first, falls sick)
Cambiaire, pp. 99-100, "When I Was Single" (1 text)
Shellans, pp. 20-21, "My First And Last Courtship" (1 text, 1 tune, in which the second wife tries to hang the singer and he shoots her after being rescued; Shellans thinks the singer may have made up this material.)
Sandburg, p. 47, "I Wish I Was Single Again" (1 text, 1 tune)
Creighton/Senior, pp. 215-217 , "When I Was Single" (1 text, 1 tune)
Mackenzie 143, "When I Was Single" (1 text, 1 tune)
Scott-BoA, pp. 169-171, "When I Was Single" (1 text, 1 tune)
Combs/Wilgus 177, pp. 181-182, "The Married Man" (1 text)
Lomax-FSUSA 13(B), "When I Was Single (II)" (1 text, 1 tune)
Lomax-ABFS, pp. 156-158, "When I Was Single" (1 text, 2 tunes)
LPound-ABS, 98, pp. 207-208, "I Wish I Was Single Again" (1 text)
Darling-NAS, pp. 274-275, "I Wish I Was Single Again" (1 text)
Pankake-PHCFSB, pp. 276-277, "I Wish I Was Single Again" (1 text, 1 tune)
Silber-FSWB, p. 172, "I Wish I Was Single Again" (1 text)
DT, WISHSNGL
Roud #437
RECORDINGS:
Foster & James, "When I Was Single My Pockets Would Jingle" (Gennett 6434/Supertone 9260, 1928) [also issued as by Jim Burke, possibly a pseudonym for Doc Roberts]
Frank Luther, "I Wish I Was Single Again" (Crown 3084, 1931)
Riley Puckett, "I Wish I Was Single Again" (Columbia 15036-D, 1925) (Bluebird B-8066, 1939)
Arthur Tanner, "When I Was Single My Pockets Would Jingle" (Silvertone 3515, 1926)
Welby Toomey, "I Wish I Was Single Again" (Gennett 3202, 1926)
Tom Watson, "I Wish I Was Single Again" (Silvertone 3263, 1926)
Henry Whitter, "I Wish I Was Single Again" (OKeh 40375, 1925) (OKeh 45045, 1926)
CROSS_REFERENCES:
cf. "When I Was Single (II)"
cf. "Poor Married Man" (theme)
cf. "Married and Single Life" (subject)
NOTES: Characterized by a stanza format something like this:
When I was single, oh then,
When I was single, oh then,
When I was single, my money would jingle;
I wish I was single again.
Laura Ingalls Wilder, in _By the Shores of Silver Lake_ (chapter 22) has a slightly different form, allegedly from 1880:
When I was young and single,
I could make the money jingle
And the world was well with me, O then!
The world went well with me then. - RBW
File: R365
===
NAME: I Wish I Were Single Again (II - Female)
DESCRIPTION: The wife complains of the troubles of matrimony. When first her husband courted her, all was kindness, but now it's nothing but work and care for the children and try to stay out of trouble. She says, "I hope I shall be hanged if I ever love again."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: fight husband marriage
FOUND_IN: US(MW,NE,So)
REFERENCES: (4 citations)
Eddy 70, "How I Wish I Was Single Again" (1 text, 1 tune)
Randolph 366, "A Married Woman's Lament" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 26-27, "A Married Woman's Lament" (1 text, 1 tune, with the unrelated "The Sorrow of Marriage" in an appendix"
DT, SNGLGRL2*
Roud #436
RECORDINGS:
Margaret MacArthur, "Single Again" (on MMacArthur01)
CROSS_REFERENCES:
cf. "I Wish I Were a Single Girl Again"
cf. "Single Girl, Married Girl"
cf. "When I Was Young (II)" (theme)
cf. "For Seven Long Years I've Been Married" (theme)
NOTES: Characterized by a stanza format something like this:
Once I was single and lived at my ease,
But now I am married with a husband to please,
Four young children to maintain;
Oh how I wish I were single again! - RBW
File: E070
===
NAME: I Wish I Were Where Ellen Lies: see Helen of Kirconnell (File: OBB152)
===
NAME: I Wish I Were Where Gadie Rins: see Where the Gadie Rins (I), (II), etc. (File: Ord347)
===
NAME: I Wish I Were Where Helen Lies: see Helen of Kirconnell (File: OBB152)
===
NAME: I Wish I Were Yon Red, Red Rose: see The Irish Girl (File: HHH711)
===
NAME: I Wish My Granny Saw Ye
DESCRIPTION: Country lad Johnny Raw comes to town, where the girls giggle, "I wish my granny saw ye." He buys a girl a wedding dress; she laughs at him. A girl asks him to carry her baby; he consents. She disappears, and he is left to care for the child
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: clothes trick courting baby
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 395-396, "I Wish My Granny Saw Ye" (1 text)
Roud #5614
CROSS_REFERENCES:
cf. "The Basket of Eggs" (plot) and references there
NOTES: Although the general theme of a country boy who falls prey to city tricks occurs throughout this song, I have to suspect it is at least somewhat composite, with the girl-and-baby theme translated bodily into a newer framework. - RBW
File: Ord395B
===
NAME: I Wish My Love
DESCRIPTION: Singer wishes his love were various objects: a cherry, a beeskep, an ewe, etc., so that he might make love to her. After some lovely metaphors, in the last verse he wishes she was a warm turd, and he was a "shitten flea," that he might light upon her
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: sex lyric nonballad scatological
FOUND_IN: Britain(England(North))
REFERENCES: ()

Roud #8738
RECORDINGS:
A. L. Lloyd, "I Wish My Love" (on Lloyd2) = "I Wish, I Wish" (on Lloyd 3) [same recording, changed title]
ALTERNATE_TITLES:
A Pitman's Love Song
NOTES: Lloyd notes, "Rather to my own surprise I find myself too prudish to sing [the last verse], though I'm impressed by its intensity," but he reprints it in his book "Folk Song in England." - PJS
File: RcIWML
===
NAME: I Wish My Love Was a Red Rose: see The Irish Girl (File: HHH711)
===
NAME: I Wish My Love Was In a Ditch
DESCRIPTION: "I wish my love was in a ditch, Without no clothing to her, With nettles up and down her back Because she was not truer." She had been involved with the singer and another; he claims her child was fathered by the other, and will not sleep with her
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love marriage infidelity pregnancy
FOUND_IN: US(NE)
REFERENCES: (1 citation)
BrownII 126, "I Wish My Love Was In a Ditch" (1 text)
ST BrII126 (Full)
Roud #6572
NOTES: The editors of Brown suspect this is Scottish, but can cite no other texts (Jamieson has a piece "I Wish My Love Was In a Mire," found also as #41 in _The Scot Musical Museum_, but the parallels are thematic rather than verbal). - RBW
File: BrII126
===
NAME: I Wish That Girl Was Mine
DESCRIPTION: "When I was a little boy, Just eighteen inches high, How I'd hug and kiss those girls To see their mammas cry." "Oh, I wish that girl was mine (x2), The only tune that I can play Is 'I wish that girl was mine.'" Of courting, banjos, and last regrets(?)
AUTHOR: unknown
EARLIEST_DATE: 1939 (Brown)
KEYWORDS: love courting music
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 298, "I Wish That Girl Was Mine" (1 text)
Roud #16859
CROSS_REFERENCES:
cf. "Troubled In My Mind" (theme, floating lyrics)
NOTES: This may be a variant of "Troubled In My Mind" or one of its relatives, but it has enough unique material (notably the first verse) that I tentatively separate it. - RBW
File: Br3298
===
NAME: I Wish That You Were Dead, Goodman
DESCRIPTION: "There's six eggs in the pan, goodman (x2), there's one for you and twa for me, And three for (our John Hielandman)." The woman complains, and concludes, "I wish ye were dead, wi' a stone at your head, and I'd run awa wi' John Hielandman"
AUTHOR: unknown
EARLIEST_DATE: 1823 (Sharpe)
KEYWORDS: food love curse death
FOUND_IN: Britain(Scotland(Aber)) Ireland
REFERENCES: (3 citations)
GreigDuncan3 695, "Oh, Gin Ye Were Deid, Goodman" (1 fragment)
SHenry H531, p. 506-507, "I Wish That You Were Dead, Goodman" (1 text, 1 tune)
DT, EGGSMAN WISHDEAD
ST HHH531 (Full)
Roud #5884
CROSS_REFERENCES:
cf. "Green Grow the Rashes" (tune, per GreigDuncan3)
ALTERNATE_TITLES:
There's a Herrin' in the Pan
NOTES: Murray Shoolbraid's notes in the Digital Tradition discuss possible bawdy connections of this song. Interestingly, though they are all extremely subtle, Gordeanna McCulloch has a text which seems to have cleaned them all up and converted them into a complaint against landlords. - RBW
File: HHH531
===
NAME: I Wish There Was No Prisons
DESCRIPTION: The singer says "I only steal my belly to fill." Prison work is hard and makes him ill. He saw a girl with twins in a perambulator. He kissed one baby while he stole a potato from the other. "I wish there were no prisons. I do. Don't you?"
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, George Spicer)
KEYWORDS: prison theft humorous nonballad baby
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1708
RECORDINGS:
George Spicer, "I Wish There Was No Prisons" (on Voice14)
File: RcIWTWNP
===
NAME: I Wish They'd Do It Now
DESCRIPTION: The singer recalls how, when he was a child, the girls would run to kiss him, cuddle him, bathe him, etc. Unfortunately, he is grown and their attentions have ceased; he remarks, "I've got itches in my britches and I wish they'd do it now."
AUTHOR: E. Freeman Dixey? (author cited in the sheet music)
EARLIEST_DATE: 1865 (sheet music for "Why Don't They Do It Now?" published)
KEYWORDS: courting youth loneliness humorous
FOUND_IN: Australia US(MW)
REFERENCES: (5 citations)
Dean, p. 81, "I Was Born in Killarney" (1 text)
Gilbert, pp. 111-112, ""Why Don't They Do So Now?" (1 text)
Meredith/Covell/Brown, pp. 186-189, "They were very very Good to Me" (1 text, 1 tune)
DT, DOITNOW*
ADDITIONAL: _Sing Out_ magazine, Volume 20, #5 (1971), pp. 16-17, "I Wish THey'd Do It Now" (1 text, 1 tune, the Bob Davenport version)
Roud #1401
RECORDINGS:
Arthur Collins, "I Wish They'd Do It Now" (CYL: Edison 5412, c. 1898)
Steve Porter, "I Wish They'd Do It Now" (American Record Co. 031354, c. 1906)
Teddy Simmons, "I Wish They'd Do It Now" (CYL: Columbia 32895, c. 1906)
NOTES: [The original of this is] from "C.P. Hyland's I Wish They'd Do It Now Songster" published in [New York City] in 1869 [Michael Cooney in _Sing Out_ says 1879]. It was an American song.  Not very good either, in the original, but the [folk] processed version was/is a gem. - MC
Those wishing to see something like the original version (as I understand it), with only minimal folk processing, are referred to the Meredith/Covell/Brown text. It is indeed rather less than inspired. The tune we tend to hear nowadays is much like "The Wearing of the Green." - RBW
You think those words are insipid? You should see the ones from "Why Don't They Do It Now?" (1865) from which this song is clearly derived. Without seeing the words from the 1869 "I Wish They'd Do It Now Songster", I can't tell whether those were a folk-processing of "Why Don't They Do It Now?" or a parody, if the distinction can even be drawn. - PJS
File: Gil111
===
NAME: I Wish, I Wish: see Died for Love (I); also The Butcher Boy [Laws P24] (File: McST055)
===
NAME: I Wished to be Single Again: see I Wish I Were Single Again (I - Male) (File: R365)
===
NAME: I Won't Be a Nun!
DESCRIPTION: "Now is it not a pity such a pretty girl as I Should be sent to a nunnery to pine away and die? But I won't be a nun... I'm so fond of pleasure that I cannot be a nun!" The girl is too fond of partying/men.The nuns couldn't handle a novice like her
AUTHOR: unknown
EARLIEST_DATE: 1893 (Songs of the People)
KEYWORDS: clergy party freedom
FOUND_IN: US(So) Britain
REFERENCES: (3 citations)
Belden, pp. 266-267, "I Won't Be a Nun" (1 text, 1 tune)
Randolph 400, "I Won't Be a Nun!" (1 text, 1 tune)
DT, WONTNUN*
Roud #7630
File: R400
===
NAME: I Won't Be My Father's Jack
DESCRIPTION: "I won't be my father's jack, I won't be my (mother's/father's) (Jill/Gill), I will be the fiddler's wife And have music when I will. T'other little tune, T'other little tune, Prithee, love, play me T'other little tune."
AUTHOR: unknown
EARLIEST_DATE: before 1767 (Newberry, _Mother Goose's Melody_)
KEYWORDS: music courting father mother nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 257, "I won't be my father's Jack" (1 text)
Baring-Gould-MotherGoose #40, p. 54, "(I won't  be my Father's Jack)"
NOTES: I've never met this as a genuine traditional song, as opposed to a nursery rhyme, but I heard it sung *somewhere* (the version in my head sounds like Peter Paul & Mary, I'm sorry to say), so I'm putting it in just in case. - RBW
File: BGMG040
===
NAME: I Won't Marry (I): see I'll Not Marry at All (File: E072)
===
NAME: I Wonder As I Wander
DESCRIPTION: "I wonder as I wander out under the sky How Jesus our savior did come for to die." Jesus comes for "poor ornery/ordinary people," is born to Mary in a "cow's stall," is celebrated in the skies; we are assured he could have had anything he wanted
AUTHOR: John Jacob Niles (?), based on at least one traditional stanza
EARLIEST_DATE: 1934 (sheet music); collected from tradition by 1940
KEYWORDS: religious Jesus childbirth poverty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 600, "I Wonder As I Wander" (1 text)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #36, "I Wonder As I Wander" (1 text)
Roud #15015
NOTES: I can't help but note an irony: In the entire Bible, Jesus really makes only one request *for himself*: "My father, if it is possible, take this cup from me" (Matt. 26:39, etc.)
The request was not granted. - RBW
File: Br3600
===
NAME: I Wonder Wha'll Be My Man?
DESCRIPTION: "A' kinds o' lads an' men I see, The youngest an' the auldest... I wonder wha'll be my man." The singer wonders about his work, where he is, how she will recognize him. She fears there might be none, and accuses him of keeping her waiting
AUTHOR: Edward Polin ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: courting oldmaid nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 262-263, "I Wonder Wha'll Be My Man" (1 text, 1 tune); pp. 264-265, "I Wonder Wha'll Be My Wife" (1 text, clearly a male adaption of the preceding; Roud #13096)
Roud #5571
File: FVS262
===
NAME: I Wonder Wha'll Be My Wife?: see references under I Wonder Wha'll Be My Man? (File: FVS262)
===
NAME: I Wonder What Is Keeping My True Love Tonight (Green Grass It Grows Bonny)
DESCRIPTION: Woman sings, "I wonder what is keeping my true love tonight?" He sings that he hasn't got anyone else, but he no longer loves her; he can't truly love a woman with two sweethearts. She warns other girls to beware false young men
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: infidelity love warning lover
FOUND_IN: Ireland Scotland(Aber)
REFERENCES: (4 citations)
Kennedy 157, "Green Grass It Grows Bonny" (1 text, 1 tune)
Tunney-StoneFiddle, pp. 87-88, "Green Grass It Grows Bonnie" (1 text, 1 tune)
Ord, p. 187, "The Rose and the Thyme" (1 text, with the plot of this song but introductory stanzas from "Green Grows the Laurel")
DT, KEEPLOVE
Roud #858
RECORDINGS:
McBride 38, "Green Grass it Grows Bonnie" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (lyrics)
NOTES: *She* should talk! - PJS
Oh, I don't know; they sound perfect for each other.
Interestingly, Ord's text (which seems to mash together this song and "Green Grows the Laurel") doesn't mention the bit about the girl having two sweethearts. Neither does the version in the Digital Tradition, which, however, does not list a source. - RBW
File: K157
===
NAME: I Wonder When I Shall Be Married
DESCRIPTION: "I wonder when I shall be married... For my beauty's beginning to (fail/fade)." The girl's parents would be happy to see her married; they offer a good dowry ("forty good shillings" and household furnishings) but there are as yet no takers
AUTHOR: unknown
EARLIEST_DATE: 1923 (Cox)
KEYWORDS: age loneliness marriage dowry beauty clothes nonballad family oldmaid
FOUND_IN: US(Ap)
REFERENCES: (4 citations)
JHCoxIIB, #16, pp. 157-158, "Old Maid's Song" (1 text, 1 tune)
MHenry-Appalachians, p. 27, "I Wonder When I Shall Be Married" (1 text)
Ritchie-Southern, p. 71, "I Wonder When I Shall Be Married" (1 text, 1 tune)
DT, WHENMARI
Roud #818
RECORDINGS:
Jean & Edna Ritchie, "I Wonder When I Shall Be Married" (on Ritchie03)
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
cf. "O Gin That I Were Mairrit" (theme, lyrics)
cf. "I Am Gaun to the Garret" (lyrics, theme)
NOTES: This probably began as a British broadside, "The Maiden's Sad Complaint for Want of a Husband," and has a sister in this Index known as "I Am Gaun to the Garret". Even the American versions are often still quite British (note the forty shilling dowry!). But British versions often end with her finding a husband, so I'm listing this as a separate song.
Note that Cox's text is from Kentucky, not West Virginia -- and almost identical to the well-known Ritchie Family version. - RBW
File: CoxII16
===
NAME: I Wonder Where's the Gambler [Laws H22]
DESCRIPTION: The gambler spends all night at cards. In pain, he has to be helped home by friends. He is put to bed, and his mother asks the Lord to forgive him. The gambler says it is too late to pray. The chorus ends, "I wonder where he's gone" (i.e. Heaven or Hell)
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: gambling death farewell Hell
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
Laws H22, "I Wonder Where's the Gambler"
MHenry-Appalachians, pp. 96-97, "I Wonder Where's the Gambler" (1 text)
Cohen/Seeger/Wood, pp. 82-83, "The Gambler's Dying Words" (1 text, 1 tune)
SharpAp 152, "The Gambling Man" (2 texts, 2 tunes, but only the "A" text is this song; the "B" text is "Darling Corey")
DT 829, WHERGAMB
Roud #428
RECORDINGS:
Sid Harkreader, "The Gambler's Dying Words" (Broadway 8115, c. 1930)
Panhandle Pete [pseud. for Howard Nash], "The Gambler's Dying Words" (Decca 5599, 1938)
File: LH22
===
NAME: I Wondered and I Wondered
DESCRIPTION: "I wondered and I wondered All the days of my life, Where you're goin', Mr. Mooney, To get yourself a wife, Where you're goin', where you're goin' To get yourself a wife."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: nonballad wife
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 315, "I Wondered and I Wondered" (1 short text)
File: Br3315
===
NAME: I Would Not Be Alone: see The Song of the Southern Volunteers (File: SBoA221)
===
NAME: I Would Not Live Always
DESCRIPTION: The singer offers various reasons why "I would not live always:" "Since Jesus was laid there [in the tomb], I'll not fear its gloom." "Who would live always Away from his God?" The singer looks forward to the bliss of heaven
AUTHOR: unknown
EARLIEST_DATE: 1860 (Harmona Sacra)
KEYWORDS: religious death burial
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 630, "I Would Not Live Always" (1 text, 1 tune)
Roud #7558
File: R630
===
NAME: I Wouldn't Have an Old Man
DESCRIPTION: The singer refuses to have any part of an old man. She contrasts old and young men: The old are "slobbery," bony, have too many cows to milk, and hog the covers; young men are well-dressed and can keep a girl warm
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Frank Crumit)
KEYWORDS: nonballad age rejection youth marriage
FOUND_IN: US(MW,SE,So)
REFERENCES: (6 citations)
Eddy 135, "I Wouldn't Have an Old Man" (1 text)
Gardner/Chickering 174, "An Old Man and a Young Man" (1 text, 1 tune)
Randolph 401, "Stand Back, Old Man, Get Away" (1 text, 1 tune)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "M," "N," and "R" belong here)
Shellans, pp. 8-9, "Git Away, Old Man" (1 text, 1 tune)
DT, AWAOLDMN*
Roud #3719
RECORDINGS:
Frank Crumit, "Get Away, Old Man, Get Away" (Victor 20137-B, 1926)
Vernon Dalhart, "Get Away Old Man, Get Away" (Brunswick 123, 1927) (Pathe 32254, 1927) (Columbia 969-D, 1927) (Supertone 9228, 1928) (CYL: Edison [BA] 5321, n.d.)
Durium Dance Band w. Carson Robison & his Pioneers, "Get Away Old Man" (Durium [UK] EN-25, 1932)
Arthur Fields, "Get Away Old Man"  (Broadway 8049, rec. 1927)
Mack Brothers, "Get Away, Old Man, Get Away" (Decca 5073, 1935)
Charlie Newman, "Get Away Old Man, Get Away" (OKeh 45095, 1927)
Chubby Parker, "Get Away Old Maids, Get Away" (Conqueror 7888, 1931; Montgomery Ward M-4945, 1936; on CrowTold02)
CROSS_REFERENCES:
cf. "Maids When You're Young Never Wed an Old Man"
cf. "Old Man Came Over the Moor, An (Old Gum Boots and Leggings)"
cf. "I Wouldn't Marry an Old Man"
NOTES: I suspect this may be a clean version of "I Wouldn't Marry an Old Man," but Ed Cray did not equate the two, and who am I to argue? (It is worth noting that Roud doesn't seem to consider this a song in its own right).
Paul Stamler points out that this song also exists in a version which complains about women, sung by Chubby Parker, and wonders if we shouldn't do something about the title. But the majority of versions complain about men; I suspect the Parker text of being a deliberate rewrite. - RBW
File: R401
===
NAME: I Wouldn't Marry: see I'll Not Marry at All (File: E072)
===
NAME: I Wouldn't Marry (II): see For item #17 in BrownIII, see I Wouldn't Marry an Old Maid AND I'll Not Marry at All AND I Wouldn't Have an Old Man AND I Wouldn't Marry an Old Maid (File: Br3017)
===
NAME: I Wouldn't Marry an Old Maid
DESCRIPTION: "I wouldn't marry an old maid, Tell you the reason why...." Various reasons are offered, e.g. "Her neck is so long and stringy, I fear she'll never die."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: courting oldmaid nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which ""B," part of "S," and the first stanza of "A" belong here)
File: Br3017
===
NAME: I Wouldn't Marry an Old Man
DESCRIPTION: The singer prefers a young to an old man for explicit sexual reasons.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy age marriage sex
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 334-335, "I Wouldn't Marry an Old Man" (2 texts, 1 tune)
CROSS_REFERENCES:
cf. "Maids When You're Young Never Wed an Old Man"
cf. "Old Man Came Over the Moor, An (Old Gum Boots and Leggings)"
cf. "I Wouldn't Have an Old Man"
NOTES: A male version, "I Wouldn't Marry an Old Maid," also exists. Necessarily, its verses differ from the female's; thus there may be two songs on the same theme with similar titles. Presumably the tunes will determine the question. In Randolph-Legman I, the melody for the female version given is more often associated with "No Balls at All." - EC
I suspect this may be a bawdy version of "I Wouldn't Have an Old Man," but Ed did not equate the two, and who am I to argue? - RBW
File: RL334
===
NAME: I Wrote My Love a Letter: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: I Wuz Borned on the Rivuh: see I Was Born on the River (File: MWHee033)
===
NAME: I Yield
DESCRIPTION: "Fathers, bear your cross, for it will only make you richer, For to enter into that bright kingdom, by and by. I yield, I yield, oh, how I love to yield, For to enter into that bright kingdom, by and by." Similarly with mothers, brothers, etc.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 219, "I Yield" (1 text)
ST Fus219 (Partial)
Roud #16374
File: Fus219
===
NAME: I-Yi-Yi-Yi (Limericks)
DESCRIPTION: Marked by verses in the form of limericks, always bawdy. Most deal with sexual machinery, either human or mechanical
AUTHOR: unknown
EARLIEST_DATE: 1959
KEYWORDS: bawdy technology
FOUND_IN: US(SW,So)
REFERENCES: (1 citation)
Cray, pp. 216-223, "I-Yi-Yi-Yi" (4 texts, 2 tunes)
Roud #10247
RECORDINGS:
Anonymous singers, "Limericks" (on Unexp1)
CROSS_REFERENCES:
cf. "Cielito Lindo" (tune) and references there
cf. "Waltz Me Around Again Willie" (lyrics)
NOTES: As will be seen from the cross-references, this piece has an assembled tune, and not all versions have the same melody. Nor are there any lyrics found consistently. It classifies as a single song more or less by default. - RBW
File: EM216
===
NAME: I'd Rather Be Dead
DESCRIPTION: "I rather be dead an' laid in de dirt Than to see my gal with her feelin's hurt." "I rather be dead an' laid in de sand Than to see my gal with another man." "I rather be dead an' laid in de ground Than to see my gal in anoder weddin' gown."
AUTHOR: unknown
EARLIEST_DATE: 1916 (White)
KEYWORDS: death jealousy burial
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 443, "I'd Rather Be Dead" (1 text)
Roud #11780
NOTES: I suspect this is a fragment of something longer, in which the singer explains the reason for his jealousy. But I can't say what the longer piece is. - RBW
File: Br3443
===
NAME: I'll Be All Right
DESCRIPTION: "I'll be all right, I'll be all right, I'll be all right someday/Deep in my heart, I do believe, I'll be all right some day". Similarly, "I'll be like Him...", "I'll overcome"
AUTHOR: Unknown, perhaps adapted from a song by Charles Tindley
EARLIEST_DATE: 1961 (recording, Rev. Gary Davis)
KEYWORDS: nonballad religious
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Rev. Gary Davis, "I'll Be All Right Someday" (on GaryDavis02)
CROSS_REFERENCES:
cf. "We Shall Overcome" (tune, structure, lyrics)
ALTERNATE_TITLES:
I Will Be All Right
NOTES: Obviously, this song is a near-twin of "We Shall Overcome," and until recently I would have said that the latter was a minimal adaptation of this song. But the recent discovery that "We Will Overcome" was being sung as early as 1908, and in the context of a labor struggle at that, makes the question of ancestry more ambiguous. So I'll leave it up in the air, and simply give this song its own entry, separate from "We Shall Overcome," because of the drastically different social circumstances under which it is sung. - PJS
File: RcIBeAlR
===
NAME: I'll Be All Smiles Tonight
DESCRIPTION: The singer is carefully dressing and bedecking herself with flowers for a wedding -- the wedding of her false true love to another girl. She intends to put on a fine face: "Though my heart will break tomorrow, I'll be all smiles tonight."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Luther B. Clarke)
KEYWORDS: love wedding infidelity clothes
FOUND_IN: US(SE,So) Australia
REFERENCES: (3 citations)
Randolph 812, "I'll Be All Smiles Tonight" (2 texts)
Meredith/Covell/Brown, pp. 32-34, 40-41, 174-175, "I'll Be All Smiles Tonight" (2 texts plus a fragment, 3 tunes)
cf. Gardner/Chickering, p. 479, "I'll Be All Smiles Tonight" (source notes only)
Roud #3715
RECORDINGS:
Carter Family, "I'll Be All Smiles Tonight" (Bluebird B-5529, 1934; Montgomery Ward M-4497, c. 1934)
Luther B. Clarke [Blue Ridge Highballers], "I'll Be All Smiles To-night Love" (Columbia 15069-D, 1926)
Frank Jenkins & his Pilot Mountaineers [Oscar Jenkins, Frank Jenkins, Ernest V. Stoneman], "I Will Be All Smiles Tonight" (Conqueror, unissued, 1929)
Jenkins & Whitworth, "I'll Be All Smiles Tonight" (OKeh 45331, 1929)
Bradley Kincaid, "I Will Be All Smiles Tonight" (Supertone 9566, 1929)
Lester McFarland & Robert Gardner ("Mac & Bob"), "I'll Be All Smiles Tonight" (Brunswick 164, 1927)
Linda Parker & the Cumberland Ridge Runners, "I'll Be All Smiles Tonight" (Conqueror 8164, 1933)
Reed Children, "I'll Be All Smiles Tonight" (Columbia 15525-D, 1930; rec. 1928)
Kitty Wells, "I'll Be All Smiles Tonight" (RCA Victor 21-0333, 1950)
CROSS_REFERENCES:
cf. "This Night We Part Forever"
File: R812
===
NAME: I'll Be There, Mary Dear
DESCRIPTION: A soldier bids farewell to his sweetheart, giving her a golden leaf to remember him by. He loses an arm in battle, but friends tell him him one arm is enough to hold her. When he returns home, however, he finds her dead and buried; he is heartbroken
AUTHOR: Words: Andrew Sterling / Music: Harry von Tilzer (1872-1946)
EARLIEST_DATE: 1902 (sheet music)
KEYWORDS: soldier death separation return grief love promise army war
FOUND_IN: US
REFERENCES: (1 citation)
Rorrer, p. 84, "Goodbye Mary Dear" (1 text)
Roud #12394
RECORDINGS:
Richard Harold, "Mary Dear" (Columbia 15426-D, 1929; rec. 1928)
Roy Harvey and the North Carolina Ramblers, "I'll Be There, Mary Dear" (Brunswick 234/Aurora 22032, 1928)
Charlie Poole and the North Carolina Ramblers, "Goodbye, Mary Dear" (Columbis 14546-D, 1929)
NOTES: The similarity to "The Girl I Left in Sunny Tennessee" is obvious, but the words and tune are different, and there are plot elements here that aren't in that song, so I separate them. Meanwhile, I'd give long odds this dates from just after the Civil War. - PJS
It's easy to see why Paul thinks so (I would have guessed the same thing had I not seen a recent article by Lyle Lofgren about the piece), but in fact this -- like "The Girl I Left in Sunny Tennessee" -- dates from soon after the Spanish-American War. (Lofgren points out that there is a reference to the soldier taking a "transport" back home, strengthening the ties to 1898.)  Presumably the latter war re-inspired this sort of tear-jerker, even though the casualties were less than in the Civil War. Mostly because the war was shorter; the troops were often as ill-clothed, ill-fed, and ill-cared-for as they had been a third of a century earlier. - RBW
File: RcGoMaDe
===
NAME: I'll Be With You When the Roses Bloom Again
DESCRIPTION: The soldier must leave his sweetheart; as she pins a rose on his breast, he promises, "I'll be with you when the roses bloom again." He is killed in battle; and can only ask that the captain inform his sweetheart
AUTHOR: Will D. Cobb & Gus Edwards (sometimes listed as "Will Whitmore & Harry Hilliard")
EARLIEST_DATE: c. 1901 (sheet music)
KEYWORDS: soldier separation death flowers
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Fuson, p. 123, "When the Roses Bloom Again" (1 text)
Cambiaire, p. 96, "When the Wild Roses Bloom Again Beside the River " (1 text)
MHenry-Appalachians, pp. 138-139, "When the Roses Bloom Again beside the River" (1 text)
ST RcIBWYWt (Partial)
Roud #2871
RECORDINGS:
[Richard] Burnett & [Leonard] Rutherford, "I'll Be With You When the Roses Bloom Again" (Columbia 15122-D, 1927; rec. 1926; on BurnRuth01, KMM)
Cramer Boys [Carver Boys], "I'll Be With You When the Roses Bloom Again" (Broadway 8180, rec. 1929)
Cross & McCartt, "When the Roses Bloom Again" (Columbia 15143-D, 1927)
Vernon Dalhart, "I'm Be With You When the Roses Bloom Again" (Columbia 15054-D, 1926; rec. 1925)
Paul Joines & Cliff Evans, "Budded Roses" (on Persis1)
Harry Macdonough, "I'll Be With You When the Roses Bloom Again" (CYL: Edison 8276, 1903)
Blind Jack Mathis, "When the Roses Come Again" (Columbia 15344-D, 1929)
Lester McFarland & Robert A. Gardner, "When the Roses Bloom Again" (Brunswick 111/Vocalion 5027, 1927; Supertone S-2028, 1930)
Walter Scanlan "I'll Be With You When the Roses Bloom Again" (Edison 52063, 1927)
Kilby Snow, "Budded Roses" (on KSnow1)
Ernest V. Stoneman, "When the Roses Bloom Again" (matrix # GEX 496-A recorded 1927 and issued 1927-1928 as: Herwin 17741, Gennett 6044 [as by Ernest V. Stoneman and his Graysen County Boys, Champion 1522 [as by Uncle Jim Seany], Challenge 244/Supertone 9255/Silvertone 5001/Silvertone 8155/Silvertone 25001 [as by Uncle Ben Hawkins]) (matrix #7224-1 recorded 1927 and issued as Banner 1993/Domino 3964/Regal 8324/Oriole 946 [as by Sim Harris], 1927; Homestead 16498 [as by Harris])
[Wilmer] Watts & [Frank] Wilson, "When the Roses Bloom Again" (Paramount 3006, 1927)
Weaver & Wiggins [pseud. for Wilmer Watts & Frank Wilson], "When the Roses Bloom Again" (Broadway 8112, c. 1931)
CROSS_REFERENCES:
cf. "The Dying Soldier (Erin Far Away I)" [Laws J6] (plot) and references there
cf. "Down Among the Budded Roses" (some lyrics)
NOTES: According to Spaeth, _A History of Popular Music in America_ (p. 315), Cobb & Edwards were also the authors of "Mamie," listed as "an outstanding hit of 1901." 
This sounds like a Civil War song, but given the era when Cobb and Edwards worked together, one must assume it was inspired by the Spanish-American War. - RBW
I place Joines & Evans's recording "Budded Roses" here, but with misgivings; for one thing, it makes no mention of the man being a soldier. But the story fits well enough that, for want of an alternative, I place it here. Ditto Snow, who probably learned his version from Charlie Poole. - PJS
File: RcIBWYWt
===
NAME: I'll Build Me a Boat
DESCRIPTION: "I'll make me a boat and I'll down the river float... I'll see Mona, fair Mona, pretty Mona I'll see." Using his shirt for a sail, he arrives at Mona's -- but her four brothers break in, kill him, and throw him in the sea. She throws herself in after him
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: murder brother ship river love courting suicide drowning sea
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 499, "Raise a Ruckus Tonight" (4 texts, of which "A" is this piece)
Roud #10054
CROSS_REFERENCES:
cf. "Raise a Ruckus" (lyrics)
NOTES: The editors of Brown, seemingly followed by Roud,  threw this in with "Raise a Ruckus Tonight" because it contains that key line, and other hints (e.g. the girl's name Mona) that it is related to that song.
Related, but assuredly not a version. The overwhelming majority of the text is a murder ballad -- and, by the looks of it, a very old and possibly very good one that somehow was mixed up with "Raise a Ruckus." Unfortunately, it's short enough that it can't be identified by its lyrics -- and the plot doesn't exactly match any others I know. The murderous brothers are common -- but throwing the body in the sea certainly isn't, and the use of a shirt for a sail is most intriguing. - RBW
File: Br3499
===
NAME: I'll Cheer Up My Heart
DESCRIPTION: "As I was a-walking ae May morning... There I saw my faithless lover...." "Well, since he's gane, joy gang wi' him.... I'll never lay a' my love upon ane." She laments her lost love, who prefers a rich girl, but will not let the grief ruin her life
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting farewell abandonment
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 177, "I'll Cheer Up My Heart" (1 text)
Roud #5563
CROSS_REFERENCES:
cf. "Farewell He" (subject) and references there
File: Ord177
===
NAME: I'll Drink One (To Be a Good Companion, The Sussex Toast)
DESCRIPTION: "I'll drink one, if you'll drink two, And here's a lad that'll drink with you, And if you do as I have done, You'll be a good companion." Each verse adds a drink ("I'll drink two if you'll drink three, And here's a lad that will drink with thee," etc.)
AUTHOR: unknown
EARLIEST_DATE: 1921 (Sharp MS.)
KEYWORDS: nonballad drink
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 285, "To Be a Good Companion" (1 text, 1 tune)
DT, SUSSXTST*
Roud #885
File: K285
===
NAME: I'll Fire Dis Trip
DESCRIPTION: "I'll fire dis trip an' I'll fire no mo', fire down below! (x2)" "Miss Nancy Bell, I wish you well, fire down below! (x2)" "De bullies' boy is Uncle Gable, fire down below! Bring on day wood while you be's able! Fire down below."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown); possibly first printed 1850 (see Notes)
KEYWORDS: ship work fire
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 222, "I'll Fire Dis Trip" (1 text)
Hugill, p. 115, "The Sailor Fireman" (1 text, 1 tune)
NOTES: Hugill suggests that this may be the original Negro song from which the tune of the verses of both "Ho for California" and "Camptown Races" stemmed. He found it in Sternvall's _Sang under Segel_ (1935) where the author cites a book called _Nigger Melodies, being the only entire and complete work of Ethiopian songs extant;_ Cornish Lamport & Co., NY, 1850. I found references to the book in WorldCat and other indexes, but haven't actually laid eyes on it. - SL
File: Br3222
===
NAME: I'll Fly Away
DESCRIPTION: "Some glad morning, when this life is over, I'll fly away/To a home on God's celestial shore, I'll fly away" Cho: "I'll fly away, oh glory, I'll fly away/When I die, halleluiah bye and bye..." "Just a few more weary days and then...."
AUTHOR: A. E. Brumley 
EARLIEST_DATE: 1941 (recording, Selah Jubilee Quartet)
KEYWORDS: resurrection death nonballad religious
FOUND_IN: US
REFERENCES: (1 citation)
DT, IFLYAWAY*
RECORDINGS:
Brown's Ferry Four, "I'll Fly Away" (King 785, 1949)
Rev. Gary Davis, "I'll Fly Away" (on GaryDavis2)
Lincoln Park Singers, "I'll Fly Away" (AFS 7043 B1, 1943)
Selah Jubilee Quartet, "I'll Fly Away" (Decca 7831, 1941)
Virginia Trio [Jim & Jesse McReynolds], "I'll Fly Away" (Kentucky 509, n.d.)
File: RcIFlyA
===
NAME: I'll Give You One More As You Go
DESCRIPTION: The singer describes how his sweetheart sent him off, offering a final kiss: "I'll give you one more as you go." Her parents are less tolerant; they set the dog on him. As he departs, the father orders "Sic him, Towse, And give him one more as he goes."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: love courting family dog humorous
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Randolph 376, "I'll Give You One More As You Go" (1 text, 1 tune)
Randolph/Cohen, pp. 308-309, "I'll Give You One More As You Go" (1 text, 1 tune -- Randolph's 376)
Roud #3755
ALTERNATE_TITLES:
Sic Him, Towse
NOTES: Cohen reports this was written by Ike Brown in 1884. - RBW
File: R376
===
NAME: I'll Hang My Harp on a Willow Tree
DESCRIPTION: "I'll hang my harp on a willow tree, I'm off to the wars again." The singer's love is to be wed to one of higher degree. For her sake he gave up soldiering and became a minstrel, but after her wedding he will resume soldiering, hoping to die in battle
AUTHOR: unknown
EARLIEST_DATE: c. 1846 (sheet music)
KEYWORDS: war infidelity wedding music harp
FOUND_IN: US(SE) Ireland Britain(England,Scotland)
REFERENCES: (3 citations)
McNeil-SFB1, pp. 113-115, "I'll Hang My Harp on a Willow Tree" (2 texts, 1 tune)
SHenry H155, p. 366, "I'll Hang My Harp on a Willow Tree" (1 text, 1 tune)
Ord, pp. 56-57, "I'll Hang My Harp" (I text, 1 tune)
ST MN1113 (Full)
Roud #1444
BROADSIDES:
LOCSinging, as201530, "I'll Hang My Harp on a Willow Tree," H. De Marsan (New York), 1861-1864; also as105930, as105920, as105910, sb20215b, "I'll Hang My Harp on a Willow Tree"
CROSS_REFERENCES:
cf. "Brighidin Ban Mo Store" (theme)
NOTES: The earliest references to this piece seem to be from American sheet music: A copy of c. 1846 was printed in Philadelphia with an arrangement credited to Leopold Meignen. In 1848/9 it was published in Louisville, Kentucky and credited to Wellington Guernsey. A 1909 American text is effectively identical to the Sam Henry text of 1926, but with a noticeably different tune. Given that the song was found both in Ulster by Henry and in England by Ord, one must suspect British origin, but the matter is uncertain.
Ord heard a report that the singer in this song was involved with Queen Victoria before her marriage (allegedly at 17, i.e. in 1836/37, shortly before she took the throne). There is no external confirmation of this, and does not match his text of the song, since in the text, the love has golden hair. Also, he speaks of fighting the Saracen -- but by Victoria's time, the Saracen was replaced by the Turk, and the English were generally supporting the Turks against Russia. - RBW
Broadside LOCSinging as201530: 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: MN1113
===
NAME: I'll Have a New Life (In That Resurrection Morning)
DESCRIPTION: "(On/In) the resurrection morning, When the dead and Christ shall rise, I'll have a new body...." The singer gives thanks for a new home, a new life, and a body "raised in power, Ready to live in paradise."
AUTHOR: unknown
EARLIEST_DATE: 1957 (collected by Shellans from Ruby Vass)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, pp. 91-92, "I'll Have a New Life" (1 text, 1 tune)
Roud #4309
NOTES: Roud lumps this with "We Shall Rise, Hallelujah," but while there may be some shared lyrics, I really don't think they're the same song.
The phrase "sown in weakness, raised in power" is from 1 Corinthians 15:43, which is sort of a hymn by Paul to the resurrection body.
The origin of this raises interesting questions. This really sounds to me like  church hymn -- and, indeed, I have a Baptist hymnal, _Soul-Stirring ongs and Hymns_, which has a piece entitled "Hallelujah, We Shall Rise" and beginning "In the resurrection morning, When the trump of Go shall sound, We shall rise...." The tunes look fairly similar; the lyrics less so. I woner if this might not be another case of someone in the Vass family (probably John Daniel Vass) remaking an existing song. - RBW
File: Shel091
===
NAME: I'll Hit the Road Again, Boys: see I Walk the Road Again (File: FSC178)
===
NAME: I'll Lay Ye Doon, Love
DESCRIPTION: "I'll lay ye doon, love, I'll treat ye decent... For surely he is an honest man." The singer walks out to hear two lovers talking. One, who has traveled far, must travel on, "But when I come back, love, I'll lay ye doon."
AUTHOR: unknown
EARLIEST_DATE: 1974 (Sing Out!)
KEYWORDS: love sex courting travel
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
DT, LAYEDOON*
ADDITIONAL: _Sing Out_ magazine, Volume 23, #5 (1974), p, 17, "I'll Lay Ye Doon, Lovw" (1 text, 1 tune, with a few variant words, based on Jean Redpath's and Norman Kennedy's versions of a Jeannie Robertson original)
Roud #3355
File: DTlayedo
===
NAME: I'll Live Till I Die: see Rye Whiskey; also The Rebel Soldier (File: R405)
===
NAME: I'll Meet You in the Evening: see Hot Corn, Cold Corn (I'll Meet You in the Evening) (File: R267)
===
NAME: I'll Name the Boy Dennis, Or No Name At All
DESCRIPTION: "IÕm bothered, yes, IÕm bothered, completely perplexed, IÕm the father of a little boy, IÕm not happy but IÕm vexed." Everyone in his immense family wants to give the child a different name. He puts his foot down for the name Dennis.
AUTHOR: Words: Fred Hatfield  / Music: J. Small
EARLIEST_DATE: 1880 (copyright on a sheet music arrangement by Jos. Schwenseck [?])
KEYWORDS: humorous baby wordplay
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 34-35, "Name the Boy Dennis Or No Name At All" (1 text)
Roud #6658
File: Dean034
===
NAME: I'll Ne'er Forget the Parting: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: I'll Never Be Yours: see Banks of the Ohio [Laws F5]
 (File: LF05)
===
NAME: I'll Never Get Drunk Any More (I)
DESCRIPTION: "When I go out on Sunday, what pleasure do I see? For the girl I loved so dearly Has gone square back on me." "I'll never get drunk any more, any more... I'll lay my head on the barroom floor." The singer laments how drink has ruined him
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: drink abandonment nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 36, "I'll Never Get Drunk Any More" (4 texts, all somewhat mixed; the "A" text is cited above, and the "B" text is probably from the same family; "C" and "D" are "Oh, Once I Had a Fortune")
Roud #4625
File: Br3036
===
NAME: I'll Never Get Drunk Any More (II): see Oh, Once I Had a Fortune (File: R316)
===
NAME: I'll Never Get Drunk Any More (III)
DESCRIPTION: The singer "got frisky Over some poteen whisky," fell, cracked his skull and had his pocket picked. The landlady won't give a drunk credit. "A man that's fond of boozing, His cash goes daily oozing" He swears off drink and warns others to do the same. 
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: warning drink nonballad money theft
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 96-97, "I'll Never Get Drunk Any More!" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 268-269, "I'll Never Get Drunk Any More"
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
cf. "Mall Brook" [i.e. "Malbrouk"] (tune, according to Croker-PopularSongs)
File: CrPS096
===
NAME: I'll Never Leave Old Dixie Land Again
DESCRIPTION: Singer, a former slave, returns to Dixie and his beloved Dinah again, after having spent time living in Kansas. He says the weather there is enough to freeze him, and he misses his home, so he'll never leave old Dixie Land again
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Bogue Ford)
KEYWORDS: homesickness loneliness love home return reunion separation slavery
FOUND_IN: US(MW)
REFERENCES: ()

Roud #15470
RECORDINGS:
Bogue Ford, "I'll never leave old Dixie land again" (AFS 4211 A1, 1939; in AMMEM/Cowell)
NOTES: A minstrel-show song, without a doubt. Ford sings it in dialect.
A significant number of freed slaves did in fact settle in Kansas during the years after the Civil War. - PJS
File: RcINLODA
===
NAME: I'll Never Turn Back No More: see No More, My Lord (File: SBoA312)
===
NAME: I'll Never Wear the Red Any More: see Jenny Jenkins (File: R453)
===
NAME: I'll Not Marry at All
DESCRIPTION: The single woman proudly proclaims her intent to die an old maid. She reels off the defects of all sorts of men -- rich, poor, fat, lean, farmer, e.g. "I'll not marry a man that's rich, He'll get drunk and fall in the ditch, I'll not marry at all...."
AUTHOR: unknown
EARLIEST_DATE: 1913 (Belden)
KEYWORDS: oldmaid
FOUND_IN: US(Ap,MW,NE,Ro,So) Canada(Mar)
REFERENCES: (12 citations)
Eddy 72, "Shab-i-da Ru-dy" (1 text, 1 tune)
Belden, pp. 262-263, "I Wouldn't Marry" (2 texts)
Randolph 364, "The Old Maid's Song" (3 texts, 1 tune)
BrownIII 17, "I Wouldn't Marry" (7 text (some short) plus 6 excerpts, 1 fragment, and mention of 5 more, of which "H," "J," "O," and "P" apparently belong here)
Linscott, pp. 211-212, "I'll Not Marry at All" (1 text, 1 tune)
Wyman-Brockway II, p. 72, "The Old Maid" (1 text, 1 tune)
Fuson, pp. 91-92, "I'll Not Marry At All" (1 text)
MHenry-Appalachians, p. 26, "The Old Maid" (1 text)
LPound-ABS, 99, pp. 208-209, "I'll Not Marry at All" (1 text)
Pankake-PHCFSB, p. 78, "I Won't Marry" (1 text, 1 tune)
Creighton-SNewBrunswick 100, "I Never Will Marry a Man Who Is Rich" (1 text, 1 tune)
DT, NOTMARRY
Roud #2774
RECORDINGS:
Kentucky Thorobreds, "I'll Not Marry at All" (Paramount 3080, 1928; Broadway 8184 [as Old Smokey Twins], n.d.; rec. 1927)
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
cf. "A Young Virgin" (theme)
cf. "The Song of the Southern Volunteers" (form)
NOTES: Linscott, or her informants, thought this Irish. She cites no evidence, and the collections seem to be all, or nearly all, from the United States and Canada.
The idea of a catalog of undesirable occupations can be traced all the way back to ancient Egypt, though there it was a young man being advised against them. The "Instruction of Duauf" consists of a father telling the son what's wrong with each job, e.g. a smith smells worse than fish roe. (The piece was apparently used to train scribes; the one form of employment it approves of is scribe.) - RBW
File: E072
===
NAME: I'll Remember You, Love, In My Prayers: see When the Curtains of Night Are Pinned Back (File: San259)
===
NAME: I'll Return, Mother Darling, to You
DESCRIPTION: "A mother was saying good-bye to her boy, Who was ready to start for the war." She asks if they are parting forever. He promises to return "When the roses of springtime are blooming." Eventually the boy returns and declares he will never more part fromher
AUTHOR: Words: Casper Nathan / Music: E. Clinton Keithley (1880-1955)
EARLIEST_DATE: 1915 (sheet music copyrighted)
KEYWORDS: war mother children separation reunion
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 113, "I'll Return, Mother Darling, to You" (1 text)
Roud #21719
NOTES: The cover of the sheet music to this makes the mother look truly ancient; presumably the idea was to give the impression that the boy was her last son. Since the song was written in 1915, clearly the war is World War I. In a proper folk song, he probably would not have come back, but this item is too cheery to note the millions of casualties, or the many soldiers who came home blind, brain damaged, or missing one or more limbs.
Often not even the bodies returned home. John Keegan, _The First World War_, Alfred A. Knopf, 1999, pp. 421-422, notes, "Few Russian or Turkish soldiers were ever decentrly interred andmany German and Austrian soldiers killed on the shifting battlefields of the Eastern Front imply returned to earth.... Of the British Empire's million dead, most killed in France and Belgium, the bodies of over 500,000 were never to be found or, if found, not identified. a similar proportion of the 1,700,000 Frenh war dead had also disappeared."
Keegan, p. 423, "To the million dead of the British Empire and the 1,700,000 French dead, we must add 1,500,000 soldiers of the Habsburg Empire who did not return, two million Germans, 460,000 Italians, 1,700,000 Russians and many hundreds of thousands of Turks; their numbers were never counted.... Male mortality exceeded normal expectations, between 1914 and 1918, seven to eightfold in Britain, and tenfold in France, in which 17 per cent of those who served were killed.... [M]en who were between 19 and 22 when the ware broke out... were reduced by 35-37 per cent." - RBW
James L. Stokesbury, _A Short History of World War I_, Morrow, 1981, makes the figures even more grim. On p. 310, he calculates, "All the Allies together mobilized a total of just over 42 million men. They counted as casualties those who had been killed or died while in service, wounded, prisoners, and mising. The total of these was slightly more than 22 million, or about 52 percent.... Russia... had mobilied 12 million men and had 9,150,000 casualties, or 76 percent. The British Empire had mobilized 8,904,000 and suffered more than 3 million casualties, about 36%. Italy had 39 percentlosses among her 5.5 million servicemen. France, by contrast, had put under arms half a million fewer than the British empire, 8,400,000, but had a far higher ratio of losses, over 6 million, or 73 percent, the highest of any of the surviving states." (Russia, of course, had collapsed under the strain, hence the distinction between non-survivors and survivors.) Stokesbury calculates American casualties as a relatively trivial 8%, and that on a relatively small force of 4,355,000 men.
Stokesbury, p. 310, "The Central Powers sacrificed as many men losing the war as the Allies did winning it. Of 23 million men mobilized they had 15 million casualties, 15 more than the Allies. Germany lost more than 7 million of her 11 million fighting men. The worst record for the entire war was Austria-Hungary's, for she mobilized 7,800,000 and lost 7 million of them, an astonishing 90 percent."
Stokesbury, p. 309, notes that the was was estimated to have cost $337,980,579,560 -- and that's in 1920 dollars!
Bottom line: A million and a half British mothers had to face either losing a son or having him come back permanently maimed. - RBW
File: Dean113A
===
NAME: I'll Rise When the Rooster Crows
DESCRIPTION: Disjointed, some floating verses: "Going up yonder gonna put on my robes, gonna put on my golden shoes." "Where the duck chews tobacco and the goose drinks wine" Chorus: "I'll rise when the rooster crows... down where the sugar cane grows"
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Uncle Dave Macon)
LONG_DESCRIPTION: Disjointed, some floating verses: "Going up yonder gonna put on my robes, gonna put on my golden shoes." "Where the duck chews tobacco and the goose drinks wine/The old hen cackles while the rooster keeps the time." "What you gonna do when the women all dead/Gonna stand in the corner with a hung-down head/If I had to marry I wouldn't marry for riches/Marry a big fat girl who couldn't wear my britches." Chorus: "I'll rise when the rooster crows...I'm going back south where the sun shines hot, oh, down where the sugar-cane grows"
KEYWORDS: marriage drink floatingverses nonballad chickens
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Binkley Brothers' Dixie Clodhoppers, "I'll Rise When the Rooster Crows" (Victor V-40048, 1929)
Uncle Dave Macon, "Rise When the Rooster Crows" (Vocalion 5097, 1926)
CROSS_REFERENCES:
cf. "Devilish Mary" (floating verses)
cf. "Hopalong Peter" (floating verses)
cf. "Hen Cackle" (floating verses)
File: RcIRWTRC
===
NAME: I'll See You in the Fair: see Cloughmills Fair (File: HHH121)
===
NAME: I'll Sing You a Song
DESCRIPTION: "I'll sing you a song (that's not very long/the days are long) About a woodcock (or cuckoo) and a sparrow." A dog either burns its tail or bites the singer's ear and is to be hanged tomorrow.
AUTHOR: unknown
EARLIEST_DATE: 1784 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: execution nonballad bird dog
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 485, "I'll sing you a song" (1 text)
Baring-Gould-MotherGoose #72, p. 80, "(I'll Sing You a Song)"; cf. #256, p. 159, ("I'll sing you a song")
Roud #15095
NOTES: Opie-Oxford2: "Since this rhyme dates at least from the eighteenth century, the statement in the last line that the dog must be hanged on the morrow may be based on more than poetic fancy. The trial of animals and the judicial hanging of dogs, although uncommon, appears at one time to have been considered reasonable." - BS
The Baring-Goulds give examples of this phenomenon, noting that it applied particularly to animals which killed or maimed people. They fail to note that this is essentially a Biblical policy: A bull which fatally gored a person was to be stoned (Exodus 21:28). - RBW
File: OO2485
===
NAME: I'll Sing You One Ho!: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: I'll Sit Down and Write a Song: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: I'll Take This Glass into My Hands
DESCRIPTION: "I'll take this glass into my hands, and drink to all that's here; I cannot tell where we may be before another year. Some may wed, some may be dead, some may be lying low; Some may be lying on a foreign shore, and not know where to go."
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: drink nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 565, "I'll Take This Glass into My Hands" (1 text)
Roud #6036
CROSS_REFERENCES:
cf. "When Fortune Turns Her Wheel" (theme)
NOTES: The current description is all of the GreigDuncan3 entry. - BS
File: GrD3565
===
NAME: I'll Take You Home Again, Kathleen
DESCRIPTION: The singer promises to take Kathleen home across the ocean. He says that -- even though she has lost her looks and her voice is sad -- he still loves her as she loves him. Once home (in Ireland?), they will visit their old haunts
AUTHOR: Thomas P. Westendorf
EARLIEST_DATE: 1876
KEYWORDS: home love travel
FOUND_IN: US(MW)
REFERENCES: (6 citations)
RJackson-19CPop, pp. 83-86, "I'll Take You Home Again, Kathleen" (1 text, 1 tune)
Dean, p. 107, "I Will Take You Back Again, Kathleen" (1 text)
Geller-Famous, pp. 5-10, "I'll Take You Home Again, Kathleen" (1 text, 1 tune)
Silber-FSWB, p. 259, "I'll Take You Home Again, Kathleen" (1 text)
Fuld-WFM, p. 296, "I'll Take You Home Again, Kathleen"
DT, KTHLEN
ST RJ19083 (Full)
Roud #12907
RECORDINGS:
Kaplan's Melodists w. Vernon Dalhart, voc. "I'll Take You Home Again, Kathleen" (Edison 51666, 1925)
Bradley Kincaid, "I'll Take You Home Again Kathleen" (Bluebird 5569, 1934)
Shannon Quartet, "I'll Take You Home Again, Kathleen" (OKeh 40302, 1925)
Zack [Hurt] & Glenn [?], "I'll Take You Home Again Kathleen" (OKeh 45240, 1928)
NOTES: This song has produced a its own folklore (that it's traditional, that it was written in 1900, that the author's wife was named/nicknamed/renamed Kathleen, that it has something to do with Ireland, etc.). The facts, which rarely resemble the folklore, have been summarized in Richard S. Hill's article "Getting Kathleen Home Again" in the June 1948 issue of _Notes_, the journal of the Music Library Association.
Spaeth (History of American Popular Music) summarizes the facts as follows: Westerndorf's wife was named Jennie, not Kathleen; he was a Virginian then living in Indiana; and the song was supposedly inspired by something called "Barney, Take Me Home Again." - RBW
File: RJ19083
===
NAME: I'll Tell My Ma (I)
DESCRIPTION: "I'll tell my my when I go home, The boys won't leave the girls alone; Pulling their hair and breaking their combs...." In some texts, the story ends there; in others, the girl says, "But that's all right till I go home"; we are told of her true love
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry)
KEYWORDS: courting hair fight
FOUND_IN: Ireland Australia Britain(England(North)) Canada(Mar)
REFERENCES: (2 citations)
SHenry H48e, p. 11, "I'll Tell My Ma" (1 text, 2 tunes)
Meredith/Covell/Brown, p. 146, "(Polka)" (1 fragment, consisting solely of the "I'll Tell My Ma" stanza, 1 tune)
Roud #2649
RECORDINGS:
Em Elliott, "I'll Tell My Ma When I Get Home" (on Elliotts01)
CROSS_REFERENCES:
cf. "The Wind (Rain, Rain, the Wind Does Blow)" (lyrics)
NOTES: The Clancy Brothers version of this involves a girl, "the belle of Belfast city," setting her heart on a man. This doesn't seem to happen in the other versions I've seen, which are just the complaints about the boys teasing the girl. 
The question is, is this a conflate of "I'll Tell My Ma" with some other song (presumably "The Wind (Rain, Rain, the Wind Does Blow)," or is the Clancy version the original which broke in half? Roud lumps them, but I'm not sure that means much.
I eventually ended up splitting them, but I'm none too happy about the situation. - RBW
File: MCB146
===
NAME: I'll Tell My Ma (II): see The Wind (Rain, Rain, the Wind Does Blow) (File: RcRRtWDB)
===
NAME: I'll Tell You What I Saw Last Night: see Wicked Polly [Laws H6] (File: LH06)
===
NAME: I'll Tell Your Daddy
DESCRIPTION: "John, John, John, I'll tell your daddy (x3), So early in the morning." "The blue-eyed girl is dead and gone (x3) So early in the morning."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: playparty nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 100, "I'll Tell Your Daddy" (1 text)
NOTES: The editors of Brown link this implicitly to "Going to Boston," but that appears to be on the basis solely of a floating verse. - RBW
File: Br3100
===
NAME: I'll Weave My Love a Garland
DESCRIPTION: "I'll weave my love a garland, He shall be dressed so fine, I'll set it round with roses... For I love my love, and I love my love Because my love loves me." The singer wishes she were an arrow, a fish, a reaper, that she might more easily find him
AUTHOR: unknown
EARLIEST_DATE: 1928 (de la Mare)
KEYWORDS: love separation
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; notes to #389, "I'll Overtake Thee" (1 text)
NOTES: I have seen this listed as traditional. I suspect that means it's from an early literary source with no author listed, meaning that it is public domain but not traditional; I have found no field collections. But I thought I'd better include it just in case....
One thing we can say is that the song is part of a very long chain of linked folksongs. The burden "I love my love, and I love my love Because my love loves me" is, e.g., common in "A Maid in Bedlam," and a slightly different form, "Come you not from Newcastle," dates back at least to the Percy folio. Sir George Ogle fiddled with the form in "Grammachree Molly" (in the Index as "Grammachree"). And all of those link to many other songs.
I also find, in Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 93, a German song called "Sichelein Rauschen," "I Heard the Sound of a Sickle." which has many of the themes of this song. This strengthens my feeling that the English version is semi-literary, combining the "I love my love" burden with elements from the German. - RBW
File: dlMC389A
===
NAME: I'm a Decent Boy from Ireland
DESCRIPTION: The "decent boy" has been forced to roam. Brought up by good parents, he urges, "Be kind to your parents when their locks are turning gray... You'll never know their value till they lay beneath the soil."
AUTHOR: unknown
EARLIEST_DATE: 1971
KEYWORDS: age family poverty rambling
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 278-279, "I'm a Decent Boy from Ireland" (1 text, 1 tune)
Roud #9420
CROSS_REFERENCES:
cf. "Don't Leave Your Mother When Her Hair Turns Gray" (theme)
File: Doe278
===
NAME: I'm a Good Old Rebel: see The Good Old Rebel (The Song of the Rebel Soldier) (File: Wa193)
===
NAME: I'm a Long Time Travelling Here Below: see When I Can Read My Titles Clear (Long Time Traveling) (File: DTlongti)
===
NAME: I'm a Man That Done Wrong to His Parents
DESCRIPTION: "I'm a man that's seen trouble and sorrow, Oh I once was light-hearted and gay, Not a dime in this world can I borrow Since my own I have squandered away." The singer tells how he wronged his parents. Now they despise him, and he must beg for shelter
AUTHOR: unknown
EARLIEST_DATE: 1941
KEYWORDS: poverty hardtimes family father
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 839, "I'm a Man That Done Wrong to His Parents" (1 text plus a fragment, 1 tune)
Roud #1386
File: R839
===
NAME: I'm a Minder
DESCRIPTION: "I'm a minder [i.e. miner], I'm a minder, In de col' ground, Lawd, Lawd, Lawd, Lawd."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: work mining
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 216, (no title) (1 fragment)
File: ScNF216B
===
NAME: I'm a Nachel-Bawn Reacher: see Natural Born Reacher (File: ScNF232B)
===
NAME: I'm a Poor Old Chimney Sweeper
DESCRIPTION: "I am a poor old chimney sweeper, I have but one daughter and now I can't keep her. So since she has resolved to marry, Go choose you one and do not tarry." Once the girl has chosen her love, the couple is told to join hands, step over a broom, and be wed
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: courting marriage playparty work worker courting family
FOUND_IN: US(MW,SE)
REFERENCES: (2 citations)
Warner 189, "Chimbley Sweeper" (1 short text, 1 tune)
Randolph 571, "The Chimney Swallow" (1 fragment)
Roud #7023
RECORDINGS:
Rebecca King Jones, "Chimbley Sweeper" [excerpt] (on USWarnerColl01)
NOTES: The Warners (on the basis of the television miniseries "Roots"!) credit jumping over a broom as a Black wedding ceremony. But I have also seen (in, I must admit, a science fiction story) what appears to be a British rhyme on the same subject.
Elsewhere, however, a "broomstick wedding" is one not given formal or clerical recognition. An example of this is in Dickens's _Great Expectations_, chapter 48: Wemick describes a couple as having been "married very young, over  the broomstick (as they say)."
Eric Partridge's _A Dictionary of Slang and Unconventional English_ says that "to jump (over) the broomstick" is attested from the eighteenth century, and "hop the broomstick" and "marry over the broomstick" are known from the nineteenth; all are described as colloquial and obsolescent. All terms refer to a couple living together as man and wife without being (formally) married. The ceremony itself is a "broomstick wedding." Partridge compares "jump the besom" and "Westminster wedding." "Jump the Besom" apparently is attested c. 1700.
Randolph's text is shorter and rather different in tone from the Warners', but there are too many lyric similarities for me to separate them. - RBW
File: Wa189
===
NAME: I'm a Rambler, I'm a Gambler: see The Wagoner's Lad (File: R740)
===
NAME: I'm a Rover and Seldom Sober
DESCRIPTION: The singer is seldom sober but on a starless night he can find his way to his lover. He goes to her window. He is "drenched to the skin." She lets him in and they lie together until cock crow. Then he gets up because he must be early at the plow.
AUTHOR: unknown
EARLIEST_DATE: 1955 (recording, Tom Newman)
KEYWORDS: lover drink nightvisit bird farming
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: (1 citation)
DT, IMAROVER*
Roud #3135
RECORDINGS:
Tom Newman, "I'm Often Drunk and I'm Seldom Sober" (on Voice13)
CROSS_REFERENCES:
cf. "Rise Up Quickly and Let Me In" (two verses) and references there
NOTES: The description is from Ewan MacColl, "I'm a Rover" (on Ewan MacColl and Peggy Seeger, "Bothy Ballads of Scotland," Folkways Records FW 8759 (1961))
MacColl's notes: "This night-visit song is almost certainly related to The Grey Cock (The Lover's Ghost), a ballad in which a girl is visited by the ghost of her dead lover. As A.L. Lloyd has observed: 'Generally the song is found either with the bedroom-window theme or the cockcrow theme but not the two together. In this version the bedroom-window theme is clearly established and what remains of the cock-crow theme has lost its supernatural significance."
Tom Newman's version on Voice13 leaves out enough detail to hide the connection to "Mary's Dream," "The Ghostly Lover" and other ghostly night-visit ballads. Its description is
Singer is a drunk rover. At break of dawn in Galway he falls in love with Molly Bann. That night he goes to her window. He answers her complaint saying he is her lover, tired after a long journey, and wants to come in. "I'm soaking love, unto the skin"
The only connection to, say, "Mary's Dream" is the "soaking" line. - BS
File: DTimarov
===
NAME: I'm a Stranger Here
DESCRIPTION: "Ain't it hard to stumble When you got no place to fall? (x2) In this whole wide world I got no place at all. I'm a stranger here... I would go home, but... I'm a stranger here." The singer takes his mule -- all this baby left -- and seek a fair shake. 
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home abandonment hardtimes
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 81, "I'm a Stranger Here" (1 text)
File: FSWB081C
===
NAME: I'm a Stranger in this Country (The Darger Lad)
DESCRIPTION: Singer, a "darger loon" from a distant land, meets a "Scottish lass" in an alehouse. They drink. He takes her to his lodgings and they spend the night together. Next morning he leaves on the train as she cries on the station. At home he drinks her health 
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Jimmy McBeath)
KEYWORDS: sex parting Scotland separation train
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

Roud #3388
RECORDINGS:
Jimmy McBeath, "I'm a Stranger in this Country" (on Voice15)
CROSS_REFERENCES:
cf. "The Indian Lass" (theme, verses) and references there
cf. "Little Mohee" [Laws H8] (theme, verses) and references there
NOTES: Hall, notes to Voice15, translates the text "darger loon" as "day-labourer lad."
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 15" - 13.9.02: "It appears to be related to 'The Indian Lass,' a song collected by Frank Kidson - see Traditional Tunes (1891) pp.109-11." I'm convinced. Compare first verses:
Kidson's first version "from a person's singing in North Yorkshire":
As I was a walking on a far distant shore,
I went into an ale-house to spend half-an-hour;
And as I sat smoking beside of my glass,
By chance there came in a fine young Indian lass.
Jimmy McBeath's version on Voice15.
I'm a stranger in this country from a far distant land.
I went into an ale-house for half an hour to spend.
And as I sat a-drinking, a-musing in my glass,
Wha stepped in but an old Scottish lass.
Kidson, or his informant, has elided the sex -- which can be found in Creighton-NovaScotia 51 -- but, at the end, 
So early next morning we were going to sail;
This lovely young Indian on the beach did bewail;
I took off my hankercheif and wiped her eyes, -- 
"O, do not go leave me, my sailor," she cries.
which McBeath has as
It was early next morning I ran to catch the train.
I left my bonnie lassie in the station to remain.
In drawing out her handkercheif, the tears dropped fae her ee.
'Oh, dinna gang and leave me, my darger loon,' cried she.
Neither of Kidson's tunes, nor Creighton's, match McBeath's. - BS
File: RcIASITC
===
NAME: I'm a Tight Little Irishman
DESCRIPTION: "Tight Little Irishman" Larry O'Broom does well enough on his father's inheritance until he marries a wife, who abuses him and apparently bankrupts him
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: marriage poverty shrewishness
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 144, "I'm a Tight Little Irishman" (1 fragment, 1 tune)
ST E144 (Full)
Roud #5344
File: E144
===
NAME: I'm a Workin' Chap
DESCRIPTION: "I'm a workin' chap, as you may see, You'll find an honest man in me." The singer is thrifty and industrious, for poor folks are "working life out to keep life in." The singer describes various poor people, and hopes listeners will not despise them
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: work poverty clothes
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
GreigDuncan3 656, "I'm a Workin' Chap" (1 text, 1 tune)
Ord, p. 51-52, "I'm a Workin' Chap" (1 text, 1 tune)
Roud #5591
NOTES: Roud links this song with "Tak It, Man, Tak It" as found in Ford, etc. I flatly don't see it. - RBW
File: Ord051
===
NAME: I'm a Young Man from the Country
DESCRIPTION: "I'm a young man from the country... I'm a free and easy fellow, I need not tell my name. Oh, wouldn't you like to know me?" Town people try to trick him, but he knows his cab fares and all the tricks, and avoids the traps
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Harvey M. Dann)
KEYWORDS: travel trick
FOUND_IN: US(Ap) Britain(England)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 253, "I'm A Young Man from the Country" (1 text)
Roud #1510
File: MHAp253
===
NAME: I'm A-Goin' down This Road Feelin' Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: I'm A-Leavin' Cheyenne: see Goodbye, Old Paint (File: LxU063A)
===
NAME: I'm A-Trouble in de Mind (I'm A-Trouble in the Mind)
DESCRIPTION: "I am a-trouble in the mind (x2), I ask my Lord what I do, I am a-trouble in the mind (x2), What you doubt for? I'm a trouble in de mind."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 30-31, "I Know When I'm Going Home" (1 text, 1 tune)
NOTES: This may, I suppose, have been inspired by the Biblical story of Jesus's mental anguish in the garden before his arrest (Mark 14:32f. and parallels; compare John 12:27, 13:21 and the probably interpolation of the "bloody sweat" in Luke 22:43-44). I doubt it, though; lots of people can be troubled in mind without needing a Bible setting to justify it. - RBW
File: AWG030B
===
NAME: I'm Alabama Bound: see Alabama Bound (II) (File: PSAFB044)
===
NAME: I'm All Out an' Down
DESCRIPTION: "Honey-y-y, I'm all out an' down, Honey-y-y, I'm broke, babe, an' I ain't got a dime, Ev'ry good man gets in ha'd luck sometime, Don't they, baby?" Blues complaining of poverty, the noise made by women and hungry animals, work in the mud, etc.
AUTHOR: unknown
EARLIEST_DATE: 1936
KEYWORDS: work hardtimes poverty
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 307, "I'm All Out an' Down" (1 text, 1 tune)
Roud #15203
File: LoF307
===
NAME: I'm Alone, All Alone (I)
DESCRIPTION: "I have no father (mother, sister, brother, sweetheart) in this world...Take me home, dear Saviour, take me home" Cho: "I'm alone all alone in this world...Take me home, dear Saviour take me home"
AUTHOR: unknown
EARLIEST_DATE: 1965 (recording, Ernest V. Stoneman)
KEYWORDS: loneliness nonballad religious Jesus
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Ernest V. Stoneman w. Mike Seeger, "I'm Alone, All Alone"; Ernest Stoneman and Eddie Stoneman, "I'm Alone, All Alone" (ARC, unissued, 1934)
CROSS_REFERENCES:
cf. "Free Little Bird" (lyrics)
cf. "Shivering in the Cold" (theme)
NOTES: My first thought, upon seeing Paul Stamler's description, was that this was religious version of "Free Little Bird." But it's a much simpler form, though there is likely some sort of dependence. It may also have something to do with "Shivering in the Cold," with which it shares some ideas and even an alternate title. - RBW
File: RcIAloAA
===
NAME: I'm Alone, All Alone (II): see Shivering in the Cold (File: R327)
===
NAME: I'm An Irish Boy: see My Irish Jaunting Car (The Irish Boy) (File: HHH592)
===
NAME: I'm Bidding Adieu
DESCRIPTION: The singer, a poor farmer from Tralee, must emigrate. "They say there's luck in a foreign land, there's health and wealth galore." "We'll toil both night and day" He will return "of course" and dance "on the good old barn floor"
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: poverty emigration return Ireland nonballad dancing work
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 10, "I'm Bidding Adieu" (1 text, 1 tune)
File: McB1010
===
NAME: I'm Bound Away
DESCRIPTION: Shanty. "For the sake of you, my lassie, I'm bound away, my lassie. For the sake of you, my lassie, I'm bound away." Only this one verse given by Hugill
AUTHOR: unknown
EARLIEST_DATE: 1927 (C. F. Smith, _A Book of Shanties_)
KEYWORDS: shanty farewell
FOUND_IN: Britain
REFERENCES: (1 citation)
Hugill, p. 497, "I'm Bound Away" (1 excerpt, 1 tune, quoted from C.F. Smith) [AbEd, p. 365]
Roud #11254
File: Hugi497
===
NAME: I'm Bound for the Promised Land: see Bound for the Promised Land (File: LxU099)
===
NAME: I'm Bound For the Rio Grande: see Rio Grande (File: Doe064)
===
NAME: I'm Bound to Cross the Jordan
DESCRIPTION: "I'm boun' to cross the Jordan(x5), Hallelujah!" "Oh, brothers, won't you join me? Sisters, won't you join me? Sinners, won't you join me? For I'm bound to cross the Jordan, Hallelujah!" "Oh, my brother's over Jordan, My sister's...."
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 532, "I'm Boun' to Cross the Jordan" (1 text)
Roud #11872
File: Br3532
===
NAME: I'm Bound to Follow the Long Horn Cow: see I'm Bound to Follow the Longhorn Cows (File: LoF186)
===
NAME: I'm Bound to Follow the Longhorn Cows
DESCRIPTION: "I'm bound to follow the longhorn cows until I git too old. It's well I work for wages, boys, I git my pay in gold." The singer boasts of his skills as a cowboy. He describes the difficulties of stampedes. He hopes to save up money to be married
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: cowboy work bragging money gold loneliness love marriage
FOUND_IN: US(So,SW)
REFERENCES: (5 citations)
Larkin, pp. 162-163, "I'm Bound to Follow the Long Horn Cow" (1 text, 1 tune)
Lomax-FSNA 186, "I'm Bound to Follow the Longhorn Cows" (1 text, 1 tune)
Hudson 97, pp. 228-229, "The Jolly Cowboy" (1 text, much shorter than Lomax's)
Asch/Dunson/Raim, p. 104, "The Lone Star Trail" (1 text, 1 tune)
Fife-Cowboy/West 114, "Lone Star Trail" (2 texts, 1 tune)
Roud #5765
RECORDINGS:
Ken Maynard, "The Lone Star Trail" (Columbia 2310-D, 1930; on AAFM3, WhenIWas1)
NOTES: This song was featured in the film "The Wagon Master"; Ken Maynard is described as the "pioneer of cowboy singing stars" in the movies. - PJS
If the texts printed by the Fifes are any indication, this piece can take on almost any form, and the incidents can take place in almost any order; the only line their texts have entirely in common is "My trade is cinches and saddles and ropes and bridle reins." And the Lomax text is again very different, with changes in all the verses, much new material, and a different order. - RBW
File: LoF186
===
NAME: I'm Crossing Jordan River
DESCRIPTION: "I'm crossing Jordan river, Lord I want my crown (x2)." "Oh when I'm crossing Jordan River, I want my crown." "Jordan river chilly and cold, The love of Jesus is in my soul." "Jordan river deep and wide, None can cross but the sanctified." And similarly
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: religious river nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, pp. 258-259, "I'm Crossing Jordan River" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Michael Row the Boat Ashore" (floating lyrics)
File: CNFM258
===
NAME: I'm Despised for Being Poor
DESCRIPTION: "Farewell, false girl(s), I leave you In sorrow and in pain, My absence cannot grieve you, Soon you'll bear a stranger's name." He recalls courting the girl; though it grieves her, she has abandoned him for a rich stranger. He will enlist as a soldier
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: love courting betrayal money soldier
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp.194-195, "I'm Despised for Being Poor" (1 text)
Roud #7944
ALTERNATE_TITLES:
I Was Despised Because I Was Poor
NOTES: Nearly every word of this has close parallels elsewhere, except for the final line of each verse, "I'm despised for being poor" (or variants). But since that's the key to the whole song, the result probably should stand on its own. - RBW
File: Beld195
===
NAME: I'm Dying for Someone to Love Me
DESCRIPTION: The girl reports "I am dying for someone to love me." Flirting and friendship are not enough; she wants the real thing. None of the local young men are up to the task. Mother calls her crazy, but the girl recalls that she was once much the same
AUTHOR: unknown
EARLIEST_DATE: 1887 (The Wonderful Eight Book of Poetry and Song)
KEYWORDS: love loneliness family
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 373, "I'm Dying for Some One to Love Me" (1 text, 1 tune)
Randolph/Cohen, pp. 303-305, "I'm Dying for Someone to Love Me" (1 text, 1 tune -- Randolph's 373)
Roud #7620
CROSS_REFERENCES:
cf. "Meet Me Tonight in the Moonlight" (lyrics)
NOTES: Quite a few of the lyrics to this remind me of "Meet Me Tonight in the Moonlight" -- enough so that I suspect this may be a parody. But the thrust of the song is different.
The version in the "Wonderful Eight Book" is credited to W. F. Shaw, but Cohen notes that a song with this same title (not necessarily the same song) was copyrighted 1877.
Randolph's informant, Booth Cambell, thought he learned it around 1880. - RBW
File: R373
===
NAME: I'm From Over the Mountain: see The Trip Over the Mountain (File: HHH161)
===
NAME: I'm Gaein in the Train
DESCRIPTION: "I'm going in a train, And you're not coming with me; I've got a lad of my own, and his name is Kilty Jimmy." "Jimmy wears a kilt, He wears it in a fashion, And every time he twirls it around, You cannot keep from laughing!"
AUTHOR: unknown
EARLIEST_DATE: 1964 (Montgomerie)
KEYWORDS: clothes
FOUND_IN: 
REFERENCES: (1 citation)
Montgomerie-ScottishNR 153, "(I'm going in a train)" (1 text)
Roud #18663
NOTES: Roud lumps this with something similar to "I Know Where I'm Going," and that certainly was what I thought of when I first read the piece. Still, the evidence is thin. I'm including it in the Index, hesitantly, and giving it its own entry, hesitantly. - RBW
File: MSNR153
===
NAME: I'm Goin' Away to Texas
DESCRIPTION: "I'm goin' away to Texas, Oh dear me...." "Just go on an' just keep a-goin'." "When I get there I'll write you a letter." "I don't want you nor none of your letters." "You'll be sorry for all this." "If I am, you never will know it." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1931 (Randolph)
KEYWORDS: dialog husband wife separation rejection shrewishness
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 363, "I'm Going Away to Texas" (3 texts, 1 tune, but only the "A" text and tune really belong here; "B" is "I Love You And I Can't Help It" and "C" is perhaps "The Quaker's Courtship" )
Randolph/Cohen, pp. 327-329, "I'm Going Away to Texas" (1 text, 1 tune -- Randolph's 363A)
Lomax-FSNA 166, "I'm Going Away to Texas" (1 text, 1 tune)
Roud #6691
File: R363
===
NAME: I'm Goin' Back to North Carolina: see My Home's Across the Blue Ridge Mountains (File: Wa124)
===
NAME: I'm Goin' Down the River Befo' Long: see Chilly Winds (File: MWhee029)
===
NAME: I'm Goin' Down the Rivuh: see I'm Going Down the River (File: MWhee050)
===
NAME: I'm Goin' to Beat This Rice
DESCRIPTION: "I'm goin' to beat this rice, Goin' to beat 'em so, Goin' to beat 'em till the husks come off, Ah hanh hanh!" "Goin' to cook this rice when I get through." "Goin' to eat my belly full."
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: work food nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 116, (no title) (1 text)
File: CNFM116B
===
NAME: I'm Goin' to Pick my Banjo (Old Woman in the Garden)
DESCRIPTION: The singer watches his wife hoe the garden and cook while the lazy hound sits. He picks the banjo. The preacher tells him he'll never get to heaven; he repeats his refrain: "I'm goin' to pick my banjo... pick it while I can... right to the Promised Land."
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: music clergy work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 125, "I'm Goin' to Pick my Banjo (or, Old Woman in the Garden)" (1 text, 1 tune)
ST Wa125 (Partial)
Roud #7478
RECORDINGS:
Frank Profffitt, "Old Woman in the Garden" (on USWarnerColl01)
File: Wa125
===
NAME: I'm Going Away to Texas (II): see The Quaker's Courtship (File: R362)
===
NAME: I'm Going Away to Texas (III): see I Love You And I Can't Help It (File: R363B)
===
NAME: I'm Going Down the River
DESCRIPTION: "I'm going down the river before long, Ba-baby..." "I know you're going to miss me when I'm gone." "Miss me from rollin' in your arms." "I think I heard the Joe Fowler blow." "She blowed like she ain't going to blow no more."  And so forth
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: river ship separation
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, p. 50-51, "I'm Goin' Down the Rivuh" (1 text, 1 tune); also p. 29, "I'm Goin' Down the Rivuh Befo' Long" (1 text, 1 tune, a combination of this blues with "Chilly Winds"); also presumably pp. 46-50, "The Joe Fowler Blues" (1 text, 1 tune, with all of the lyrics found in this song; compare p. 116, "The Kate Adams," with many of the same lyrics) and pp. 114-115, "I'm Goin' Down the Rivuh, Baby" (1 text, 1 tune, with still another set of verses)
Roud #10004, etc.
NOTES: According to Wheeler, the Joe Fowler was one of the large stable of boats built by the Fowler family for use on the Mississippi. Built in 1888, she burned in 1920. Her single-tone whistle was reportedly famous.
Like most pieces in Wheeler, her version of song is more blues than ballad, and consists  mostly of words which could appear in any blues. But the reference to a specific boat hints that there might be something more complete out there somewhere.
It is possible that the "Joe Fowler Blues" is a separate song which was taken up entirely in the Wheeler text of "I'm Going Down the River" (after all, she has another "Going Down the River" text which swallowed part of "Chilly Winds" and still a third which is mostly about a man leaving home while boasting of his sexual prowess). But I know of no other versions to prove this, so for the moment they are combined. Roud splits them (10004, 10014, 10043), but they're all one-shots. - RBW 
File: MWhee050
===
NAME: I'm Going Down This Road Feeling Bad: see Going Down this Road Feeling Bad (File: LxU072)
===
NAME: I'm Going Home (I)
DESCRIPTION: "I sought my Lord In the wilderness (x3), I sought my Lord in the wilderness, For I'm a-going home. For I'm going home (x2), I'm just getting ready, For I'm going home." "I found free grace in the wilderness." "My father preaches in the wilderness."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 84, "I'm Going Home" (1 text, 1 tune)
Roud #12042
File: AWG084
===
NAME: I'm Going Home (II): see Homeward Bound (I) (File: Doe087)
===
NAME: I'm Going Home to Die No More: see The Road to Heaven (File: R600)
===
NAME: I'm Going to Be Married on Monday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to be Married on Sunday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to be Mother Today
DESCRIPTION: Singer's wife is ill so he cooks and watches the children: is mother. He cooks bacon, spills milk, the frying pan catches fire. The water boils over, he bumps his head and gets a black eye. He tells his wife "you can !!!!ing well do the cooking yourself"
AUTHOR: unknown
EARLIEST_DATE: 1976 (recording, Johnny Doughty)
KEYWORDS: humorous nonballad children wife food
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #8093
RECORDINGS:
Johnny Doughty, "I'm Going to be Mother Today" (on Voice14)
File: RcIGTBMT
===
NAME: I'm Going to Buy Me a Little Railroad
DESCRIPTION: "Well, I'm goin' to buy me a little railroad of my own, Ain't goin' to let nobody ride it but the chocolate to the bone."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: railroading
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 240, (no title) (1 short text)
NOTES: Scarborough explains this as a reference to the singer's love. My instinctive reaction, though, was that the piece is political: In a day when Blacks were denied equal access to transportation, they might want to have a railroad where *they* were the ones with the rights. - RBW
File: ScaNF240
===
NAME: I'm Going To Cross the Sea
DESCRIPTION: "I'm going to cross the sea, my love, Oh how I hate to start, I'll shake your hand in a long farewell, And then we have to part." "Sift your meal and save your bran, There's gonna be a wedding down in Alabam." "Slice your bread and butter fine...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: playparty separation food
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 587, "I'm Going To Cross the Sea" (1 text)
Thomas-Makin', pp. 40-42, (no title) (1 text, 1 tune)
Roud #7674
NOTES: Although there are many songs with similar lines, there is no reason I can see (based on Randolph's fragmentary text) to link this with any other "Going Cross the Sea" song.
Thomas's text is similar in scope: Three stanzas, sharing the first few lines with Randolph's and then being mostly floating. She does not list it as a playparty, rather as a chantey -- but her clasifications are suspect. - RBW
File: R587
===
NAME: I'm Going to Georgia: see On Top of Old Smokey (File: BSoF740)
===
NAME: I'm Going to Get Married: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to Get Married Next Sunday: see Next Monday Morning (File: ShH38)
===
NAME: I'm Going to Join the Army: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: I'm Going to Ride in Pharaoh's Chariot
DESCRIPTION: "I'm goin' to ride in Pharaoh's chariot (x2), One of these days God knows that, I'm going to ride in Pharaoh's chariot One of these days." Similarly, "I'm goin' to cross the river of Jordan," "...walk the golden streets," "talk with Paul and Silas," etc.
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad Bible
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 591, "I'm Goin' to Ride in Pharaoh's Chariot" (1 text)
Roud #11906
CROSS_REFERENCES:
cf. "I Hope I'll Join the Band (Soon in the Morning)"  (lyrics, theme)
cf. "Welcome Table (Streets of Glory, God's Going to Set This World on Fire)" (form)
NOTES: The reference to riding in Pharaoh's chariot is presumably to Genesis 41:43, where Joseph, after being made viceroy of Egypt, is made to ride "in [Pharaoh's] second chariot." - RBW
Paul Stamler mentions the possibility that this is a version of the "Welcome Table" group. This is very possible, though we can't prove it without a tune. But the emphasis seems to be a little different. I am, for the moment, keeping them separate, though I'm far from sure. - RBW, (PJS)
File: Br3591
===
NAME: I'm Going to Stand In My Back Door
DESCRIPTION: "I'se gwine to stan' I my back do', An' I'se gwine ter hab -- Let de Debbil blab! -- Dat gal wid de blue dress on. Oh, swing dat gal wid de blue dress on, Swing, you niggers, swing!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: home clothes love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 231, (no title) (1 short text)
File: ScaNF231
===
NAME: I'm Going Uptown: see Goin' to Have a Talk with the Chief of Police (File: CNFM098)
===
NAME: I'm Gwine Away to Georgia
DESCRIPTION: "I'm gwine away to Georgia, U'm gwine away to roam, U'm gwine away to Georgia, chile, Fer to make it my home." "The turkle dove is a hollerin' 'Cause he hears my sad cry, U'm gwine away to Georgia now Fer to live till I die."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love home separation bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 449, "I'm Gwine Away to Georgia" (1 text)
Roud #413
NOTES: Roud links this with "The Cuckoo." I've no idea why. - RBW
File: Br3447
===
NAME: I'm Gwine to Alabamy
DESCRIPTION: "I'm gwine to Alabamy, Oh, For to see my mammy, Ah!" "She went from Old Virginny And I'm her pickaninny." "She lives on the Tombigbee, I wish I had her with me." "Now I'm a good big nigger, I reckon I won't get bigger." "But I'd like to see my mammy..."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: slave mother separation
FOUND_IN: US
REFERENCES: (2 citations)
Allen/Ware/Garrison, p. 89, "I'm Gwine to Alabamy" (1 text, 1 tune)
Botkin-AmFolklr, pp. 904-905, "I'm Gwine to Alabamy" (1 text, 1 tune)
Roud #12047
File: BAF904A
===
NAME: I'm in the Bottom
DESCRIPTION: Improvised cross-cutting song: "In the bottom, Oh Lordy now, wo, I'm in the bottom, Wo Lord." "I'm shovellin' dirt." "I'm gettin' tired." The singer complains about the captain, wishes for water, a doctor, rest; he begs for help from home
AUTHOR: unknown
EARLIEST_DATE: 1965 (collected from Johnny Jackson by Bruce Jackson)
KEYWORDS: work hardtimes prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, pp. 215-217,"I'm in in the Bottom" (2 texts, 1 tune)
NOTES: This is an interesting item: A piece of ephemera which happened to be recorded. Bruce Jackson reports that Johnny Jackson made up the song as he worked while Bruce was there. When Bruce returned, Johnny did not remember what he had done but said he could make up another song if need be. (Given the simplicity of the form, he probably could.)
It makes you wonder how many similar songs have been made up and vanished simply because there was no Bruce Jackson along with recording equipment. - RBW
File: JDM215
===
NAME: I'm In Trouble
DESCRIPTION: "I'm in trouble, Lord, I'm in trouble, I'm in trouble, Lord, about my grave. Sometimes I weep, sometimes I mourn, I'm in trouble about my grave, Sometimes I can't do neither one, I'm in trouble about my grave."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad burial
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 94, "I'm In Trouble" (1 text, 1 tune)
Roud #12049
File: AWG094A
===
NAME: I'm Just A-Going Over Jordon: see Wayfaring Stranger (File: FSC077)
===
NAME: I'm Just from the Fountain
DESCRIPTION: "I am just from the fountain, I'm just from the fountain, Lord, I'm just from the fountain that never runs dry, Oh fathers, I love Jesus, I love him, yes I do, Oh fathers, I love Jesus, and you must love him too." "Oh mothers, I love Jesus," etc.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: religious Jesus nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 636, "I'm Just from the Fountain" (1 short text, 1 tune)
Roud #7562
File: R636
===
NAME: I'm Just Going Down to the Gate
DESCRIPTION: Though the singer's sweetheart's parents think she is too young to marry, she's allowed to wander as far as the garden gate, where the two lovers meet regularly. Someday they will slip off to the parson's.
AUTHOR: Gus. Williams
EARLIEST_DATE: 1882 (sheet music published)
LONG_DESCRIPTION: Singer describes his sweetheart as a "sly little fairy"; though her parents are protective and think she's too young to marry, she's allowed to wander as far as the garden gate, where of course she meets him. They talk sweet nothings while the parents debate weighty matters inside; she tells them "there's no sign of a storm, and the night is so warm." Someday they will slip off to the parson's. Chorus: "I'll just go as far as the gate, dear ma...The moon is so bright, and it's such a fine night/I love to stand here by the gate"
KEYWORDS: age courting elopement marriage nonballad family lover
FOUND_IN: US(MW,SE)
REFERENCES: ()

Roud #6407
RECORDINGS:
Sid Harkreader, "Only As Far As the Gate" (Paramount 3035, 1927)
Uncle Dave Macon, "Only As Far As the Gate Dear Ma" (Vocalion 15323, 1926)
Murphy Brothers Harp Band, "When Katie Comes Down to the Gate" (Champion 16455, 1932)
NOTES: Chris Valillo has documented that this was taught at a singing school in Badet, IL as early as 1884. I've used the title of the original song, although it has apparently not been used much in tradition. - PJS
File: RcJGDttG
===
NAME: I'm Lonesome Since My Mother Died
DESCRIPTION: Mother dies and father remarries. My stepmother "beat me and she turned me out When I speaks of my mother dear." "If I could only call her back, Once more to sit down by her side, I would like her better than before; I'm lonesome since my mother died."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: grief death mourning lament mother stepmother youth
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 181, "I'm Lonesome Since My Mother Died" (1 text)
Roud #6361
File: GrMa181
===
NAME: I'm Looking Over My Dead Dog Rover
DESCRIPTION: Concerning the death of Rover, usually caused (inadvertently, one hopes) by the singer (e.g. by hitting Rover with a power mower). The text varies extremely, as does the cause of death; the only constant element seems to be the title line.
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: dog animal death humorous parody
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, p. 136, "I'm Looking Over My Dead Dog Rover" (2 texts, tune referenced)
DT, DEADROVR
Roud #15720
CROSS_REFERENCES:
cf. "I'm Looking Over a Four-Leaf Clover" (tune)
NOTES: I've never seen two versions of this song alike, and none of the printed versions matches my father's text. Looks to me like a genuine folk song, even if the plot is completely unfixed. - RBW
File: DTdeadro
===
NAME: I'm My Own Grandpa
DESCRIPTION: Singer marries a pretty widow; his father marries her red-haired daughter. By tortuous logic, the singer explains that this makes him his own grandfather. Chorus: "I'm my own grandpa...It seems funny, I know/But it really is so/I'm my own grandpa"
AUTHOR: Dwight Latham & Moe Jaffe
EARLIEST_DATE: 1948 (recordings, Grandpa Jones, Korn Kobblers); reportedly copyright 1947
KEYWORDS: marriage nonsense paradox family father mother
FOUND_IN: US
REFERENCES: (1 citation)
DT, OWNGRNPA
Roud #10444
RECORDINGS:
Grandpa Jones, "I'm My Own Grandpa" (King 694, 1948)
Korn Kobblers, "I'm My Own Grandpaw" (MGM 10136, 1948)
Lonzo & Oscar, "I'm My Own Grandpa" (RCA Victor 20-2563, 1947)
NOTES: This is included because it seems to have begun passing into oral tradition [or at least universal folklore - RBW] -- certainly it appears often enough on the internet (in geneology sites!) without attribution. The song is based on a short story by Mark Twain. - PJS
To make matters even more complicated, Fiddlin' John Carson's song "Papa's Billy Goat" (a version of what we index by its "urban" name of "Bill Grogan's Goat"), first recorded in 1923, concludes with this verse:
Then I acted an old fool, married me a widow,
And the widow had a daughter and her name was Maude;
Father being a widower married her daughter,
And now my daddy is my own son-in-law.
Obviously that isn't the whole burden of "I'm My Own Grandpa," but it's getting there, and Carson's version was popular enough that he was asked to re-record it twice. - RBW
Incidentally, Robert A. Heinlein eventually went this one better, and produced a story in which (by means of time travel and gender surgery) the main character became his own mother. And father. And, hence, grandmother and grandfather and.... (Wouldn't cloning have been easier?)
Not too surprisingly, that story ("All You Zombies," from 1959) mentions this song. It is, in a side note, the next-to-last short story Heinlein ever wrote (the last being "Searchlight," from 1962), and the last not associated with his "Future History" series.
Believe it or not, there is an actual bit of history which almost resembles this, except that it didn't quite come off. Christopher Allmand, _Henry V_, University of California Press, 1992, writes :The year 1395 was to witness the first attempt to arrange [a marriage for Henry of Monmouth, the future Henry V]. His prospective bride was to be Marie, daughter of John IV, duke of Brittany, and his duchess, Joan. The plan fell through.... Yet the Breton link was not lost. In 1403 Henry's own father was to marry the duchess Joan,by then widowed. Thus the lade who might have become [Henry's] mother-in-law became his stepmother instead."
Again, not this exact plot -- but one can imagine getting to this plot from that one.  - RBW
File: DTowngrn
===
NAME: I'm nae awa' to bide awa': see My Ain Kate (File: GrD2257)
===
NAME: I'm No' Comin' Oot the Noo
DESCRIPTION: "O a nice wee lass, a bonnie wee lass Is bonnie wee Jeannie McKay," but when she and the singer are to go out, her says "My mother's ta'en my claes tae the pawn... And I'm no comin' oot the new." In any situation, the singer pleads poverty and stays in 
AUTHOR: unknown
EARLIEST_DATE: 1985 (recording, the Stewarts of Blair)
KEYWORDS: courting clothes bug poverty humorous
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

ST RcINCOtN (Partial)
Roud #5298
RECORDINGS:
Belle, Sheila, and Cathie Stewart, "I'm No' Comin' Oot the Noo" (on SCStewartsBlair01)
File: RcINCOtN
===
NAME: I'm Nobody's Darling on Earth: see Nobody's Darling on Earth (File: R723)
===
NAME: I'm not going away to stay away: see My Ain Kate (File: GrD2257)
===
NAME: I'm Not Myself At All
DESCRIPTION: "Oh, I'm not myself at all, Molly dear, Molly dear." At confession the singer asked Father Taff for half a blessing because his other half belongs to Molly Brierly. The singer wants her to marry him before he disappears entirely.
AUTHOR: Samuel Lover (1797-1868)
EARLIEST_DATE: before 1861 (broadside, LOCSinging as201450)
KEYWORDS: courting love humorous nonballad clergy
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 22, "I'm Not Myself At All" (1 text)
BROADSIDES:
Bodleian, Harding B 18(267), "I'Am Not Myself At All", H. De Marsan (New York), 1859-1860 [same as LOCSinging as201450]; also Harding B 11(3984), "I'm Not Myself At All"; Harding B 11(4325), "Molly Dear" or "I'm Not Myself At All" 
LOCSinging, as201450, "I'am Not Myself At All", H. De Marsan (New York), 1859-1860 [same as Bodleian Harding B 18(267)]; also sb20205a, "I'am Not Myself At All"
NOTES: Broadsides LOCSinging as201450 and Bodleian Harding B 18(267): 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: OCon022
===
NAME: I'm Now Twenty-Two
DESCRIPTION: The singer had a new suit, fancy tie and watch chain, and swaggered. He describes his oiled moustache, but mourns his "half-Buchan English." The girls reject him because he is not well read. He gives up vanity: "I'll try and put wisdom into my heid"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: vanity courting rejection clothes nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 650, "I'm Now Twenty-Two" (1 text)
Roud #6079
NOTES: GreigDuncan3: "Got from an old lady [Mrs Taylor] at Rora, who says it was written by one Gibb, who resided at Longside, fifty years ago." - BS
File: GrD3650
===
NAME: I'm Often Drunk and I'm Seldom Sober
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
I'm a Rover and Seldom Sober
File: DTimarov
===
NAME: I'm Often Drunk and Seldom Sober
DESCRIPTION: Singer is seldom sober and "a rover in every degree," He says his lover is "as clever a woman as ever trod upon London ground." He wishes he were in Dublin or across the sea beyond lawyers' reach. She says her love is clever. They both love drink.
AUTHOR: unknown
EARLIEST_DATE: before 1831 (broadside, Bodleian Harding B 25(894))
KEYWORDS: drink floatingverses nonballad
FOUND_IN: 
REFERENCES: ()

Roud #3135
BROADSIDES:
Bodleian, Harding B 25(894), "I'm Often Drunk and Seldom Sober" ("Many cold winter nights I've travelled"), R. Walker (Norwich), 1780- 1830; also Harding B 25(893), Harding B 11(1731), "I'm Often Drunk, and Seldom Sober ("The sea is wide and I can't get over")
NOTES: Description is from broadside Bodleian Harding B 11(1731). - BS
File: BdIODASS
===
NAME: I'm Old But I'm Awfully Tough
DESCRIPTION: Singer describes himself as a happy old gentleman whom the girls adore. Chorus consists mostly of laughing
AUTHOR: Cal Stewart?
EARLIEST_DATE: c. 1900 (recording, Cal Stewart)
KEYWORDS: age humorous nonballad
FOUND_IN: US
REFERENCES: ()

Roud #15460
RECORDINGS:
Andrew Keefe, "I'm Old But I'm Awfully Tough" (CYL: Edison 9152, 1905)
Cal Stewart - change reference to: (Columbia 22, 1901; Columbia A-299, 1909; rec. 1900) (Victor 659, 1901; Zonophone C-5321, n.d.) (Victor 16403, 1909; rec. 1907)
CROSS_REFERENCES:
cf. "Laughing Song" (chorus)
NOTES: This is a pop song, pure and simple, and I wouldn't include it in the Index, except that a massively folk-processed version of the song was collected in the 1970s from the Arkansas singer Tip McKinney (former member of Pope's Arkansas Mountaineers, who made 78s of traditional music in 1928). It's a classic example of a song moving from popular music into tradition. - PJS
File: RcIOBIAT
===
NAME: I'm On My Way
DESCRIPTION: "I'm on my way, and I won't turn back! I'm on my way, great God, I'm on my way." "I'm on my way to Canaan's land." "I ask my sister to go with me." "If she says no, I'll go alone." "I ask my boss to let me go." "If he says no, I'll go anyhow."
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Carter Family)
KEYWORDS: religious travel
FOUND_IN: US
REFERENCES: (2 citations)
Greenway-AFP, p. 100, "I'm On My Way" (1 text, 1 tune)
Silber-FSWB, p. 302, "I'm On My Way" (1 text)
RECORDINGS:
Carter Family, "On My Way to Canaan's Land" (Bluebird B-8167, 1939)
Pete Seeger, "I'm On My Way" (on PeteSeeger04) (on PeteSeeger15) (on PeteSeeger26); "I'm On My Way to Canaan's Land" (on PeteSeeger44)
File: Grnw100
===
NAME: I'm Poor But a Gentleman Still: see Poor, But a Gentleman Still (File: FSC103)
===
NAME: I'm Sad and I'm Lonely
DESCRIPTION: "I'm sad and I'm lonely, My heart it will break. My sweetheart loves another; Lord I wish I were dead." The singer warns against the lies that young men tell, which are more numerous than "cross-ties on the railroad or stars in the skies."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love separation lie desertion floatingverses
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Sandburg, pp. 243-245, "I'm Sad and I'm Lonely" (1 text, 1 tune)
Silber-FSWB, p. 167, "I'm Sad And I'm Lonely" (1 text)
Cambiaire, p. 84, "I'm Sad and I'm Lonely" (1 text)
ST San243 (Full)
RECORDINGS:
Eller Family, "I'm Goin' to Georgia" (on FolkVisions1)
CROSS_REFERENCES:
cf. "Troubled In My Mind" (floating lyrics)
cf. "On Top of Old Smokey" (floating lyrics)
cf. "A Warning to Girls" (floating lyrics)
NOTES: This appears to be another of those collections of floating verses that has taken on some life of its own. - RBW
The Eller Family recording is actually a mishmosh of floating verses from here, "On Top of Old Smoky," "The Cuckoo" and, if I'm not mistaken, "Poor Ellen Smith." But I put it here because, well, why not? It has to go somewhere. - PJS
File: San243
===
NAME: I'm Scarce Sixteen Come Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventeen 'gin Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventeen Come Sunday: see Seventeen Come Sunday [Laws O17] (File: LO17)
===
NAME: I'm Seventy-Two Today
DESCRIPTION: "I'm seventy-two today, my boys; They say I'm growing old. I feel as young as I used to be; My heart is strong and bold." The old man says he can and will ride and court as well as ever (if perhaps a bit faster), and expects to enjoy the process
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: age courting
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Randolph 433, "I'm Seventy-Two Today" (1 text)
Warner 158, "Seventy-Two Today" (1 text, 1 tune)
ST R433 (Full)
Roud #4387 and 7485
CROSS_REFERENCES:
cf. "If I Were As Young As I Used to Be (Uncle Joe)" (plot)
File: R433
===
NAME: I'm Sitting on the Stile, Mary (The Irish Emigrant II)
DESCRIPTION: "Oh I'm sitting on the stile, Mary, where we sat side by side." He thinks of their life together and the graveyard where he buried her "with your babe all on your breast." He promises not to forget her "in that land I'm going to"
AUTHOR: Words: Lady Helena Selina Blackwood Dufferin (1807-1867), Music: William R. Dempster (1843?)
EARLIEST_DATE: before 1835 (broadside, Bodleian Harding B 11(4048))
KEYWORDS: marriage emigration burial lament baby wife separation promise
FOUND_IN: Canada(Newf) Ireland US(MW)
REFERENCES: (6 citations)
Peacock, pp. 462-464, "I'm Sitting on the Stile, Mary" (1 text, 2 tunes)
O'Conor, p. 156, "The Irish Emigrant" (1 text)
Dean, p. 81, "The Lament of the Irish Emigrant" (1 text)
BrownII 133, "I Was Sitting on a Stile" (1 fragment, which the editors apparently regard as a part of this song -- though with only four lines, it's almost unfileable)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 302-303, "The Lament of the Irish Emigrant"
Charles W. Eliot, editor, English Poetry Vol II From Collins to Fitzgerald (New York, 1910), #574, pp. 919-920, "Lament of the Irish Emigrant" (by bHelena Selina, Lady Dufferin)
ST Pea462 (Partial)
Roud #2661
BROADSIDES:
Bodleian, Harding B 11(4048), "The Irish Emigrant" ("I'm sitting on the stile, Mary"), G. Walker (Durham), 1797-1834; also 2806 c.14(195) View 4 of 5, Harding B 11(1773), Firth b.25(157), Johnson Ballads 1690, Firth b.27(499), Firth c.12(134), Harding B 11(2181), Firth c.26(135), Harding B 11(465), 2806 c.16(140), Harding B 11(1778), Harding B 11(1777), Firth b.25(303), Harding B 11(239), Harding B 26(270), Harding B 6(18), 2806 b.10(93), 2806 b.10(76), Harding B 20(74), Harding B 15(139a), Harding B 11(1776), "The Irish Emigrant"
LOCSinging, as107440, "Lament of the Irish Immigrant," J. Andrews (New York), 1853-1859
Murray, Mu23-y4:016, "Irish Emigrant," John Ross (Newcastle), 19C
NLScotland, L.C.Fol.70.(2a), "The Irish Emigrant," Robert McIntosh (Glasgow), c. 1875
SAME_TUNE:
Parody on The Irish Emigrant (broadside Murray, Mu23-y1:068, "Parody on "The Irish Emigrant" ("I'm sitting on a rail Judy, Where oft across ye'd stride"), James Lindsay (Glasgow), 19C)
ALTERNATE_TITLES:
The Irish Emigrant's Lament
NOTES: Not the song by William Kennedy.
GEST Songs of Newfoundland and Labrador site is one of many sources for the author of the words; Museum of the City of New York site refers to sheet music source for tunesmith.
Killeagh County Down site: The village of Killyleagh grew up around a fortified tower, built in the 12th century by a Norman knight, John de Courcy....Lady Helen Dufferin wrote the famous poem "The Lament of the Irish Emigrant" in the castle, It is still possible to visit Mary's Stile in the shadows of the Castle today.
Murray, Mu23-y1:068, "Parody on the Irish Emigrant," James Lindsay (Glasgow), 19C (the singer stays in Ireland, glad his wife has died)
Bodleian, Firth b.26(206), "Answer to the Irish Emigrant" ("I'm coming back to you, Mary, Australia's shores I find"), A. Ryle and Co. (London), 1845-1859; also Harding B 11(88), "Answer to the Irish Emigrant" (the singer returns from Australia)
LOCSinging, as107460, "Lament of the Irish Gold Hunter," J. Andrews (New York), 1853-1859; also as107450, "Lament of the Irish Gold Hunter!!" (Tune: "I'm Sitting on the Stile, Mary"; the singer is digging for gold but expects to return to Ireland, if he survives "sitting on the stile, Mary, Away up in the mines")
LOCSinging, hc00011a, "Paddy's Lament" ("I'm sitthin on de sthile, Molly, wid a grape shot in my leg"), Charles Magnus (New York), 1864 (Tune: "I'm sitting on the stile &c."; attributed to John Ross Dix; the singer is fighting in America for the Union but hopes to return "when peace returns once more."
Broadside LOCSinging as107440 and LOCSinging as107460: 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
There is some question about who wrote the music to this. Amsco's uncredited book _The Library of Irish Music_ lists the tune as by G. Barker. But many of its attributions are inaccurate. - RBW
File: Pea462
===
NAME: I'm Sixteen Thousand Miles from Home: see Sixteen Thousand Miles from Home (File: MA067)
===
NAME: I'm So Glad My Time Have Come
DESCRIPTION: "I'm so glad my time have come, Around Sheman no more will I bum, The last bummin' I did I remember it still, With six long months I stayed in the cell." "Oh judge, oh judge, I liked to forget." Chorus: "I've tidied I rule, I've a rudulideer" (x2)
AUTHOR: unknown
EARLIEST_DATE: 1965 (recorded from J. B. Smith by Jackson)
KEYWORDS: hardtimes travel prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, p. 84, "I'm So Glad My Time Have Come" (1 text, 1 tune)
NOTES: Jackson suspects that the first stanza of this may be from a pop recording. This strikes me as reasonable, but I don't recognize it, and the song does not seem to occur in tradition elsewhere. I suspect the nonsense chorus started out as "I traveled the road...." - RBW
File: JDM084
===
NAME: I'm Sticking to the Murphys
DESCRIPTION: "I'm sticking to the Murphys, I'll fight 'em till I die; I can't help spitting cotton Because I am so dry. You'll bust your lips with laughter; Stick to the pledge I must, But the more I drink cold water The more I'm belching dust."
AUTHOR: unknown
EARLIEST_DATE: 1936 (Springfield News and Leader)
KEYWORDS: drink promise
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 340, "I'm Sticking to the Murphys" (1 text)
Roud #7811
NOTES: The Murphy movement was a temperance program of the 1870s or so. Men signed a pledge to avoid alcohol (and to try to convince others to do the same), and were rewarded with a blue ribbon. - RBW
File: R340
===
NAME: I'm the Man That Kin Raise So Long: see Alabama Bound (Waterbound II) (File: BMRF598)
===
NAME: I'm the Man That Rode the Mule 'Round the World: see I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)
===
NAME: I'm the Man that Rote Ta Rarra Bumdia: see I'm the Man that Wrote Ta-ra-ra Boom-de-ay (File: R409)
===
NAME: I'm the Man that Wrote Ta-ra-ra Boom-de-ay
DESCRIPTION: "I am the Man that Wrote Ta-ra-ra Boom-de-ay, Promise me you won't give it away...." The singer was a poor showman until he produced the famous song. Now the police seek him, people throw brickbats, and not even Shakespeare can equal his claim
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: parody music
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 409, "I'm the Man that Wrote Ta Rarra Bumdia" (1 text, 1 tune)
Roud #7614
CROSS_REFERENCES:
cf. "Ta-ra-ra Boom-der-e"
NOTES: For the actual (uncertain) authorship of "Ta-ra-ra Boom-der-e," see that song. - RBW
File: R409
===
NAME: I'm Thinking Tonight of My Blue Eyes: see Broken Ties (I'm Thinking Tonight of My Blue Eyes) (File: BrII156)
===
NAME: I'm Tired of Living Alone
DESCRIPTION: "I'm tired of living alone. I went to the river, and I saw a pretty rose, I plucked it and called it my own. A rose will fade, and so will a maid; I'm tired of living alone."
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: flowers loneliness
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 272, "I'm Tired of Living Alone" (1 fragment)
Roud #15744
NOTES: No doubt a part of something longer and perhaps widely familiar. But I can't identify it from the stanza in Brown. - RBW
File: Br3272
===
NAME: I'm To Be Marrit in May
DESCRIPTION: "The win' at the window is rattlin', The sheep huddle close on the brae... But what care I for the weather, I'm happy's a queen a' the day... And I'm to be marrit in May." The girl praises her love Johnny and describes the joy she feels
AUTHOR: James M. Taylor
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love marriage
FOUND_IN: 
REFERENCES: (1 citation)
Ord, p. 164, "I'm To Be Marrit in May" (1 text)
Roud #5559
NOTES: Since Ord had this from the (reported) author, there is no real reason to think it exists in oral tradition. - RBW
File: Ord164
===
NAME: I'm Troubled: see Troubled In My Mind (File: LoF102)
===
NAME: I'm Troubled in Mind: see Troubled In My Mind (File: LoF102)
===
NAME: I'm Working My Way Back Home
DESCRIPTION: If "the boat keep steppin'" and his back doesn't give out, the singer will get back to his woman in Memphis. "All that I crave fo' many a long day Is yo' lovin' when I git back." He urges the fireman to make speed, and describes the route the boat follows
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: river work love separation ship
FOUND_IN: US(SE)
REFERENCES: (2 citations)
MWheeler, pp. 13-14, "I'm Wukin' My Way Back Home" (1 text, 1 tune)
Botkin-MRFolklr, p. 575, "I'm Wukin' My Way Back Home" (1 text, 1 tune)
ST BMRF575 (Full)
Roud #9991
File: BMRF575
===
NAME: I'm Wukin' My Way Back Home: see I'm Working My Way Back Home (File: BMRF575)
===
NAME: I'se Gwine Back to Dixie
DESCRIPTION: Singer, having left Dixie, pines for the usual things: home, food, etc. He swore that if he left, he'd never return, but now "time has changed the old man, his head is bending low." "I'm going back to Dixie...I'm going where the orange blossoms grow...."
AUTHOR: Charles A. White
EARLIEST_DATE: 1874 (sheet music publication)
LONG_DESCRIPTION: Singer, having left Dixie, pines for the usual things: home, the old plantation, hominy, punkin, and red gravy. He says that, working on the farm and on the river, he swore that if he left, he'd never return, but now "time has changed the old man, his head is bending low" and his heart turns back to Dixie. Chorus: "I'm going back to Dixie...I'm going where the orange blossoms grow...My heart turns back to Dixie, and I must go"
KEYWORDS: age homesickness loneliness home return travel farming river work food nonballad family
FOUND_IN: US
REFERENCES: (1 citation)
DT, HEARTDIX
RECORDINGS:
Leo Boswell, "My Heart's Turned Back to Dixie" (Columbia 15748-D, 1932)
Climax Quartet, "Ise Gwine Back to Dixie" (Columbia [Climax] 753, 1902)
Greater New York Quartet, "I'se Gwine Back to Dixie" (CYL: Columbia 9010, c. 1898)
Haydn Quartet, "I'se Gwine Back to Dixie"  (Berliner 024-N, rec. 1899; Victor 657, 1901) (Victor 4725, 1906; Victor 16104, 1908)
Leake County Revelers, "I'm Gwine Back to Dixie" (Columbia 15409-D, 1929)
Uncle Dave Macon, "I'se Gwine Back to Dixie" (Vocalion 5157, 1927)
Peg Moreland, "Going Back to Dixie" (Victor 21653, 1928)
Grover Rann & Harry Ayers, "I'se Gwine Back to Dixie" (Columbia 15638-D, 1931; rec. 1930)
ALTERNATE_TITLES:
Gwine Back to Dixie
File: DTheartd
===
NAME: I'se Gwine Land on Dat Shore: see I Don't Love Old Satan (File: Br3584)
===
NAME: I'se the B'y that Builds the Boat: see I'ze the B'y that Builds the Boat (File: FJ116)
===
NAME: I've Always Been a Rambler: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: I've Been a Foreign Lander: see Foreign Lander (File: JRSF064)
===
NAME: I've Been a Wild Boy: see Wild Rover No More (File: MA069)
===
NAME: I've Been All Around This World: see Hang Me, Oh Hang Me (Been All Around This World) (File: R146)
===
NAME: I've Been Buked and I've Been Scorned: see Hell and Heaven (I've Been Buked and I've Been Scorned) (File: LxA588)
===
NAME: I've Been Faithful to You
DESCRIPTION: "Why did you turn from me, darling? Why all this coldness today?" The (girl) declares "I have been faithful to you," and asks why the other is false. Later he finds her body, holding tight to a note that reads "Love, I've been faithful to you."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Henry, collected from Mary King)
KEYWORDS: love betrayal death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 161-162, "I've Been Faithful to You" (1 text)
File: MSAp161
===
NAME: I've Been to Australia-o: see I've Been to Australia, Oh! (File: FaE106)
===
NAME: I've Been to Australia, Oh!
DESCRIPTION: The singer warns, "So now my friends, take my advice, and never think to go Or you will rue the day you went to Australia-oh." While there, his wife, money, and clothes were stolen. Facing with high prices, he has to do manual labour. He hopes to go home
AUTHOR: unknown
EARLIEST_DATE: 1957 (Old Bush Songs); Ron Edwards reportedly found a version dated 1862
KEYWORDS: Australia poverty work hardtimes emigration robbery
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 106-107, "I've Been to Australia, Oh!" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 105-108, "I've Been to Australia-o" (1 text)
CROSS_REFERENCES:
cf. "The Pommy's Lament" (theme)
File: FaE106
===
NAME: I've Been Working on the Railroad
DESCRIPTION: The singer describes working on the railroad "all the live-long day" and waiting for Dinah to blow the horn. He describes someone being "in the kitchen with Dinah, strumming on the old banjo."
AUTHOR: unknown
EARLIEST_DATE: 1894 (Carmina Princetonia)
KEYWORDS: railroading work courting
FOUND_IN: US
REFERENCES: (7 citations)
Cohen-LSRail, pp. 537-542, "I've Been Working on the Railroad" (1 text, 1 tune)
BrownIII 234, "Working on the Railroad" (1 text plus two unrelated fragments, probably of "Roll on the Ground (Big Ball's in Town)"; the "A" text is a jumble starting with this song but followed up by what is probably a "Song of All Songs" fragment)
Scarborough-NegroFS, p. 248, "I've Been Working on the Railroad" (1 text, with the first verse being this and the second being probably some sort of courting song)
MHenry-Appalachians, p. 81, "I've Been Working on the Railroad" (1 text)
Silber-FSWB, p. 103, "I've Been Working on the Railroad" (1 text, including some parody verses)
Fuld-WFM, p. 209, "I've Been Working on the Railroad -- (The Eyes of Texas)"; p. 513, "Someone's in the Kitchen with Dinah"
DT, WORKRAIL
RECORDINGS:
Blankenship Family, "Working on the Railroad" (Victor 23583, 1931)
Art Mooney, "I've Been Working on the Railroad" (Vogue R-713-32, n.d. but prob. 1930s)
Sandhills Sixteen, "I've Been Working on the Railroad" (Victor 20905, 1927)
Pete Seeger, "I've Been Working on the Railroad" (on PeteSeeger21) (on PeteSeeger32)
SAME_TUNE:
We've Enlisted in the Navy (Pankake-PHCFSB, p. 151)
ALTERNATE_TITLES:
Levee Song
NOTES: Although this is surely a composed song, Fuld cannot find any references to the "Railroad" verses prior to 1894 (when it was twice published as "The Levee Song," and in both instances associated with Princeton). No composer is listed in the extant materials.
The "Dinah" verses are dated by Fuld to the period before 1850. How they came together is a mystery; they don't fit all that well -- but as I've never heard the halves done separately (though Scarborough's text consists only of the first part, and the Cohen text, from the Blankenship family omits the"Dinah Won't You Blow" stanza, substituting something Cohen thinks is a school rouser), I keep them together here.
Cohen cites Theodore Raph as claiming the song became popular in 1881. But Cohen himself agrees with Fuld's 1894 date. Probably it will take a much more detailed study than any undertaken so far to finally settle the matter. - RBW
File: FSWB209
===
NAME: I've Bin to the 'Bama and I Just Got Back
DESCRIPTION: "I've bin to the 'Bama and I just got back. I didn't bring no money but I brought the sack."
AUTHOR: unknown
EARLIEST_DATE: 1920 (Brown)
KEYWORDS: money travel
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 498, "I've Bin to the 'Bama and I Just Got Back" (1 fragment)
Roud #11765
NOTES: Roud lumps this with the "Hesitation Blues." Tough to prove either way. - RBW
File: Be3498
===
NAME: I've Built Me a Neat Little Cot, Darling: see Kitty Tyrrell (File: R788)
===
NAME: I've Buried Three Husbands Already (Wherever There's a Goose There's a Gander)
DESCRIPTION: "Oh I buried three husbands already ... And now I am mostly all ready For another young son to come on." "Wherever there's a goose there's a gander." "The older the bow and the fiddle, The sweeter the tune it can play"
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: age marriage death humorous nonballad husband
FOUND_IN: Ireland
REFERENCES: ()

Roud #16725
RECORDINGS:
Mary Delaney, "I've Buried Three Husbands Already" (on IRTravellers01)
NOTES: Did someone set the Wife of Bath's Tale to music? - RBW
File: RcIB3HA
===
NAME: I've Got a Brother in the Snow-White Fields
DESCRIPTION: "I've got a brother in the snow-white fields, Praying all night long. I want to go to Heaven when I die, Oh my Lawd (x2), I want to go to...." "I want to go to Heaven and I want to go right... dressed in white." "I want to go to heaven at my own expense."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: religious death brother nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 535, "I've Got a Brother in the Snow-White Fields" (1 text)
Roud #11822
File: Br3535
===
NAME: I've Got a Master and I Am His Man
DESCRIPTION: "Oh, I've got a master and I am his man, Galloping steadily on, Oh, I've got a master and I am his man, I'll marry me a wife as soon as I can, With a higglety pigglety, gambling gay, Higglety pigglety, gambling gay, Galloping steadily on."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: servant work horse
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 148, "I've Got a Master and I Am His Man" (1 fragment)
Roud #15768
File: Br3148
===
NAME: I've Got a Mother Gone to Glory: see probably The Other Bright Shore (File: R611)
===
NAME: I've Got a Shilling: see I Love Sixpence (File: OO2480)
===
NAME: I've Got No Use for the Women
DESCRIPTION: "I've got no use for the women; A true one can never be found. They use a man for his money...." The singer tells how his partner  killed a man who insulted his sweetheart's picture, and was himself killed and buried on the prairie.
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Travis B. Hale)
KEYWORDS: death murder revenge love burial
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 65, "I've Got No Use for the Women" (1 text, 1 tune)
Roud #4104
RECORDINGS:
Edward L. Crain, "Bury Me Out on the Prairie"  (Crown 3239, 1932; Homestead 22991, c. 1932; on MakeMe)
Crowder Brothers, "Got No Use for Women" (Perfect 8-03-57, 1938)
Vernon Dalhart, "Bury Me Out on the Prairie" (Conqueror 7729, 1931)
Delmore Bros. "Oh Bury Me Out on the Prairie" (Montgomery Ward M-4060, 1933)
Travis B. Hale, "Oh Bury Me Out on the Prairie" (Victor 20796, 1927)
Harry Jackson, "I Ain't Got No Use for the Women" (on HJackson1)
Bradley Kincaid, "Bury Me Out on the Prairie" (Silvertone 5187/Silvertone 8218/Supertone 9208, 1928) (Vocalion 5474, 1930; Conqueror 8091, 1933)
Ranch Boys, "Bury Me Out on the Prairie" (Decca 5341, 1937)
Carson Robison's Trio, "Oh Bury Me Out on the Prairie" (Broadway 4060, n.d.)
Roy Shaffer, "Bury Me Out on the Prairie" (Bluebird B-8213, 1939)
Tune Wranglers "I've Got No Use for the Women" (Bluebird B-7089, 1937)
CROSS_REFERENCES:
cf. "Jack Haggerty (The Flat River Girl)" (lyrics)
cf. "Bury Me Not on the Lone Prairie" (lyrics)
NOTES: What an excuse for not being able to find a girlfriend. - RBW
This uses more phrases from "Bury Me Not on the Lone Prairie" than can be explained by coincidence. - PJS
File: FCW065
===
NAME: I've Just Come from Sydney
DESCRIPTION: "I've just come from Sydney across the range of mountains Where the nanny goats and the billy goats and the moo cows do dwell." He looks for his girl. Informed she has run off, he says he will wander by the sea and lay himself down and -- get up!
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: love separation elopement humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Manifold-PASB, p. 143, "I've Just Come from Sydney" (1 text, 1 tune)
NOTES: From the language, this sounds like a children's song; from the tone, it's clearly a gag. I suspect it's a parody of something, but I've no idea what. - RBW
File: PASB143
===
NAME: I've Just Got in Across the Plains
DESCRIPTION: "I've just got in across the plains, I'm poorer than a snail, My mules all died but poor old Chip." The singer tells of his terrible troubles on the way to California, and warns those who would follow that gold is hard to find
AUTHOR: Enuel Davis?
EARLIEST_DATE: 1912 (Belden)
KEYWORDS: travel hardtimes animal gold warning
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 345-346, "I've Just Got in Across the Plains" ( 1 text)
Roud #7775
ALTERNATE_TITLES:
Miner's Song
NOTES: Belden mentions that this was written "on the California Trail around 1850 by Enuel Davis," who contributed other complaints about the trail to California. But in context, it appears possible that Davis was the transcriber or publisher. - RBW
File: Beld345
===
NAME: I've Rode the Southern and the L & N
DESCRIPTION: Blues; singer says he's ridden the Southern & L&N railroads, has been treated badly, is a rambling man, and has found his "two blue eyes" at last. He has had to offer her his watch, his chain, and all he had before she would agree to marry him
AUTHOR: Possibly Homer Callahan, but since it's mostly floating verses...
EARLIEST_DATE: early 1930s (recording, Homer Callahan)
KEYWORDS: courting marriage bargaining rambling train floatingverses
FOUND_IN: 
REFERENCES: ()

Roud #8589
RECORDINGS:
Homer Callahan, "I've Rode the Southern and the L & N" (Conqueror 8557, 1935; Romeo 351011 (1935), also issued on Banner, Melotone, Oriole and Perfect; some issued under the name Callahan Bros.)
Merle Lovell, "I Rode Southern, I Rode L & N" (AFS 4111 A1, 1940; on LC61)
NOTES: The "L & N" was the Louisville & Nashville Railroad.
This barely qualifies as a ballad, but the narrative thread, though thin, is present, and while some of the floating verses come from Jimmie Rodgers via Homer Callahan, they've floated through enough places to become part of tradition. - PJS
File: RcIRtSLN
===
NAME: I've Sair'd wi' Men
DESCRIPTION: "I've sairt wi' men that eased me well Wi' men that tried to skin." The singer names the places he has worked but "the like o' the Aucheddly My fit was never in"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: farming work nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 388, "I've Sair'd wi' Men" (1 text)
Roud #5922
File: GdC3388
===
NAME: I've Travelled This Country (Last Friday Evening)
DESCRIPTION: "I've traveled this country both early and late; Hard has been my fortune and sad has been my fate." He comes to his love's home and sees her with another man. He gets drunk and/or questions her and wishes he were a fisherman and could catch her
AUTHOR: unknown
EARLIEST_DATE: 1904 (Belden)
KEYWORDS: love betrayal drink
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Belden, p. 194, "Last Friday Evening" (1 text)
Scarborough-SongCatcher, p. 333, "Lovely Polly" (1 text; tune on p. 447)
Roud #1795
CROSS_REFERENCES:
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (floating lyrics)
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "If I Were a Fisher" (floating lyrics) and references there
File: Beld194
===
NAME: I've Two or Three Strings To My Bow
DESCRIPTION: "I am a fair maiden forsaken, but I have a contented mind." Her love has forsaken him, but she does not intend to mourn; she has other options. She warns girls against men, and says she will "care no more for him than he cares for me."
AUTHOR: unknown
EARLIEST_DATE: 1768 (Ramsey)
KEYWORDS: love betrayal
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H70a+b, pp. 340-341, "I've Two or Three Strings To My Bow" (1 text, 1 tune)
Roud #4788
CROSS_REFERENCES:
cf. "Farewell He" (subject)
ALTERNATE_TITLES:
The Frugal Maid
File: HHH070
===
NAME: I'ze the B'y that Builds the Boat
DESCRIPTION: "I'ze the b'y that builds the boat, And I'ze the b'y that sails her; I'ze the b'y that catches the fish And takes 'em home to Liza." Stories of a Newfoundland life and diet -- and of the odd things that can happen at a Newfoundland party
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: nonballad ship sailor
FOUND_IN: Canada(Newf) US(NE)
REFERENCES: (8 citations)
Fowke/Johnston, pp. 116-117, "I'se the B'y that Builds the Boat" (1 text, 1 tune)
Fowke/MacMillan 43, "I'se the B'y that Builds the Boat" (1 text, 1 tune)
Peacock, p. 64, "I's the B'y That Builds the Boat" (1 text, 1 tune)
Doyle3, p. 30, "I'se The B'y" (1 text, 1 tune)
Blondahl, pp. 40-41, "I'se the B'y" (1 text, 1 tune)
Lomax-FSNA 78, "I'ze the Bye" (1 text, 1 tune)
Silber-FSWB, p. 129, "I'se The B'y" (1 text)
DT, ISTHEBY*
Roud #4432
NOTES: Gordon Bok reports the following anecdote:
"A friend of mine came back from fishing in the Gulf of St. Lawrence, and he told me he was sitting in a bar in Cornerbrook when the fellow beside him punched him in the arm and said, 'How do you kill a Newfoundlander?'
"My friend says: 'I dunno.'
"The fellow says, 'You nail his boots to the floor and play "I'ze the B'y."'" - RBW
File: FJ116
===
NAME: I'ze the Bye: see I'ze the B'y that Builds the Boat (File: FJ116)
===
NAME: Ibby Damsel
DESCRIPTION: "Some old Robin Down they call me/But I'm a weaver by my trade/In this fair berth, in which I'm dwelling/And Ibby Damsel my heart betrayed." Two succeeding verses praise Ibby Damsel's beauty, and note that "from her chamber I can't get free"
AUTHOR: unknown
EARLIEST_DATE: 1916 (collected from Rosie Hensley by Cecil Sharp)
KEYWORDS: captivity love betrayal beauty weaving
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 119, "Ibby Damsel" (1 text, 1 tune)
Roud #3635
NOTES: A fragment, but it just avoids nonballad status by its hint of a narrative. There are no further notes on this song in Sharp's collection. - PJS
File: ShAp2119
===
NAME: Ice Bound Hunting Seals
DESCRIPTION: "The wind was still from the nor'east As we sat down to out humble feast" as the sealers talk of days gone by. They recall happier voyages; finally old "Garge" "Cried out, 'it's the "infarnal" steal -- that's what done it.'"
AUTHOR: probably James Murphy
EARLIEST_DATE: 1978 (Ryan/Small)
KEYWORDS: hunting technology
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 67, "Ice Bound Hunting Seals" (1 text, 1 tune)
NOTES: A manuscript text, with no author cited, but thought to be the work of James Murphy. - RBW
File: RySm067
===
NAME: Ice Was Thin, The: see Three Little Girls A-Skating Went (File: R588)
===
NAME: Ice-Floes, The
DESCRIPTION: The Eagle sails for the ice and sends out sealing parties. The crews find many animals. After several successful expeditions, the singer and colleagues are unable to find the ship. Some eventually find their way back, but 60 die
AUTHOR: E. J. Pratt
EARLIEST_DATE: 1962 (Pratt, Here the Tides Flow)
KEYWORDS: storm disaster death hunting
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 59-62, "The Ice-Floes" (1 text)
NOTES: Not traditional, not true, and not a song. As written, the poem cannot be set to music, and the event, while similar to some actual events (see, e.g., the several "Greenland Disaster" songs), was made up by the author.
Don't ask me what induced Ryan and Small to include it in their book. - RBW
File: RySm059
===
NAME: Ida Red (I)
DESCRIPTION: "Ida Red, Ida Red, I'm in love with Ida Red." Verses often concern Ida, but are frequently silly and exaggerated: "Ida Red, she ain't a fool, Bigger'n an elephant, stronger'n a mule."
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, Fiddlin' Powers & Family)
KEYWORDS: love nonballad humorous
FOUND_IN: US(Ap,MW,SE,So,SW)
REFERENCES: (5 citations)
Randolph 442, "Ida Red" (1 text, 1 tune)
Silber-FSWB, p. 36, "Ida Red" (1 text)
Rorrer, p. 83, "Shootin' Creek" (1 text, with verses from this song but music and chorus from "Cripple Creek (I)")
MWheeler, p. 14, "Ida Red" (1 text, 1 tune, somewhat removed from the standard version but too close to list as a separate song)
DT, IDARED
Roud #3429
RECORDINGS:
Dykes Magic City Trio, "Ida Red" (Brunswick 125, 1927)
Land Norris, "Ida Red" (OKeh 45006, 1925)
Charlie Poole and the North Carolina Ramblers, "Shootin' Creek" (composite, with tune and chorus from "Cripple Creek (I); Columbia15286-D, 1928; on CPoole01, CPoole05)
Fiddlin' Powers & Family, "Ida Red" (Victor 19434, 1924)
Pete Steele, "Ida Red" (on PSteele01)
Riley Puckett, "Ida Red" (Columbia 15102-D, 1926)
Gid Tanner & the Skillet Lickers, "Ida Red" (Montgomery Ward M-4846, 1935)
"T" Texas Tyler, "Ida Red" (4-Star 1228, n.d. but post-World War II)
Wade Ward, "Ida Red" [instrumental] (on GraysonCarroll1)
Bob Wills & his Texas Playboys, "Ida Red" (Vocalion 05079, 1939/Columbia 37725, 1947)
CROSS_REFERENCES:
cf. "Cripple Creek (I)" (floating verses)
NOTES: Wheeler's version has the chorus, "Ida Red, I'm gettin' tired uv eatin' that shortnin' bread." Not enough reason to call it a separate song, to my mind -- though Roud, for once, appears to split (it's his #9992). Of course, he lumps this with "Ida Red (II)." - RBW
File: R442
===
NAME: Ida Red (II)
DESCRIPTION: "I went down one day in a lope, Fool around till I stole a coat." In love with Ida Red, the singer turns criminal (against Ida's wishes). He winds up in prison, and she cannot raise his bail. He regrets his mistake, and looks forward to seeing Ida again
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: love prison separation theft
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-ABFS, pp. 110-111, "Ida Red" (1 text)
Roud #3429
NOTES: This song is item dI23 in Laws's Appendix II.
Roud lumps this with Ida Red (I), which is a humorous item; this is a crime ballad. - RBW
File: LoA110
===
NAME: Idaho Cowboy Dance, An: see At a Cowboy Dance (File: FCW105)
===
NAME: Idaho, The
DESCRIPTION: Fragment: "She was laden with slates and heavy crates And was bound for New Orleans"
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: sea ship wreck commerce
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 127, "The Idaho" (1 text)
NOTES: Apparently not the Idaho that struck Coningmore Rock on June 1, 1878. - BS
File: Ran127
===
NAME: Idumea: see Am I Born to Die? (Idumea) (File: LoF125)
===
NAME: Idyl of the Plains: see The Cowboy (File: FCW028)
===
NAME: Ierne United
DESCRIPTION: "When Rome, by dividing, had conquered the world," Ireland, united, escaped. Eventually "our domestic dissensions let foreigners in.... our freedom was lost.... Let us firmly unite, and our covenant be, Together to fall, or together be free"
AUTHOR: Theobald Wolfe Tone (source: Moylan)
EARLIEST_DATE: 1792 (according to Moylan)
KEYWORDS: Ireland nonballad political
FOUND_IN: Ireland
REFERENCES: (1 citation)
Moylan 120, "Ierne United" (1 text)
NOTES: The claim of this song is a half-truth: Ireland was never conquered, or even attacked, by Rome. But it wasn't because Ireland was united; it was because Ireland was *remote*. The Romans never finished conquering Britain, and had no harbors on her west coast; of course they didn't go after Ireland. But Ireland was not united at any time in its history prior to the Tudor conquest; there were always at least the four kingdoms of Leinster, Munster, Ulster, and Connaught, and those usually subdivided. A king like Brian Boru could say he ruled all as High King, but at best his authority resembled that of the modern British monarch: Respected, bowed to -- and utterly ignored.
Still, it is true that internal strife led to the English invasion: There was strife between Diarmat Mac Murchada (MacMurrough), king of Leinster, and Tigernan Ua Ruairk of Breifne/Breffni. There was also a conflict over who was High King of Ireland, which had lesser lords taking sides. In a complex multi-sided war, Diarmat was deprived of most of his power -- and sailed to England, where he offered to marry his daughter to Richard FitzGilbert de Clare, known as "Strongbow," the Earl of Pembroke.Pembroke invaded (1169, then in more force in 1170 as MacMurrough, successful in Leinster, decided to try for the High Kingship). King Henry II , who early in his reign had been granted a patent by the (English) Pope to straighten out the much-too-independent Irish church, later followed him to keep Strongbow under control (1172; Strongbow had become, in effect, King of Leinster when MacMurrough died, and Henry couldn't have that).
The Normans, by a combination of politics, marriage, and warfare,gradually took over eastern Ireland (see Peter and Fiona Somerset Fry, _A History of Ireland_, pp. 58-73; Mike Cronin,_A History of Ireland_, pp. 11-15; Terry Golway, _For the Cause of Liberty_, p. 11). - RBW
File: Moyl120
===
NAME: If But One Heart Be True
DESCRIPTION: "There's mony a freen wea' may meet in bright and prosperous days Who when adversity draws near their confidence betrays Yet hopefully and cheerfully our courage we'll renew If but one heart be true to us, if but one heart be true"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: nonballad friend
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 670, "If But One Heart Be True" (1 text)
Roud #6096
CROSS_REFERENCES:
cf. " Hard Up and Broken Down" (theme) and references there
cf. "Buddy, Can You Spare a Dime" (theme)
cf. "Nobody Knows You When You're Down and Out" (theme)
cf. "Up a Tree" (theme)
NOTES: The current description is all of the GreigDuncan3 entry. - BS
File: GrD3670
===
NAME: If Ever I Cease to Love
DESCRIPTION: Singer's true love is perfect: "a modern Taglioni and Sims Reeves rolled into one." If he stops loving her, may these things happen: "little dogs wag their tails in front," "cows lay eggs and fowls yield milk," "we never have to pay Income Tax..."
AUTHOR: unknown
EARLIEST_DATE: 1871 (broadside, Bodleian Firth c.21(153))
KEYWORDS: love nonballad parody
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, Firth c.21(153), "If Ever I Cease to Love" ("In a house, in a square, in a quadrant"), The Poet's Box(Glasgow), 1871; also Firth b.27(343), "If Ever I Cease to Love"
CROSS_REFERENCES:
cf. "That the Stones of the Street May Turn Up the Pig's Feet" (subject and some text)
NOTES: Broadside Bodleian Firth c.21(153) is the basis for the description.
A parody of the "if ever I prove false" theme floating among songs such as "When First Into this Country" and "I Live Not Where I Love."  The parody is carried further by a broadside on drinking, to the tune of "If Ever I Cease to Love": 
Bodleian, Firth c.16(407)[some lines illegible], "If Ever I Cease to Lush" ("I think its a sin, if ever there was one"), unknown, n.d. [but with a reference to the performers N.C. Bostock and Mark Alberts].
Maria Taglioni (1804-1884) was an Italian ballerina, most famous beginning in 1832; she retired in 1848 (source: "Maria Taglioni" in _Columbia Encyclopedia_, Sixth Edition, Copyright (c) 2005).  She is named as the quintessential dancer in other humorous broadsides; for example, see: NLScotland, L.C.Fol.70(48a), "Newhaven Fishwife"; LOCSinging, sb30394a, "The Obstinate Girl." 
John Sims Reeves (1818-1900) was an English opera singer who "made a great sensation" in 1848; he retired in 1891 (source: "John Sims Reeves" at the Wikipedia site). - BS
File: BdIEICTL
===
NAME: If Ever You Go to Kilkenny
DESCRIPTION: "If ever you'll go to Kilkenny Enquire for the Hole-in-the-Wall" for free or inexpensive food: the governor comes around with it in the morning. The singer was drunk there last Friday and the governor insisted he strip before entering.
AUTHOR: unknown
EARLIEST_DATE: 1985 (IRTravellers01)
KEYWORDS: drink food nonballad clothes
FOUND_IN: Ireland
REFERENCES: ()

Roud #16989
RECORDINGS:
Mary Delaney, "If Ever You Go to Kilkenny" (on IRTravellers01)
NOTES: Jim Carroll's notes to IRTravellers01: "'The Hole in the Wall' was, from the middle of the eighteenth century to 1850, one of Ireland's more renowned supper-houses.... There was another 'Hole in the Wall' in Kilkenny ... where, before the existence of the public market, farmers used to sell ... farm produce. It is quite possible that Mary's song refers to this latter location although her text gives the impression that the premises referred to was a prison." The notes also mention the first verse of a song, referring to the supper-house, that is very close to the first verse here. - BS
File: RcIEYGTK
===
NAME: If I Die a Railroad Man
DESCRIPTION: "They took John Henry to the steep hillside, He looked to the heaven above, He said, 'Take my hammer and wrap it in gold And give it to the girl I love." "If I die a railroad man, go bury me under the tie So I can hear old Number 4 As she goes rolling by"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: train railroading death nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Sandburg, pp. 362-363, "If I Die a Railroad Man" (1 text, 1 tune)
RECORDINGS:
Green Bailey, "If I Die a Railroad Man" (Champion 15652 [as Aaron Boyd]/Supertone 9320 [as Harvey Farr], 1929; rec. 1928; on KMM)
Tenneva Ramblers, "If I Die a Railroad Man" (Victor 21406, 1928)
File: San362
===
NAME: If I Die in Arkansas
DESCRIPTION: "If I die in Arkansas (x2), Ship my body to my mother-in-law." "If my mother refuses me, ship it to my paw." "If my paw refuses me, ship it to my girl." "If my girl refuses me, shove it in the sea, Where the fishes... make a fuss over me."
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording by Bill Atkins)
KEYWORDS: death corpse burial family rejection humorous
FOUND_IN: US(Ap,SE,So)
REFERENCES: (2 citations)
Randolph 351, "If I Die in Arkansas" (1 text)
BrownIII 495, "If I Die in Tennessee" (1 text)
Roud #7628
File: R351
===
NAME: If I Die in Tennessee: see If I Die in Arkansas (File: R351)
===
NAME: If I Had a Scolding Wife (I): see Lucy Long (I) (File: R279)
===
NAME: If I Had It You Could Get It
DESCRIPTION: "I went right down to my old friend Joe," (to ask for money?), but Joe has none to spare. "If I had it, you could get it, But I am very sorry I haven't got it. For I am all in and down and out." The singer says he will hold his money if he ever gets more
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: money poverty hardtimes begging
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 494, "If I Had It You Could Get It" (1 short text)
Roud #11761
CROSS_REFERENCES:
cf. "Nobody Knows You When You're Down and Out" (lyrics)
File: Br494
===
NAME: If I Had My Way: see Samson and Delilah (File: LoF251)
===
NAME: If I Had the Gov'ner
DESCRIPTION: "If I had the gov'ner Where the gov'ner has me, Before daylight I'd set the gov'ner free. I begs you' gov'ner, Upon my soul: If you won't gimme a pardon, Won't you gimme a parole?"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: prisoner request pardon
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 31, (no title) (1 short text)
NOTES: Scarborough reports having gotten this from Texas governor Pat Neff, who heard it as the refrain of a song by a prisoner requesting help. I rather doubt this; it looks like a loose fragment of something else -- perhaps "Take This Hammer." But until something more definite emerges, it has to file separately. - RBW
File: ScaNF031
===
NAME: If I Lose, I Don't Care
DESCRIPTION: Floating verses; singer is clearly a rambler, but the song has no cohesion. "I can't walk/Neither can I talk/Just getting back from the state of old New York/One morning, just before day." Chorus: "If I lose, let me lose/I don't care how much I lose."
AUTHOR: credited to Tom Delaney
EARLIEST_DATE: 1925 (recording, Maggie Jones)
KEYWORDS: rambling gambling nonballad floatingverses
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Cohen/Seeger/Wood, p. 187, "If I Lose, I Don't Care" (1 text, 1 tune)
Rorrer, p. 75, "If I Lose, I Don't Care" (1 text)
Darling-NAS, pp. 284-285, "If I Lose, I Don't Care" (1 text)
DT, IFILOSE*
Roud #12399
RECORDINGS:
Maggie Jones, "If I Lose, Let Me Lose" (Columbia 14059-D, 1925)
J. E. Mainer's Mountaineers, "If I Lose, Let Me Lose" (Bluebird B-7471, 1938)
New Lost City Ramblers, "If I Lose, I Don't Care" (on NLCR05)
Charlie Poole and the North Carolina Ramblers, "If I Lose, I Don't Care" (Columbia 15215-D, 1927; on CPoole02 as "If I Lose, Let Me Lose")
CROSS_REFERENCES:
cf. "Battleship of Maine" (tune, floating lyrics)
cf. "Joking Henry" (tune)
ALTERNATE_TITLES:
If I Lose, Let Me Lose
Let Me Lose
File: CSW187
===
NAME: If I Lose, Let Me Lose: see If I Lose, I Don't Care (File: CSW187)
===
NAME: If I Was On Some Foggy Mountain Top: see Foggy Mountain Top (File: CSW042)
===
NAME: If I Were a Blackbird: see I Am a Young Maiden (If I Were a Blackbird) (File: FSC38)
===
NAME: If I Were a Fisher
DESCRIPTION: Composite of floating material: The singer goes to the garden to pick flowers. He wishes he were a fisher, to catch Molly, a salmon; he wishes he were a scholar. He would build Molly a castle. But he lost her by courting too slow
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: love courting rejection flowers bird floatingverses
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
SHenry H709, p. 348, "If I Were a Fisher"; H24a, pp. 248-349, "The Star of Benbradden" (2 texts, 2 tunes)
Creighton-NovaScotia 46, "Pretty Polly" (1 fragment, 1 tune)
Roud #6873
RECORDINGS:
Betty Garland, "Lovin' Nancy" (on BGarland01)
CROSS_REFERENCES:
cf. "Pretty Saro" (floating verses)
cf. "The Cuckoo" (floating verses)
cf. "The Streams of Lovely Nancy" (floating verses)
cf. "The False Bride (The Week Before Easter; I Once Loved a Lass)" (floating verses)
cf. "On Top of Old Smokey" (floating verses)
cf. "As I Walked Out (I) (A New Broom Sweeps Clean)" (floating lyrics)
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (floating lyrics)
cf. "I've Travelled This Country (Last Friday Evening)" (floating lyrics)
cf. "I Once Had a True Love" (floating lyrics)
NOTES: Another composite of floating verses; see the cross-references. Sam Henry's earlier text, "The Star of Benbradden," starts with an original verse, but the rest is the same as "If I Were a Fisher." Since they're both composites, I decided to lump them -- and use the "If I Were a Fisher" name as more memorable.
I tossed Betty Garland's "Lovely Nancy" here on the same principle; it's massively composite, in the "Pretty Saro/If I Were a Fisher" mold.
Creighton's single stanza is really just a floating verse, but it's a floating verse often found with this song; this is as good a home for it as any. - RBW
File: HHH709
===
NAME: If I Were As Young As I Used to Be (Uncle Joe)
DESCRIPTION: The singer is now (84/92); his black hair has turned gray, and youngsters call him "Uncle Joe." But he still feels young, and promises "If any girl here is in love with me, She'll find me as young as I used to be."
AUTHOR: unknown
EARLIEST_DATE: 1882
KEYWORDS: age humorous
FOUND_IN: US(MA,So)
REFERENCES: (5 citations)
Randolph 434, "Uncle Joe" (1 texts, 1 tune, plus two fragments that might or might not belong with this song)
Randolph/Cohen, pp. 337-338, "Uncle Joe" (1 text, 1 tune -- Randolph's 434A)
FSCatskills 150, "If I Were As Young As I Used to Be" (2 texts, 1 tune)
Gilbert, pp. 7-8, "Not So Young As I Used to Be"  (1 text)
DT, UNCLEJOE
Roud #4377
CROSS_REFERENCES:
cf. "Seventy-Two Today" (plot)
File: R434
===
NAME: If I were back 'ome in 'Ampshire: see If I Were Back Home in Hampshire (File: CoSB296)
===
NAME: If I Were Back Home in Hampshire
DESCRIPTION: "If I were back 'ome in 'Ampshire, Where they birds do flock round I, I'd clap my 'hands an' laugh like buggery, An' all they birds would fly away." "I wonder where that blackbird be... 'E see I an' I see 'e an' I be after 'e...."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: home England bird nonballad
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Copper-SoBreeze, pp. 296-297, "If I were back 'ome in 'Ampshire" (1 text, 1 tune)
Roud #16931
File: CoSB296
===
NAME: If the River Was Whiskey: see Rye Whisky (File: R405)
===
NAME: If the Seaboard Train Wrecks I Got a Mule to Ride: see Alabama Bound (II) (File: PSAFB044)
===
NAME: If This Book Should Chance to Roam
DESCRIPTION: "If this book should chance to roam, Box its ears and send it home."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry)
KEYWORDS: nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 238, (no title) (1 short text)
NOTES: This sounds more like a bookplate than a song, but I index it in the absence of better data. - RBW
File: MHAp238C
===
NAME: If You Can Love Me
DESCRIPTION: "If you can love me, why not love me, While you have so many in Tennessee! By this you may be led, To think of me when I am dead."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, from Mary King)
KEYWORDS: love
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 232, (first of several "Fragments from Tennessee") (1 fragment)
NOTES: Although the first line of this sounds "Green Grow the Lilacs"-ish, the form implies that it's something different. Don't ask me what. - RBW
File: MHAp232A
===
NAME: If You Don't Believe I'm Sinking
DESCRIPTION: "If you don't believe I'm sinking, just look what a hole I'm in. If you don't believe I love you, just look what a fool I've been. You made me love you and now your man have come, I'll see you later when I've got my gun."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: love fight
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 447, "If You Don't Believe I'm Sinking" (2 fragments)
Roud #11783
File: Br3447
===
NAME: If You Get There Before I Do
DESCRIPTION: "If you get there before I do, all right, all right, Jesus will make it all right. Just tell them that I am coming too, all right, all right. If you get there before I do, all right, Just scratch a hole and pull me through, all right, all right."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: religious nonballad Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 531, "If You Get There Before I Do" (1 fragment)
Roud #11821
CROSS_REFERENCES:
cf. "Wade in the Water" (floating lyrics) and references there
NOTES: The title line, of course, is common and floats (see the cross-references). But the chorus and form implies that this is a separate piece. - RBW
File: Br3531
===
NAME: If You Meet a Woman in the Morning
DESCRIPTION: "If you meet a woman in the morning, Bow yo' head, buddy, bow yo' head." "When you hear that turkle-dove a-hollerin', Sign it's gwi' rain, buddy, sign it's gwi' rain." Other bird calls indicate other times: Whip-poor-will planting, screech owls cold
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: bird
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 446, "If You Meet a Woman in the Morning" (1 text)
Roud #11792
CROSS_REFERENCES:
cf. "Swannanoa Tunnel" (form, lyrics)
NOTES: The notes in Brown suggest a link to "Swannanoa Tunnel." The form is obviously the same. But this, at the very least, is used for other purposes. - RBW
File: Br3446
===
NAME: If You See My Mother
DESCRIPTION: "If you see my mother, partner, tell her pray for me, I got life on the river...." "They 'cuse me o' murder, Never harmed a man." The singer bemoans the hard work on the prison, and asks a dead man to lighten his burden
AUTHOR: unknown
EARLIEST_DATE: 1964 (recorded from Mack Maze by Jackson)
KEYWORDS: murder accusation lie prison hardtimes mother floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, pp. 79-80, "If You See My Mother" (1 text, 1 tune)
NOTES: Almost every word of this has a parallel in other songs (so many and so various that it seems hopeless even to try to cross-reference them all), but the combination seems to be unique. - RBW
File: JDM079
===
NAME: If You Want to Go A-courting: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: If You Want to Go to Heaven: see Talking Blues (File: LoF224)
===
NAME: If You Want to Know Where the Privates Are: see The Old Barbed Wire (I Know Where They Are) (File: San442)
===
NAME: If You Want to See the Captain: see The Old Barbed Wire (I Know Where They Are) (File: San442)
===
NAME: If You'll Only Let Liquor Alone
DESCRIPTION: The singer reminds her husband that he promised when they married "that you would leave liquor alone." Nevertheless, he breaks his vows "to your kind wife and baby at home."
AUTHOR: unknown
EARLIEST_DATE: 1963 (Ives-NewBrunswick)
KEYWORDS: promise drink baby husband wife betrayal lie marriage
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 90-92, "If You'll Only Let Liquor Alone" (1 text, 1 tune)
Roud #1951
File: IvNB90
===
NAME: If Your Gal Gets Mad
DESCRIPTION: "Ef yore gal gits mad an' tries to bully you (x2), Jes' take your automatic an' shoot her through an' through! (x2)"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting rejection murder
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 275, (no title) (1 short text)
NOTES: Needless to say, this method has not been shown to cause women to be come more amenable to men's wishes.
I suspect this may be the ending of a longer ballad in which the woman provokes the man until he shoots her, but I cannot recall seeing such a song. - RBW
File: ScNF275A
===
NAME: Ike Brown's Song
DESCRIPTION: "There is a few songsters, Their like could not be found, Who have been making a song Upon old Isaac C. Brown." The singer tells "how I tended my crops." He leaves home to "dredge the big canal." He describes other canal workers
AUTHOR: unknown
EARLIEST_DATE: 1934 (Chappell)
KEYWORDS: work hardtimes farming canal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Chappell-FSRA 118, "Ike Brown's Song" (1 text)
ST ChFRA118 (Partial)
Roud #16942
NOTES: As it stands, the song in Chappell is singularly incoherent; at first glance, it appears to borrow parts of at least three songs. But until we can find another Ike Brown song, we can't say much with certainty. - RBW
File: ChFRA118
===
NAME: Il Faut Voir Que Je Me Sauvais (So I Ran Away)
DESCRIPTION: French. A reaper says "Quelle chaleur!" The singer thinks it said "Here is the robber." He runs. A mill says "Tri que traque." He thinks it said "Catch him." He runs. A priest says "Dominus vobiscum." The singer thinks he said "Here he is." He runs
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage humorous wordplay
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 62-63, "Il Faut Voir Que Je Me Sauvais" (1 text, 1 tune)
File: Pea062
===
NAME: Ilka Blade o' Grass Keps Its Ain Drap o' Dew
DESCRIPTION: "What is't that gars ye hang your heid and quit the cheery sun?" The depressed listener is urged to cheer up; troubles are certain but can be overcome, and there is a place for everything: "Ilka blade o' grass keps its ain drap o' dew."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: nonballad
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 385, "Ilka Blade o' Grass Keps Its Ain Drap o' Dew" (1 text)
Roud #5612
BROADSIDES:
NLScotland, R.B.m.143(128), "Ilka Blade o' Grass Keps Its Ain Drap o' Dew," Poet's Box (Dundee), c. 1890
File: Ord385
===
NAME: Ilkley Moor Baht 'At: see On Ilkla Moor Bah T'at (File: K303)
===
NAME: Ill-Fated Persian, The: see The Persian's Crew [Laws D4] (File: LD04)
===
NAME: Ill-Fated Vernon, The
DESCRIPTION: "All you true-feeling Christians, I hope you will draw near, And hear my doleful story...." The Vernon, with six men aboard, sailed on October 25. A storm blew up (on Lake Michigan). The Vernon sank with 25 passengers. Other ships refused to help out
AUTHOR: unknown
EARLIEST_DATE: 1932 (collected from John W. Green by Walton; supposedly composed 1887/1888)
KEYWORDS: ship disaster death
HISTORICAL_REFERENCES: October 1867 - the Vernon Wreck
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 176-177, "The Ill-Fated Vernon" (1 text plus mention of 1 more)
NOTES: Walton/Grimm/Murdock give only a brief account of this disaster, though they mention that it cost the lives of six men from Beaver Island. Benjamin J. Shelak, _Shipwrecks of Lake Michigan_, Trails Books, 2003, pp. 61-62, adds a number of details. The ship was new (about a year old), but though Walton/Grimm/Murdock say she was considered entirely seaworthy, but she was said to have had high upperworks which, combined with her narrow beam, made her hard to handle in rough weather (she was 177 feet long, had a 26 foot beam, and was 18 feet deep).
Walton/Grimm/Murdock and Shelak disagree about the date of the wreck; the former says October 25, 1887; the latter, October 28. Vernon says it had made a trip from Chicago to Cheboygan, Michigan, and was on its way back. The ship was in trouble by the time it passed Two Rivers, Wisconsin.
Reportedly the boat was overloaded. The number of people on board is unknown, but Shelak says it was between 36 and 41. At least some of the passengers and crew went into the water, but though other ships passed through the area and saw wreckage, none attempted to help. As a result, only one man -- a crewmember named Axel Stone -- survived; he was picked up two days after the sinking. Stone claimed to have told the captain that the ship was taking on water and suggested dropping cargo -- and was told off for it. The ship survived for some time after that, but went down around 3:00 a.m.
Stone reported that several ships came so close that he could make out the faces of those aboard, but they did nothing. Hence, presumably, the bitterness of this song. - RBW
File: WGM176
===
NAME: Imaginary Trouble: see The Crying Family (Imaginary Trouble) (File: Wa062)
===
NAME: Immigration
DESCRIPTION: "Now Jordan's land of promise is the burden of my song, Perhaps you've heard him lecture and blow about it strong." But the singer warns that it is a land of bad food, hard work, vermin, and thirst. He warns people not to come
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson's _Old Bush Songs_)
KEYWORDS: Australia emigration warning food animal
FOUND_IN: 
REFERENCES: (1 citation)
Paterson/Fahey/Seal, pp. 109-110, "Immigration" (1 text)
NOTES: According to Patterson/Fahey/Seal, Mr. Jordan lectured in England in the 1860s about the benefits of Australian living. This song is the answer of someone who has been there. There is little evidence that it has gone into tradition. - RBW
File: PFS109
===
NAME: Immortal Washington
DESCRIPTION: "Columbia's greatest glory Was her loved chief, fair Freedom's friend." Listeners are urged to respect and praise the (recently deceased?) Washington, and God is asked to "Receive into thy bosom Our virtuous hero -- Washington"
AUTHOR: unknown
EARLIEST_DATE: 1836 (The American Songster)
KEYWORDS: patriotic death nonballad recitation
HISTORICAL_REFERENCES: 1732-1799 - Life of George Washington
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
JHCox 59, "Immortal Washington" (2 texts, though only the first is from tradition)
Roud #5465
NOTES: Almost makes you forget, in your nausea at such saccharine stuff, that Washington was a slaveowner who lost more battles than he won in his career.
I've tagged this with the "recitation" keyword because the only traditional text seems to be the badly garbled version in Cox. Even this is from manuscript, but certainly from memory (it contains too many senseless errors to be taken from print). There is no indication that it ever possessed a tune (it is hard to imagine a tune to this metrical pattern anyway). - RBW
File: JHCox059
===
NAME: Improbability: see Things Impossible (File: GC158)
===
NAME: In 1795: see In Seventeen Ninety-Five (File: RcIn1795)
===
NAME: In 1845: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: In a Boxcar Around the World
DESCRIPTION: "I'm the man that rode the boxcar around the world, boys, it's a pleasure to me." The singer tells of travelling around the world a dozen times by train. He asks, when he dies, to be left aboard the train and allowed to "ride forevermore."
AUTHOR: Cliff Carlisle
EARLIEST_DATE: 1936 (recording and copyright by Cliff Carlisle)
KEYWORDS: train rambling death nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 397-399, "In a Boxcar Around the World" (1 text, 1 tune)
RECORDINGS:
Cliff Carlisle, "In a Box Car around the World" (Bluebird B-6438, 1936)
File: LSRai397
===
NAME: In a Cottage by the Sea: see The Widow in the Cottage by the Sea (File: R702)
===
NAME: In a Handy Four-Master
DESCRIPTION: "In a handy four-master I once took a trip, Hooray boys, heave 'er down, An' I though that I was aboard a good ship, Way down, laddies down." The sailor finds she is a "workhouse." Sailors are worked hard and the food is bad. He will not sail her again
AUTHOR: unknown
EARLIEST_DATE: 1932 (collected by Walton from Henry Ericksen)
KEYWORDS: ship hardtimes
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 71-72, "In a Handy Four-Master" (1 text)
File: WGM071
===
NAME: In and Around Nashville: see In Kansas (File: EM049)
===
NAME: In and Out the Window: see Go In and Out the Window (File: R538)
===
NAME: In Arkansas: see In Kansas (File: EM049)
===
NAME: In Bohunkus, Tennessee
DESCRIPTION: The singer's father was responsible for cleaning up horse refuse in the streets of (Bohunkus). In the process, he once found "diamond(s) in the dung," which allowed the singer to pledge to the Beta (Theta Pi) fraternity
AUTHOR: unknown
EARLIEST_DATE: 1955
KEYWORDS: scatological
FOUND_IN: US
REFERENCES: (1 citation)
Cray, pp. 354-356, "In Bohunkus, Tennessee" (4 texts, 1 tune; the "D" text is not obviously related to the other three)
File: EM354
===
NAME: In Bonny Scotland: see The Paisley Officer (India's Burning Sands) [Laws N2] (File: LN02)
===
NAME: In Bristol There Lived a Fair Maiden: see The Lover's Curse (Kellswater) (File: HHH442)
===
NAME: In Burnham Town: see The Man of Burningham Town (File: VWL068)
===
NAME: In Camden Town
DESCRIPTION: William seduces Polly. She becomes pregnant and asks that he marry her. He sends her home to her parents. "I'll not go home to my parents For to bring them to disgrace But I will go and drown myself Down in some secret place." He says he'll die with her.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: seduction rejection pregnancy suicide drowning
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 53, "In Camden Town" (1 text, 1 tune)
Roud #1414
File: CrSNB053
===
NAME: In Cameltoon Once More: see Swansea Town (The Holy Ground) (File: Doe152)
===
NAME: In Canso Strait: see Canso Strait (File: Doe183)
===
NAME: In Castyle there Lived a Lady: see The Lady of Carlisle [Laws O25] (File: LO25)
===
NAME: In Collon I Was Taken: see Michael Boylan (File: Zimm015)
===
NAME: In Contempt
DESCRIPTION: "Build high, build wide your prison wall, That there may be room enough for all Who hold you in contempt." The song asks how the wardens can imprison people for their consciences, and says they can never lock up all who dissent 
AUTHOR: Words: Aaron Kramer / Music: Betty Sanders
EARLIEST_DATE: 1950
KEYWORDS: political nonballad prison
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 370-371, "In Contempt" (1 text, 1 tune)
RECORDINGS:
Pete Seeger, "In Contempt" (on PeteSeeger05)
File: SBoA370
===
NAME: In Courtship There Lies Pleasure: see Farewell Ballymoney (Loving Hannah; Lovely Molly) (File: R749)
===
NAME: In Cupid's Court
DESCRIPTION: Fishing, the singer meets a maid. She asks if he is a stranger "brought up in Cupid's court ... an angler ... Or was it Cupid sent you here Young virgins to ensnare?" He asks her to marry, she agrees. "Instead of catching salmon He caught a prudent wife"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: courting marriage fishing love beauty wife
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 52, "In Cupid's Court" (1 text, 1 tune)
Roud #2731
RECORDINGS:
Grace Clergy, "In Cupid's Court" (on MRHCreighton)
NOTES: Not to be confused with "Cupid's Garden" or variants thereon. - PJS
File: CrMa052
===
NAME: In Days When We Went Gipsying: see In Days When We Went Gypsying (File: SWMS220)
===
NAME: In Days When We Went Gypsying
DESCRIPTION: "In days when we went gypsing A long time ago, The lads and lasses in their best Were dressed from head to toe." The singer looks back on the gay times of his early life. (He wishes he were back under the old oak tree.)
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: home travel nonballad
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 220-221, "In Days When We Went Gipsying" (1 text)
Roud #1245
File: SWMS220
===
NAME: In De Mornin': see Ain't No Use Workin' So Hard (File: DarNS329)
===
NAME: In de Vinter Time
DESCRIPTION: "In de vinter, in de vinter-time, Ven de vin' blows on de vindow-pane, An' de vimmen, in de vaud'vil, Ride de veloc'pede in de vestibule,Ah, vimmins! Ah, mens!"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonsense
FOUND_IN: US
REFERENCES: (2 citations)
Sandburg, p. 334, "In de Vinter Time" (1 short text, 1 tune)
DT, VINTIME
File: San334
===
NAME: In Dem Long, Hot Summer Days: see Old Rattler (File: CNFM104)
===
NAME: In Dessexshire As It Befell: see On Christmas Day It Happened So (File: PBB006)
===
NAME: In Duckworth Street There Lived a Dame
DESCRIPTION: The singer courts an ugly woman on Duckworth Street. One night "I found her faithless she Fryin' sausages fer he." When he tells her "we must part ... With a fryin' pan she broke my head."
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: infidelity sex bawdy humorous wordplay lover
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 287, "In Duckworth Street There Lived a Dame" (1 text, 1 tune)
Roud #9969
CROSS_REFERENCES:
cf. "A Rich Old Miser" [Laws Q7]
cf. "A Week's Matrimony (A Week's Work)" (imagery)
cf. "Charming Sally Ann" (imagery)
NOTES: If "sometimes a cigar is just a cigar" maybe there is no double entendre here about frying sausages. On the contrary, this seems a song in which the writer let the metaphor get away. Peacock points out that Duckworth Street is one of the main commercial streets in St John's. - BS
File: Pea287
===
NAME: In Eighteen Hundred and Sixty
DESCRIPTION: "In eighteen hundred and sixty I used to go to see A pretty little gal in Georgy, How dearly she loved me, She wanted me to marry, Soon as the war was over, She said we'd live together Like chickens in the clover, Tr la la la la la...."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: playparty courting
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 530, "In Eighteen Hundred and Sixty" (1 short text, 1 tune)
Roud #6616
File: R530
===
NAME: In Eighteen Hundred and Sixty-One: see Johnny Fill Up the Bowl (In Eighteen Hundred and Sixty-One) (File: R227)
===
NAME: In Eighteen-Forty-Five: see The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)
===
NAME: In Eighteen-Forty-Nine
DESCRIPTION: "When I came to this country in 1849, I saw many a true love, but I never saw mine... I am a poor soldier and a long way from home." Floating verses of longing: "Farewell to my old father" "If... I could write a fine hand" "I wish I were a lark"
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: love separation courting family rambling floatingverses
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 745, "In Eighteen-Forty-Nine" (2 texts, 2 tune)
Hudson 48, pp. 164-165, "Pretty Saro" (1 text, beginning with stanzas from "In Eighteen-Forty-Nine" and ending with "Pretty Saro," plus mention of 1 more text)
DT, CAME1865
Roud #417
CROSS_REFERENCES:
cf. "Pretty Saro" (floating lyrics, tune)
cf. "The Rebel Soldier"  (floating lyrics)
cf. "Farewell, Sweet Mary" (floating lyrics)
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "The Backwoodsman (The Green Mountain Boys)" [Laws C19] (floating lyrics)
cf. "I Came to this Country in Eighteen Sixty-Five" (floating lyrics)
cf. "In Seventeen Ninety-Five" (lyrics)
cf. "When First To This Country (I)" ("When First Unto This Country" lyrics) and references there
NOTES: This has so many floating stanzas (see the cross-references, and even that list is probably incomplete) that I'm not even sure, based on the fragments in Randolph, if this is a true song or just a sort of anthology.
Hudson's text of "Pretty Saro" mixes with this piece, and Randolph's texts also have lyrics from "Pretty Saro"; Roud lumps the songs. It's likely enough that there is a full-blown composite somewhere -- but I haven't seen it, and can't file it until I do. - RBW
File: R745
===
NAME: In Fair London City: see Disguised Sailor (The Sailor's Misfortune and Happy Marriage; The Old Miser) [Laws N6] (File: LN06)
===
NAME: In Frisco Bay (A Long Time Ago; Noah's Ark Shanty)
DESCRIPTION: Pulling shanty. "In Frisco Bay there lay three ships, To my way-ay-ay-o. And one of those ships was Noah's Old Ark, A long time ago." Up to 30 verses describing the ship, the animals and the conditions on the ark.
AUTHOR: unknown
EARLIEST_DATE: 1914 (Sharp-EFC)
KEYWORDS: 
FOUND_IN: Britain US
REFERENCES: (4 citations)
Sharp-EFC, LIV, p. 59, "In Frisco Bay" (1 text, 1 tune)
Colcord, p. 66-67, "A Long Time Ago" (fragments quoted from Sharp-EFC)
Hugill, pp. 99-100, "A Long Time Ago" (1 text, version "C" of "A Long Time Ago") [AbEd, pp. 90-91]
DT, NOAHARK
CROSS_REFERENCES:
cf. "A Long Time Ago" (partial chorus)
cf. "Old Uncle Noah" (subject) and references there
ALTERNATE_TITLES:
The Frisco Ship
NOTES: Sometimes listed as a variant of "A Long Time Ago," but this has a distinct and (for a shanty) an unusually coherent story line. - SL
File: Hugi099
===
NAME: In Good Old Colony Times
DESCRIPTION: Three rogues (king's sons? miller, weaver, and tailor?) "fell into mishaps / because they could not sing." Eventually they turn to robbery. "The miller drowned in his dam / the weaver was hung in his yarn, and the devil clapped his claws on the tailor..."
AUTHOR: unknown
EARLIEST_DATE: 1804 (broadside, Bodleian Johnson Ballads fol. 84)
KEYWORDS: robbery punishment death
FOUND_IN: Britain(England(Lond,North,South),Scotland(Aber)) US(Ap,MA,MW,NE,SE,So)
REFERENCES: (17 citations)
Belden, pp. 268-269, "The Three Rogues" (3 texts)
Randolph 112, "In the Good Old Colony Times" (1 text, 1 tune)
Eddy 80, "The Three Rogues" (2 texts, 2 tunes)
FSCatskills 116, "The Three Rogues" (1 text, 1 tune)
Sharp-100E 80, "The Three Sons" (1 text, 1 tune)
Kennedy 307, "Three Scamping Rogues" (1 text, 1 tune)
GreigDuncan3 704, "Oh the Miller He Stole Corn" (5 texts, 4 tunes)
BrownII 188, "The Three Rogues" (1 text plus 2 excerpts and mention of 1 more)
Chappell-FSRA 108, "The Old King and His Three Sons" (1 text, 1 tune)
Lomax-FSNA 1, "In Good Old Colony Times" (1 text, 1 tune)
LPound-ABS, 116, pp. 234-235, "In Good Old Colony Times" (1 text)
JHCox 166, "The Three Rogues" (1 text plus mention of 1 more)
Flanders/Brown, p. 103, "The Farmer's Three Sons" (2 fragments)
Linscott, pp. 213-214, "In Good Old Colony Times" (1 text, 1 tune)
Arnett, p. 7, "Old Colony Times" (1 text, 1 tune)
Botkin-NEFolklr, p. 531, "Old Colony Times" (1 text, 1 tune)
DT, ROGUES3* ROGUES2* (ROGUES32)
Roud #130
RECORDINGS:
George Maynard, "Three Sons of Rogues" (on Maynard1, Voice07)
BROADSIDES:
Bodleian, Johnson Ballads fol. 84, "The Miller, Weaver, and Little Tailor ("In good king Arthur's days")," Laurie and Whittle (London), 1804
LOCSheet, sm1878 07980, "Old Colony Times," John Church & Co. (Cincinnati), 1878 (tune)
LOCSinging, as104730, "Good Old Colony Times," L. Deming (Boston), n.d.
ALTERNATE_TITLES:
King Arthur
Three Jolly Rogues
Three Jolly Rogues of Lynn
When Bold King Edward
King Arthur's Servants
In Good King Arthur's Days
When Arthur Ruled this Land
The Little Tailor Dick
The Miller's Sons
NOTES: Botkin has a report that this was quoted by German Chancellor Otto von Bismarck to the Reichstag in 1888. Allegedly Bismarck learned it from a friend in 1832. I do not know how this could be verified, however.
One has to suspect that this has had a complex history of moving between the broadside press and the folk; how else can one explain its tendency to take on new settings, from King Arthur's court (very common in British settings) to the American colonies to "Lynne" (King's Lynn?).
The song is quoted by Thomas Hardy in _Under the Greenwood Tree_ (a single "King Arthur" stanza in chapter 2, "Honey-taking, and Afterwards," of Part IV, "Autumn"). - RBW
Broadside Bodleian Johnson Ballads fol. 84: "A much admired song sung by Mr Chas Johnston, & proper to be sung at all Musical Clubs." In this version "Three Sons of Whores were turn'd out of doors ...." - BS
File: R112
===
NAME: In Jersey City: see The Butcher Boy [Laws P24] (File: LP24)
===
NAME: In Kansas
DESCRIPTION: A quatrain ballad, this describes the unseemly, unsanitary, unhealthy conditions and people in that state, at Yale, in Mobile, in Zamboanga or any other place disliked by the singer.
AUTHOR: unknown
EARLIEST_DATE: 1844, when a version of the song was published in New York City by Atwill. Said to date from a song about the Irish famines, "Over Here."
KEYWORDS: bawdy scatological humorous
FOUND_IN: Australia Canada Britain(England) US(MA,MW,NE,So,SW) New Zealand
REFERENCES: (9 citations)
Cray, pp. 49-53, "In Kansas" (4 texts, 1 tune)
Belden, pp. 428-429, "Kansas" (2 texts, 1 tune)
Randolph 344, "In Arkansas" (3 texts, 1 tune)
Randolph/Cohen, pp. 280-282, "In Arkansas" (1 text, 1 tune -- Randolph's 344A)
Randolph-Legman I, pp. 265-267, "In Kansas" (4 texts, 1 tune)
Fife-Cowboy/West 32, "In Kansas" (2 texts, 1 tune; the first belongs here, while the second is "Way Out West in Kansas")
Lomax-FSNA 204, "In Kansas" (2 texts, 1 tune)
Greenway-AFP, pp. 212-213, "In Kansas" (1 text)
Silber-FSWB, p. 43, "In Kansas" (1 text)
ST EM049 (Partial)
Roud #4455
RECORDINGS:
Chubby Parker, "In Kansas" (Conqueror 7894, 1931)
Art Thieme, "In and Around Nashville" (on Thieme06)
CROSS_REFERENCES:
cf. "Over There (I - The Praties They Grow Small)" (tune & meter, floating lyrics)
cf. "Way Out West in Kansas" (theme)
ALTERNATE_TITLES:
The 'Taters They Grow Small
NOTES: Cray and Legman have historical notes, disagreeing on the origin of the American bawdy song. - EC
Given that this appears to be a clear parody of "The Praties They Grow Small," but that the 1844 version precedes the worst of the potato blights,  the song origins are indeed mysterious. One suspects that the 1844 text is not the "full version," but a predecessor (the more so as Kansas was beyond the usual settlement line in 1844).
Randolph reports that "several old-timers have told me that this piece was written by an Missourian named Beecham or Beecher, shortly after the Civil War." He does not believe the story, however, and certainly this can only refer to the local adaptation.
There is no clear dividing line between this and "The Praties They Grow Small"; there are versions of this piece that are short enough and clean enough to belong with either. But, as often happens, we must classify them separately because the extremes are so distinct. - RBW
File: EM049
===
NAME: In London so Fair
DESCRIPTION: A girl goes to serve a lady whose son is a sea captain. They fall in love; when he must go to sea, he pledges to be true. She dresses as a man and enlists on his ship. He says she reminds him of his love. She reveals her identity and they are married
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan1)
KEYWORDS: love sailor disguise cross-dressing marriage
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
SHenry H203, pp. 330-331, "The Sailor on the Sea" (1 text, 1 tune)
GreigDuncan1 178, "Up in London Fair" (5 texts, 2 tunes)
Roud #2989
RECORDINGS:
Mary Ann Carolan, "In London So Fair" (on Voice02)
ALTERNATE_TITLES:
The Ship that I Command
File: HHH203
===
NAME: In Lonely Belvedere
DESCRIPTION:  "My love he was a fine young man ... he lies within his grave in lonely Belvedere. 'My curse upon you Major Grant,' in anger she did say. 'My curse upon you Bennett ... Was you that caused my sorrow In lonely Belvedere'"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Creighton-Maritime)
KEYWORDS: murder love burial soldier
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Creighton-Maritime, p. 209, "In Lonely Belvedere" (1 text, 1 tune)
Dibblee/Dibblee, pp. 61-62, "Lonely Belvedere" (1 text, 1 tune)
Roud #2725
NOTES: Creighton-Maritime: "[The singer] said that the young man was killed in a riot in Newfoundland between the Orangemen and Roman Catholics." This could refer to the Belvedere Cemetery in St John's, Newfoundland. - BS
File: CrMa209
===
NAME: In Low Germanie
DESCRIPTION: "As I sailed past Jura's isle, Among the waters lone, I heard a voice, a sweet low voice Atween a sigh and moan" as a girl with babes on her knee laments her husband fighting in Germany. Her brothers and her love have all been called away
AUTHOR: Allan Cunningham ?
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love separation soldier war
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 360-361, "The Wars o' Germanie" (1 text)
Roud #5609
CROSS_REFERENCES:
cf. "High Germany" (lyrics, theme)
NOTES: Ord credits this to Allan Cunningham, and it's perfectly reasonable to assume Cunningham padded out a fragment of an existing song (probably "High Germany"). I do think there was that traditional fragment, though. - RBW
File: Ord360
===
NAME: In Manchester in Lancashire: see Mary Thompson (File: GrD2205)
===
NAME: In Measure Time We'll Row
DESCRIPTION: A song for rowing, listed as a round: "Then you'll see our oars with feathered spray, As they sparkle in the beam of day, In our little bark we glide, Swiftly o'er the silent tide... The warrior his heritage to restore... Oh, in measure time we'll row."
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: river work
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Doerflinger, pp. 172-173, "In Measure Time We'll Row" (1 text, 1 tune)
Roud #9432
File: Doe172
===
NAME: In Memorial of 77 Brave Newfoundland Sealers
DESCRIPTION: "Sad comes the news from o'er the sea, To fill our hearts with dread, To tell us that the ones we loved Are numbered with the dead." The poem briefly mentions their home lives, and hopes that God will make things well
AUTHOR: probably Johnny Burke
EARLIEST_DATE: 1978 (Ryan/Small), from an undated broadside probably contemporary with the event
KEYWORDS: death hunting disaster religious
HISTORICAL_REFERENCES: Mar 31, 1914 - date of the disaster, according to the broadside
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 93, "In Memorial of 77 Brave Newfoundland Sealers" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Newfoundland Disaster (I)" (subject)
cf. Pat Maher, "The Story of the Sealing Vessel, The Newfoundland" (on NFMLeach)
cf. "The Newfoundland Disaster (II)" (subject)
NOTES: This is one of those every-word-is-found-somewhere-else songs, but if there is an exact inspiration, I can't recall it. - RBW
File: RySm093
===
NAME: In Memoriam
DESCRIPTION: The supply boat has to stand by and watch Ocean Ranger sink. ODECO collects its eighty million from Lloyd's acknowledging no blame. The singer hopes the inquiry and "days when lives are sacrificed to corporate greed" end soon.
AUTHOR: Jim Payne
EARLIEST_DATE: 1983 (Lehr/Best)
KEYWORDS: death sea disaster storm memorial
HISTORICAL_REFERENCES: Feb 15, 1982 - The Ocean Ranger oil rig, 225 miles east of Cape Race, Newfoundland, sinks in a storm. All 84/86 are lost. NSDB: "It's said everyone in NF was related to, or knew, someone onboard" (Lehr/Best, Northern Shipwrecks Database)
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 55, "In Memoriam" (1 text, 1 tune)
NOTES: Lehr/Best: "ODECO, or the Ocean Drilling and Exploration Company, is the American company that owned the Ocean Ranger."
For a detailed account of the disaster and its causes see _Inviting Disaster: Lessons from the Edge of Technology_ by James R. Chiles (HarperBusiness paperback, 2002), pp. 18-36. While Lehr/Best sees the ballad as questioning the courage of the crew of the supply ship _Seaforth Highlander_, Chiles has them doing the best they could. - BS
File: LeBe055
===
NAME: In My Father's House
DESCRIPTION: "There ain't no liars there in my Father's house (x3), Oh, there's peace, peace everywhere." "There ain't no crapshooters there...." "There ain't no cardplayers there...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious nonballad virtue cards
FOUND_IN: US(So)
REFERENCES: (1 citation)
Sandburg, p. 483, "In My Father's House" (1 text, 1 tune)
RECORDINGS:
Carter Family, "There'll Be Joy, Joy, Joy" (Bluebird B-5911/Montgomery Ward M-4547, 1935)
File: San483
===
NAME: In My Garden Grew Plenty of Thyme
DESCRIPTION: The singer laments the loss of her thyme. She had spent her life making herself fair, only to find her thyme stolen by a sailor. Now "I gaze on the willow tree," and "I would I were clasped in my lover's arms fast, for 'tis he who has stolen my thyme"
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: loneliness sailor seduction virginity gardening
FOUND_IN: US(Ap,MW,So) Britain(England) Canada(Mar)
REFERENCES: (7 citations)
Randolph 90, "Keep Your Garden Clean" (1 text, 1 tune)
Randolph/Cohen, pp. 122-124, "Keep Your Garden Clean" (1 text, 1 tune -- Randolph's 90)
Eddy 28, "Once I Had Plenty of Thyme" (2 texts, 1 tune, although both texts are largely derived from "The Seeds of Love")
Sharp-100E 34, "The Sprig of Thyme" (1 text, 1 tune)
JHCox 138, "The Green Willow Tree: or, Once I Had Plenty of Thyme" (1 text)
Creighton-NovaScotia 26, "When I Was in My Prime" (1 text, 1 tune, more like this than the other thyme songs, though it's long and has probably picked up some outside elements)
DT, THYMEGAR THYMSEED (THYMTH2)
Roud #3
RECORDINGS:
Cyril Poacher, "Plenty of Thyme" (on Voice12)
BROADSIDES:
Bodleian, Harding B 11(2793), "Sprig of Thyme," J.O. Bebbington (Manchester), 1855-1858
CROSS_REFERENCES:
cf. "The Seeds of Love"
cf. "Thyme, It Is a Precious Thing"
cf. "The Gowans are Gay"
cf. "Garners Gay (Rue; The Sprig of Thyme)"
NOTES: In flower symbolism, thyme stood for virginity. For a catalog of some of the sundry flower symbols, see the notes to "The Broken-Hearted Gardener."
Thyme songs are almost impossible to tell apart, because of course the plot (someone seduces the girl) and the burden (let no man steal your thym) are always identical. For the same reasons, verses float freely between them. So fragmentary versions are almost impossible to classify.
The Digital Tradition has a version, "Rue and Thyme," which seems to have almost all the common elements. Whether it is the ancestor of the various thyme songs, or a gathering together of separate pieces, is not clear to me.
The first line here, "In my garden grew plenty of thyme," is diagnostic but sometimes absent. The thrust of the song is how hard the woman worked to make herself beautiful, only to spoil it by losing her virginity.
To show how difficult all this is, Randolph and Ritchie have texts of this called "Keep Your Garden Clean" which are pretty much the same except for the first verse. On the basis of that distinction, I filed Randolph' with "In My Garden Grew Plenty of Thyme" and Ritchie's with "Garners Gay (Rue; The Sprig of Thyme)."
Many, including Randolph, Ritchie, and Roud, simply lump the whole business as versions of "The Seeds of Love."
Child prints a text (additions and corrections to "The Gardener", p. 258 in Volume V of the Dover edition) which conflates this song, or something similar, with that ballad. - RBW
File: R090
===
NAME: In North America
DESCRIPTION: "Wine sparkles in our glasses, We have no debts to pay, We spend our time in pleasure In North America."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: nonballad money drink
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 196, "In North America" (1 fragment, seventh of seven "Quatrains on the War")
ST Fus196C (Full)
File: Fus196C
===
NAME: In Old Pod-Auger Times
DESCRIPTION: "I'll sing to you of the good old times When people were honest and true, Before their brains were rattled and crazed By everything strange and new." The singer grumbles about modern ways, and longs for "old pod-auger times"
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: nonballad
HISTORICAL_REFERENCES: 1829-1837 - Presidency of Andrew Jackson
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Flanders/Brown, pp. 69-71, "In Old Pod-Auger Times" (1 text, 1 tune)
Linscott, pp. 251-253, "In Old Pod-Auger Times" (1 text, 1 tune)
DT, PODAUGER*
ST FlBr069 (Partial)
Roud #3739
CROSS_REFERENCES:
cf. "The Good Old Days of Adam and Eve" (theme) and references there
NOTES: We really need a keyword "Whining-about-the-end-of-the-good-old-days." See the cross-references for similar songs.
The song lists the time of Andrew Jackson as the ideal, but I can't see anything in it that's specific to that era.
Linscott states that this comes from _Comical Brown's Songs_, after "Comical Brown," whom she describes as a nineteenth century solo performer. She gives no other details, however. - RBW
File: FlBr069
===
NAME: In Old Virginny: see East Virginia (Dark Hollow) (File: JRSF134)
===
NAME: In Oxford City: see Oxford City [Laws P30] (File: LP30)
===
NAME: In Praise o' Huntley: see Jock o' Rhynie (The Praise o' Huntley) (File: Ord338)
===
NAME: In Praise of Christmas: see Drive the Cold Winter Away (In Praise of Christmas) (File: Log293)
===
NAME: In Praise of John Magee
DESCRIPTION: John Magee finds no peace with his wife "So he says, 'I can auction you according to the law.'" The bidding is active and she goes to a farmer from Killarney for twenty-five shillings. "May the devil follow after her, the auctioneer did say"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: shrewishness abandonment commerce humorous husband wife
FOUND_IN: Ireland
REFERENCES: (2 citations)
Morton-Ulster 12, "In Praise of John Magee" (1 text, 1 tune)
Morton-Maguire 36, pp. 90-91,122,170, "In Praise of John Magee" (1 text, 1 tune)
Roud #2899
RECORDINGS:
John Maguire, "In Praise of John Magee" (on IRJMaguire01)
CROSS_REFERENCES:
cf. "Sale of a Wife" (subject)
NOTES: I don't believe this should be lumped with "Sale of a Wife." While they both have the auction they have no lines in common.
[It's interesting to note that both songs seem to be Irish, though; perhaps one inspired the other, and some editors lump them. - RBW]
Morton-Ulster: .".. such sales were quite common in England between 1750 and 1860." - BS
Note also the broadside NLScotland, L.C.1268, "Sale of a Wife," W. Boag (?), Newcastle (describing an event of July 16, 1828) allegedly documenting such a sale. - RBW
File: MorU012
===
NAME: In Praise of the City of Mullingar
DESCRIPTION: "Ye may strain your muscles to brag of Brussels" or any other great city "But they're all far inferior" to Mullingar. The singer describes many scenes, the Royal Canal, the courthouse and workhouse, railway station, and finally "the beauteous females"
AUTHOR: unknown
EARLIEST_DATE: 1874 (_Songs and Fables_ by Professor W.J. Rankine, according to OLochlainn-More)
KEYWORDS: humorous nonballad beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 87, "In Praise of the City of Mullingar" (1 text, 1 tune)
NOTES: Mullingar is in County Westmeath, Ireland. - BS
File: OLcM087
===
NAME: In Praise of the Glen: see Lovely Glenshesk (II) (File: HHH028a)
===
NAME: In Robin Hood's Churchyard: see Scarboro Sand (The Drowned Sailor) [Laws K18] (File: LK18)
===
NAME: In Savannah
DESCRIPTION: "ÕNeath the Southern skies there stands a humble cottage, ÕNeath its roof sits a mother old and gray." The singer wishes to return to Savannah, embrace his mother, and care for her in her "declining years."
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: love mother home return
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 107-108, "In Savannah" (1 text)
Roud #9576
File: Dean107
===
NAME: In Seaport Town: see The Bramble Briar (The Merchant's Daughter; In Bruton Town) [Laws M32] (File: LM32)
===
NAME: In Search of Silver and Gold: see Lord Lovel [Child 75] (File: C075)
===
NAME: In Seventeen Ninety-Five
DESCRIPTION: Singer comes into the country in 1795; considers himself lucky just to be alive. He knocks at a girl's door; she lets him in and says not to ramble any more. They marry and live happily, "And the stars sang a banjo tune/When she said that she'd be mine"
AUTHOR: unknown (additional words by Art Thieme)
EARLIEST_DATE: 1966 (learned by Art Thieme)
KEYWORDS: courting love marriage emigration wife
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Art Thieme, "In 1795" (on Thieme06)
CROSS_REFERENCES:
cf. "In Eighteen Forty-Nine" (lyrics)
cf. "The Backwoodsman" (lyrics)
NOTES: Thieme learned the first verse from Louis Marshall "Grandpa" Jones, added the second verse several years later. Despite a few similarities to "In Eighteen Forty-Nine," the song and its gestalt are sufficiently different that I've classified them separately. - PJS
File: RcIn1795
===
NAME: In Sheffield Park: see The Butcher Boy [Laws P24] (File: LP24)
===
NAME: In Smiling June the Roses Bloom: see The Champion of Coute Hill (File: LeBe018)
===
NAME: In Some Lady's Garden (I)
DESCRIPTION: "In some lady's fine brick house, In some lady's garden, You walk so high you can't get out, So fare you well, my darling." "Oh, swing a lady ump-tum, Swing a lady round, Swing a lady ump-tum, Promenade round."
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
KEYWORDS: dancetune nonballad playparty
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Scarborough-NegroFS, pp. 114-115, "In Some Lady's Garden" (1 short text, 1 tune)
SharpAp 270, "Swing a Lady" (1 text, 1 tune)
Roud #11590
CROSS_REFERENCES:
cf. "Do, Do, Pity My Case" (lyrics) and references there
File: ScNF114B
===
NAME: In Some Lady's Garden (II)
DESCRIPTION: "Oh, somebody come and let me out of here, I'se in some lady's garden. I'll roll like a log if you let me out of here, I'se in...." "Oh, somebody come... I'll pant like a lizard if you let me out...." "I'll run like a rabbit." "I'll kick like a donkey."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: playparty captivity rescue animal
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 140, "In Some Lady's Garden" (1 text)
CROSS_REFERENCES:
cf. "Do, Do, Pity My Case" (lyrics) and references there
File: ScaNF140
===
NAME: In Springfield Mountain: see Springfield Mountain [Laws G16] (File: LG16)
===
NAME: In Summer: see Robin Hood and the Monk [Child 119] (File: C119)
===
NAME: In Tarrytown: see Died for Love (I); also The Butcher Boy [Laws P24] (File: McST055)
===
NAME: In that Great Gettin' Up Morning
DESCRIPTION: "In that great gettin' up morning, Fare thee well, fare thee well...." Call and answer about the deeds of Gabriel (the Annunciation to Mary and the Last Trumpet). The refrain "Fare thee well" occurs throughout
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: religious resurrection
FOUND_IN: 
REFERENCES: (2 citations)
Lomax-FSUSA 106, "Great Gittin' Up Mornin'" (1 text, 1 tune)
Silber-FSWB, p. 349, "Great Getting Up Morning" (1 text)
Roud #15228
RECORDINGS:
Four Dusty Travelers, "Great Gittin' Up Mornin'" (Columbia 14499, 1930; rec. 1929; on VocalQ2)
CROSS_REFERENCES:
cf. "We've Come to Judgment" (lyrics)
File: LxU106
===
NAME: In That Morning
DESCRIPTION: Spiritual: "In that morning, what a beautiful morning that shall be... Everybody got to rise for your Master Jesus in that morning...." Chorus: "...rise for your Master Jesus in that morning"
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton/Senior)
KEYWORDS: religious Jesus nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton/Senior, pp. 280-281, "In That Morning" (1 text, 1 tune)
Roud #3349
NOTES: Surely a fragment of something else -- but given the amount of text, it's not clear what. - RBW
File: CrSe280
===
NAME: In the Baggage Coach Ahead: see The Baggage Coach Ahead (File: R704)
===
NAME: In the Bar-Room (The Celebrated Working-Man)
DESCRIPTION: Singer boasts of his abilities as a coal miner, saying he can hew more coal than anyone in the region, and if anyone doubts him, they should check out his abilities -- "and haven't I often proved it in the bar-room (public bar)"
AUTHOR: Ed Foley
EARLIEST_DATE: 1892 (reported to have been sung by the author at the wedding of a niece in that year)
KEYWORDS: pride bragging drink mining work drink nonballad worker
FOUND_IN: Britain(England(North)) US(MA)
REFERENCES: (1 citation)
DT, CELEBWRK*
Roud #3486
RECORDINGS:
Jack & Reece Elliott, "In the Bar-Room (The Celebrated Working-Man)" (on Elliotts01)
Jack Elliott, "In the Bar-Room" (on Voice20)
A. L. Lloyd, "The Celebrated Working-Man" (on IronMuse1)
NOTES: This song, written by an American anthracite miner, took up residence in the mining districts of northern England and entered the tradition almost instantaneously. For once we have an idea of the connection; apparently the person who carried it across the water was Yankee Jim Roberts, an anarchist miner from Kentucky who settled in Co. Durham and became a union activist. The song also became part of the tradition in its native Pennsylvania, and was collected there by the Archive of Folk Song. - PJS
File: RcITBRCW
===
NAME: In the Days of '76: see The Days of Seventy-Six (File: LoF019)
===
NAME: In the Days of Old Rameses
DESCRIPTION: "In the days of old Rameses, are you on, are you on, They told the same thing... In the days of old Ramesis, that story had paresis...." The story sarcastically mentioned was told by Adam in Eden, by Joshua at Jericho, etc., and now is old and tired
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: nonballad Bible
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 202-203, "In the Days of Old Rameses" (1 text, 1 tune)
NOTES: Reported by Sandburg to be the theme song of the Whitechapel Club, "a group of thirsty intellectuals who were opposed to everything." - RBW
File: San202
===
NAME: In the Days when I Was Hard Up
DESCRIPTION: The singer recalls how difficult life was when he faced poverty. He was scorned by family, and forced to all sorts of tricks to keep alive. He barely overcame the temptation to steal. His consolation was that he wore his ragged clothes honestly.
AUTHOR: unknown
EARLIEST_DATE: 1860
KEYWORDS: poverty hardtimes
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 99, "In the Days when I Was Hard Up" (1 text, 1 tune)
ST FSC099 (Partial)
Roud #4621
File: FSC099
===
NAME: In the Dense Woods
DESCRIPTION: The singer is lost and alone in the woods in a storm. He laments, "The cold wet ground must be my bed... The tempest howls, the rain descends. Oh Jesus, must my life here end?" After breathing his final prayers, he dies
AUTHOR: unknown
EARLIEST_DATE: 1945 (Flanders/Olney)
KEYWORDS: death storm
HISTORICAL_REFERENCES: 1860 - Death of James Fernald, said to be the hero of this song
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Olney, pp. 243-245, "In the Dense Woods" (2 texts)
ST FO243 (Partial)
Roud #4686
File: FO243
===
NAME: In the Evening by the Moonlight
DESCRIPTION: "In de ebening by de moonlight when de darkies work was over... Dat's de only time we had to spare.... Uncle Gabe would take de fiddle down...." "All dem happy times we used to hab, will ne'er return again... In de ebe'ning...."
AUTHOR: James A. Bland
EARLIEST_DATE: 1880
KEYWORDS: Black(s) nonballad fiddle music
FOUND_IN: US(MW)
REFERENCES: (4 citations)
RJackson-19CPop, pp. 87-90, "In the Evening by the Moonlight" (1 text, 1 tune)
Dean, pp. 103-104, "In the Evening by the Moonlight" (1 text)
Geller-Famous, pp. 22-26, "In The Evening By The Moonlight" (1 text, 1 tune)
Silber-FSWB, p. 250, "In The Evening By The Moonlight" (1 text)
ST RJ19087 (Full)
Roud #9591
NOTES: James A. Bland (1854-1911), one of the leading songwriters of the 1870s, was a university-educated Black (born in New York) who spent many years in England. That he wrote songs about slaves and slavery days says more about the climate of the time than about his feelings. Even so, there is a slight dig at slavery in the remark that the time after supper was "de only time we had to spare, to hab a little fun."
Bland also wrote "[Oh, dem] Golden Slippers" and "Carry Me Back to Old Virginny." - RBW
File: RJ19087
===
NAME: In the Garden
DESCRIPTION: "I come to the garden alone, While the dew is still on the roses, And the voice I hear, Falling on my ear, The Son of God discloses. And he walks with me...." The singer would stay and listen to the voices forever, "But he bids me go."
AUTHOR: C. Austin Miles (1868-1946)
EARLIEST_DATE: 1912 (published, according to Johnson)
KEYWORDS: religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 188-189, "In the Garden" (1 text, 1 tune)
Roud #18847
File: bdIthGar
===
NAME: In the Good Old Summertime
DESCRIPTION: "There's a time in each year that we always hold dear, Good old summertime." The singer recalls the happy days, "In the good old summertime (x2), Strolling through the shady lanes with that baby mine." He describes life as a child in summer
AUTHOR: Words: Ren Shields / Music: George Evans
EARLIEST_DATE: 1902 (sheet music)
KEYWORDS: nonballad courting
FOUND_IN: US
REFERENCES: (4 citations)
Silber-FSWB, p. 257, "In The Good Old Summertime" (1 text)
Geller-Famous, pp. 191-194, "In the Good Old Summertime" (1 text, 1 tune)
Fuld-WFM, p. 300, "In the Good Old Summertime"
DT, OLSUMMER
NOTES: This is another of those parlour songs whose chorus has entered tradition without reference to the verse. The result, however, seems popular enough to warrant inclusion here. - RBW
File: FSWB257A
===
NAME: In the Hills of Roane County
DESCRIPTION: Singer courts and marries;  his wife's brother Tom stabs him. Three months later, he kills Tom. He's sentenced to life in prison. His family mourns; he tells prison friends that when they write home, "put one of my songs in your letter for me"
AUTHOR: unknown
EARLIEST_DATE: 1941 (recording, Blue Sky Boys)
LONG_DESCRIPTION: Singer courts and marries; for unknown reasons, his wife's brother Tom stabs him. Three months later, he kills Tom. Tried, no one will speak up for him, and he's sentenced to life in prison. His mother weeps and his sister watches as his train departs; he now works in a prison foundry and awaits death, telling prison friends that when they write home, "put one of my songs in your letter for me"
KEYWORDS: grief courting love marriage fight violence farewell crime punishment prison revenge brother wife
FOUND_IN: US(Ap,MW,So)
REFERENCES: (1 citation)
ADDITIONAL: _Sing Out_ magazine, Volume 26, #2 (1977), p, 9, "Hills of Roane County" (1 text, 1 tune, the Wilma Lee Cooper version)
Roud #3387
RECORDINGS:
Blue Sky Boys, "In the Hills of Roane County" (Bluebird B-8693, 1941; on ConstSor1)
Jimmie Osborne, "Hills of Roane County" (King 1231, 1953)
CROSS_REFERENCES:
cf. "The Cruel Brother" (theme, sort of)
ALTERNATE_TITLES:
Rhone County Prison
Hills of Rome County
NOTES: I could *swear* we did this one someplace else. - PJS
That happens to me all the time. The interesting thing, to me, is whether the song was known prior to the Blue Sky Boys recording. Roud has an interesting mention of a collection by Beck, possibly in the 1930s, but this does not seem to be well-documented or publicly available.  Wilma Lee Cooper does claim to have learned it from her family, which would predate the Blue Sky Boys recording if her memory is correct. - RBW
File: RcItHoRC
===
NAME: In the Jailhouse Now
DESCRIPTION: Bill Campbell disregards warnings and keeps gambling; he's in the jailhouse now. Bill Austin tries to vote twice; he's in the jailhouse now. Singer meets a girl; after a spree, he finds her hand in his pocket. She's in the graveyard, he's in the jailhouse
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Earl McDonald's Original Louisville Jug Band)
LONG_DESCRIPTION: Singer's friend (Bill Campbell) disregards warnings and keeps gambling; he's in the jailhouse now. Another friend (Bill Austin) tries to vote twice (in the white folks' election); he's also in the jailhouse now. Singer meets a girl (Ivy); they go out and paint the town, but when it comes time to pay, he finds the girl's hand in his pocket. She's in the graveyard now, and he's in the jailhouse
KEYWORDS: captivity warning crime murder prison punishment theft death gambling drink humorous prisoner thief
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Pink Anderson, "He's in the Jailhouse Now" (on PinkAnd1)
Gene Autry, "In the Jailhouse Now" (Champion 16141, 1930)
Blind [Arthur] Blake, "He's in the Jailhouse Now"  (Paramount 12565, 1927; Broadway 5053 [as Blind George Martin; as "He's in the Jailhouse"], n.d.)
Bill Bruner, "He's in the Jail House Now" (OKeh 45438, 1930)
Walter Dalton, "In the Jail House Now" (Perfect 12468, 1928)
John Dilleshaw, "She's in the Jailhouse Now" (recorded for OKeh, 1929, unissued)
Adelyne Hood, "He's On the Chain Gang Now" (Columbia 2158-D, 1930) (Oriole 1935, 1930)
Jim Jackson, "He's in the Jailhouse Now" (Vocalion, unissued, 1927) (Vocalion 1146, 1928)
Frankie Marvin, "In the Jailhouse Now" (Edison 20002, 1929) (Brunswick 248, 1928) (Cameo 8328/Conqueror 7164 [both as Frankie Wallace], 1928)
Earl McDonald's Original Louisville Jug Band, "She's In the Graveyard Now" (Columbia 14255-D, 1927; on Ruckus1)
Billy Mitchell, "In the Jailhouse Now" (Bluebird B-6651, 1936)
Luther Ossenbrink, "In the Jailhouse Now" (Champion 15852 [as West Virginia
Rail Splitter]/Supertone 9570 [as Arkansas Woodchopper], 1929; Champion
45058 [as West Virginia Rail Splitter], 1935)
Jimmie Rodgers, "In the Jailhouse Now" (Victor 21245,1928; Bluebird B-5223, 1933; Montgomery Ward M-4721, c. 1935)
Memphis Sheiks [pseud. for Memphis Jug Band], "He's in the Jailhouse Now" (Victor 23256, 1930)
SAME_TUNE:
Gene Autry, "He's in the Jailhouse - No. 2" (Romeo 5035/Oriole 8035/Perfect 12667, 1931; Picadilly 872 [UK], 1932)
Frankie Marvin, "I'm in the Jailhouse Now - No. 2" (Crown 3026/Homestead 22992, 1930)
Jimmie Rodgers, "In the Jailhouse Now - No. 2" (Victor [US & Can.] 22523, 1930; Montgomery Ward M-4315, 1933; RCA Victor 20-6092, 1955)
ALTERNATE_TITLES:
He's In That Jail House Now
NOTES: I'm astonished we haven't indexed this song yet -- looking at the keyword list, it has every important ingredient except, perhaps, trains and Mama. While Jimmie Rodgers' version is probably the best-known, the song was also current in African-American tradition; a very different version was recorded by blues singer Luke Jordan. - PJS
I've encountered this phenomenon many times: Songs well-known in folk revival circles don't always have much currency in books. I don't know if it's lack of collections or lack of respect for the songs; perhaps it's something of each.
Jimmie Rodgers copyrighted his version in 1928, and he is sometimes listed as the author, but the Louisville Jug Band recording argues against this. - RBW
File: RcItJHN
===
NAME: In the Lonely Glens of Yarrow: see The Dowie Dens o Yarrow [Child 214] (File: C214)
===
NAME: In the Mansions Above
DESCRIPTION: "Good lord, in the mansions above, (x2), My Lord, I hope to meet my Jesus in the mansions above." "If you get there before I do..." "My lord, I've had many crosses and trials here below..." "Fight on, my brother, for the mansions above."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 59, "In the Mansions Above" (1 text, 1 tune)
Roud #12019
File: AWG059
===
NAME: In the Month of October: see Moosehead Lake (File: LoF058)
===
NAME: In the Morning by the Bright Light
DESCRIPTION: "I'se gwine away by the light of the moon, Want all the children to follow me, I hope I'll meet you darkies soon, Oh, hally, hally hallelujah!..." Chorus: "In the morning, morning by the bright light Hear Gabriel blow his trumpet in the morning."
AUTHOR: James Bland
EARLIEST_DATE: 1892
KEYWORDS: religious
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 304, "In the Morning by the Bright Light" (1 text)
BrownIII 569, "Going to Heaven by the Light of the Moon" (1 fragment)
Roud #7776
File: R304
===
NAME: In the Pines
DESCRIPTION: Usually about a man whose girl has left him (on a train) (to meet another) ("in the pines, in the pines, where the sun never shines, And I shivered the whole night through"). The girl, who rides the "longest train I ever saw,"  may die in a wreck
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: train separation loneliness love death
FOUND_IN: US(Ap,SE,So)
REFERENCES: (9 citations)
Cohen-LSRail, pp. 491-502, "The Longest Train/In the Pines" (3 texts containing many floating verses, 1 tune)
BrownIII 283, "In the Pines" (2 text plus a fragment; the "A" text, though very full, is damaged and probably mixed; the "B" text is mostly floating verses; "C" is only three lines, and may not belong here); also 297, "You Caused Me to Lose My Mind" (1 fragment, mostly of floating lyrics but with hints it goes here); also 301, "High-Topped Shoes" (2 texts, both mixed; "A" is mostly "Pretty Little Foot" with verses from "Don't Let Your Deal Go Down" while "B" is a hash of "Don't Let Your Deal Go Down," ""More Pretty Girls Than One," "In the Pines," and others)
SharpAp 203, "Black Girl" (1 text, 1 tune)
Lomax-FSNA 290, "The Longest Train" (1 text, 1 tune)
MHenry-Appalachians, p. 231, (fifth of several "Fragments from Tennessee") (1 fragment, which might be this although it's too short to know)
PSeeger-AFB, p. 28, "Little Girl" (1 text, 1 tune)
Silber-FSWB, p. 103 "In The Pines" (1 text)
DT, INPINES*
ADDITIONAL: _Sing Out_ magazine, Volume 26, #6 (1978), p, 5, "Where Did You Sleep Last Night?" (1 text, 1 tune, the Lead Belly version)
Roud #3421
RECORDINGS:
Gerald Duncan et al, "In the Pines" (on MusOzarks01)
Roscoe Holcomb, "In the Pines" (on Holcomb1, HolcombCD1)
Bascom Lamar Lunsford, "To the Pines, to the Pines" (on BLLunsford01)
Marlow & Young [pseud. for Burnett & Rutherford] "Let Her Go, I'll Meet Her" (Champion 15691, 1929; on KMM)
Clayton McMichen's Wildcats, "In the Pines" (Decca 5448, 1937)
Bill Monroe & His Blue Grass Boys, "In The Pines" (Bluebird B-8861, 1941); (Decca 28416, 1952)
Riley Puckett, "The Longest Train I Ever Saw" (Decca 5523, 1938) (Bluebird B-8104, 1939)
Lou Ella Robertson, "In the Pines" (Capitol 1706, 1951)
Texas Jim Robertson & the Panhandle Pushers, "In the Pines" (RCA Victor 20-2907, 1948)
Arthur Smith & his Dixieliners [or Arthur Smith Trio], "In the Pines" (Bluebird B-7943/Montomery Ward M-7686, 1938)
Pete Seeger, "Black Girl" (on PeteSeeger18) (on PeteSeeger43)
Tenneva Ramblers, "The Longest Train I Ever Saw" (Victor 20861, 1927)
Dock Walsh, "In the Pines" (Columbia 15094-D, 1926)
Ephraim Woodie & the Henpecked Husbands, "Last Gold Dollar" (Columbia 15564-D, 1930) [Filed here by Paul Stamler despite the title - RBW]
CROSS_REFERENCES:
cf. "Long Lonesome Road" (lyrics)
ALTERNATE_TITLES:
Where Did You Sleep Last Night?
NOTES: This song became the basis of "Blue Diamond Mines" in the 1970s. -PJS
The elements in this song may vary widely, and it is best recognized by its form and the references to the pines. The plot described above is common but by no means universal.
Cohen briefly summarizes Judith McCulloh's Ph.D. dissertation ("In the Pines": The Melodic-Textual Identity of an American Lyric Folksong Cluster), which analyses over 150 texts she identified with this song. She seems to have identified three common textual motifs: "In the pines, in the pines, where the sun never shines" (118 texts), "The longest train I ever saw" (96 versions), and "(His/her) head was (found) on the driver's wheel, (His/her) body never was found." There is also a fairly characteristic tune. Still, the boundaries of this type are very vague; long versions almost always include very many floating verses and have no overall plot except perhaps a feeling of loneliness. - RBW
The Marlow & Young [Burnett & Rutherford] recording is a conglomerate of floating verses; I put it here because the one that floated from this song came first, but it could as easily go under, "Goodnight, Irene" -- it has the "Sometimes I live in the country" verse. - PJS
File: LoF290
===
NAME: In the Pit from Sin Set Free
DESCRIPTION: "In the pit from sin set free, Sudden death would glory be, That is why I sing with glee, Jesus saves." The miner, even as he struggles to bring up the coal, is thankful to Jesus.
AUTHOR: unknown
EARLIEST_DATE: 1948 (Warner)
KEYWORDS: religious mining
FOUND_IN: 
REFERENCES: (1 citation)
Warner 27, "In the Pit from Sin Set Free" (1 text, 1 (non-traditional) tune)
ST Wa027 (Partial)
Roud #7467
NOTES: The tune to the Warner recording was supplied by Sam Bayard, as the only one he knew to fit the words supplied by Benjamin S. Davies. The composite is not traditional, and the words may not be. - RBW
File: Wa027
===
NAME: In the Shade of the Old Apple Tree (II)
DESCRIPTION: A girl shows the singer her anatomy "in the shade of the old apple tree," and he makes the appropriate reply
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: sex bawdy parody
FOUND_IN: US(So,SW)
REFERENCES: (1 citation)
Cray, pp. 277-278, "In the Shade of the Old Apple Tree" (2 texts)
Roud #10242
SAME_TUNE:
So I Climbed Up the Old Apple Tree (Pankake-PHCFSB, p. 146)
File: EM277
===
NAME: In the Shadow of the Pines: see Shadow of the Pines (File: MN1135)
===
NAME: In the Summer of Sixty
DESCRIPTION: "In the summer of sixty as you very well know The excitements at Pike's Peak was then all the go." The singer buys a ranch, but a miner jumps his claim. He gets into a crooked card game, loses all his money, and flees the area
AUTHOR: unknown
EARLIEST_DATE: 1911
KEYWORDS: hardtimes gold poverty gambling cards
FOUND_IN: US(Ro)
REFERENCES: (1 citation)
LPound-ABS, 89, pp. 189-190, "In the Summer of Sixty" (1 text)
Roud #4978
File: LPnd189
===
NAME: In the Sweet By and By: see Sweet By and By (File: RJ19198)
===
NAME: In the Sweet Bye and Bye: see Sweet By and By (File: RJ19198)
===
NAME: In the Town of Oxford: see The Sheffield Apprentice [Laws O39] (File: LO39)
===
NAME: In the Township of Danville: see The Queenstown Mourner (In the Town of Danville) [Laws H14] (File: LH14)
===
NAME: In the Tunnel: see The Harvard Student (The Pullman Train) (File: R391)
===
NAME: In the Valley
DESCRIPTION: "I was in Judah's(?) land by God's (immortal) hand That Jesus Christ was born in the vally, In the valley, in the valley, That Jesus Christ was born in the valley." The early life of Jesus is recounted, and listeners advised to heed and rejoice
AUTHOR: unknown
EARLIEST_DATE: 1936 (Library of Congress recording)
KEYWORDS: religious Jesus
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 534, "In the Valley" (1 text)
Roud #11874
NOTES: This is a rather odd song; most of the early verses are based on the Biblical accounts of the Nativity in Matthew and Luke -- but the reference to "the valley" has no Biblical connection that I can see. Unless it refers to the Jordan valley, where John the Baptist, and presumably Jesus, began his ministry.
Jean Ritchie learned this song early in life, but forgot most of the words and composed new ones. - RBW
File: Br3534
===
NAME: In the Wilderness: see The Old Gray Mare (The Old Gray Horse; The Little Black Bull) (File: R271)
===
NAME: In Town
DESCRIPTION: "Whee-oop! Whoop-ee! Does anyone find any flies on me?" The cowboy arrives in town with his check, having worked for six months on the trail. He can't find a girl who really wants him, so he intends to spend his money on drink.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: cowboy drink
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, p. 416, "In Town" (1 text)
Roud #15582
File: LxA416
===
NAME: In Zepo Town: see The Bramble Briar (The Merchant's Daughter; In Bruton Town) [Laws M32] (File: LM32)
===
NAME: Inconstant Lover (I), The: see The Wagoner's Lad (File: R740)
===
NAME: Inconstant Lover (II), The: see On Top of Old Smokey (File: BSoF740)
===
NAME: Inconstant Lover, The: see The Broken Engagement (II -- We Have Met and We Have Parted) (File: Beld212)
===
NAME: Indeed Pretty Polly: see No Sign of a Marriage [Laws P3] (File: LP03)
===
NAME: India's Burning Sands: see The Paisley Officer (India's Burning Sands) [Laws N2] (File: LN02)
===
NAME: Indian Camp-Meeting Song
DESCRIPTION: "Pitch my tent on the camp ground And a-hu'em, and a hu'um! For to give the devil anotehr round, And a-hu'um, and a-hu'um! Yes, glory be to God, my soul's high; Leap for joy and let us fly, And a-hu'um, and a-hu'um!"
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Elsie Burnett)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 195, "Indian Camp-Meeting Song" (1 text)
CROSS_REFERENCES:
cf. "Few Days" (lyrics)
NOTES: Clearly derived from "Few Days" (or, just possibly, the other way around), but equally clearly a different song. I have no idea why this is called an "Indian" song; presumably it's a reference to that "a-hu'um" lyric, but I rather doubt that is actually derived from any native dialect. - RBW
File: MHAp195
===
NAME: Indian Chief, The
DESCRIPTION: Fragment: "My curse upon the timber with the wood in which it grew, That built the Indian Chief to drown Tom Cannon and his crew"
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship wreck sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 126, "The Indian Chief" (1 text)
NOTES: Before January 1, 1846 the _Indian Chief_ was lost at Blackwater Bank, Wexford (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 61)
Ballads of "The Wreck of the Indian Chief," by Charles Steer and by Sir William Topaz McGonagall, are about a different wreck and rescue (January 8, 1881 in the English channel). - BS
File: Ran126
===
NAME: Indian Fighters, The: see The Sioux Indians [Laws B11] (File: LB11)
===
NAME: Indian Hunter (I), The
DESCRIPTION: "Oh come with me in my light canoe While the sea is calm and the sky is blue, Come with me for I long to go To the isle where mango apples grow. Then come with me and give my love...." The hunter describes how he will care for the girl
AUTHOR: Words: Eliza Cook / Music: Henry Russell ?
EARLIEST_DATE: 1941 (Randolph); the Cook/Russell sheet music (which I cannot verify as the same song) was published 1836/7
KEYWORDS: love travel home hunting
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 781, "The Indian Hunter" (1 short text, 1 tune)
Roud #2843
CROSS_REFERENCES:
cf. "The Gum Tree Canoe" (theme)
NOTES: Randolph's text sounds like a cross between "Gum Tree Canoe" and Christopher Marlowe. Ick. - RBW
File: R781
===
NAME: Indian Hunter (II), The: see White Man, Let Me Go (File: FJ032)
===
NAME: Indian Hymn
DESCRIPTION: Alone in the wood the singer looks to heaven; God looks down and says "Poor Indian never fear, I'm with you night and day." When he dies he'll go "above the sky" with no need of blanket or wigwam, "the better habitation share With Jesus good and kind"
AUTHOR: Rev. Silas Tertius Rand ?
EARLIEST_DATE: 1945 (Creighton-Maritime)
KEYWORDS: nonballad religious Indians(Am.)
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 171, "Indian Hymn" (1 text)
Roud #2729
CROSS_REFERENCES:
cf. "The Little Indian Maid" (theme)
cf. "When I Go Up to Shinum Place" (theme)
NOTES: Creighton-Maritime: "Apparently this was a hymn written by Rev. Silas Tertius Rand who ministered to the Micmac Indians."
See "When I Go Up to Shinum Place" for similar phrases. - BS
File: CrMa171
===
NAME: Indian Lament, The: see The Sioux Indians [Laws B11] (File: LB11)
===
NAME: Indian Lass, The
DESCRIPTION: At a foreign ale house the singer meets "a young Indian lass [from] a place near Orleans." She invites him home, offers him a drink and they spend the night. She begs him not to leave but he sails away and offers "a health to the young Indian lass!"
AUTHOR: unknown
EARLIEST_DATE: before 1852 (broadside, Bodleian Harding Harding B 11(1759))
KEYWORDS: love sex farewell drink sailor Indians(Am.)
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Creighton-NovaScotia 51, "Young Indian Lass" (1 text, 1 tune)
Mackenzie 57, "The Indian Lass" (1 text)
ST CrNS051 (Partial)
Roud #2326
BROADSIDES:
Bodleian, Harding B 11(1759), "Indian Lass" ("As I was wa[l]king on a far distant shore"), Samuel Russell (Birmingham), 1840-1851; also Harding B 11(1752), Harding B 11(1754), Firth c.12(279), Johnson Ballads 2288, Harding B 11(1756), Harding B 11(1757), Harding B 11(1758), Johnson Ballads 436, "The Indian Lass"
LOCSinging, sb20217b, "The Indian Lass," H. De Marsan (New York), 1861-1864 
CROSS_REFERENCES:
cf. "The Little Mohee" [Laws H8] (theme, some verses, and references there)
cf. "I'm a Stranger in this Country (The Darger Lad)" (theme, verses)
NOTES: Tune for Creighton-NovaScotia is 4/4 and no relation to the "On Top of Old Smoky" waltz common for "The Little Mohee."
The known dates for the broadsides for "The Indian Lass" don't help decide which came first,: "The Indian Lass" or "The Little Mohee"; in any case, one is clearly a derivative of the other.
In all of these broadside versions except what is -- so far -- the earliest, [the text has] "She was born and brought up in a place near Orleans"; for Bodleian Harding B 11(1759) "She was born and brought up in the place New Orleans."- BS
For discussion of the relationship of this song to "The Little Mohee," see the entry on that song. I must admit, looking at this, that I wonder if "The Little Mohee" isn't older; this looks like a version of that crossed with "The Lakes of Ponchartrain." - RBW
Broadside LOCSinging sb20217b: 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: CrNS051
===
NAME: Indian Song, The: see The Sioux Indians [Laws B11] (File: LB11)
===
NAME: Indian Song: Ah, Pore Sinner
DESCRIPTION: "Ah, pore sinner, under the rock, Till the moon goes down in blood, You can hide yo'self on the mountain top, To hide your face from God. Um, ah, ta-alk about Jesus! Halle, halle, lu, there's glory in my soul."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 593, "Indian Song: Ah, Pore Sinner" (1 fragment)
Roud #11907
File: Br3593
===
NAME: Indian's Death Song, The
DESCRIPTION: The Indian tells his captors "Begin, ye tormentors, your threats are in vain, For the son of Alknomook shall never complain." He tells how his valor hurt the white men. Death will free him of pain and take him "to the land where my father is gone."
AUTHOR: Mrs. John Hunter
EARLIEST_DATE: 1840 (The Social Lyrist)
KEYWORDS: death Indians(Am.) captivity punishment
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 40, "The Indian's Death Song" (1 text, 1 tune)
Roud #11212
File: FCW040
===
NAME: Indian's Lament, The: see An Old Indian (The Indian Song) (File: Wa030)
===
NAME: Indian's Song: see An Old Indian (The Indian Song) (File: Wa030)
===
NAME: Indians' Farewell
DESCRIPTION: "When shall we all meet again? (x2) Oft shall glowing hope expire, Oft our wearied love retire, Oft shall death and sorrow reign, Ere we all shall meet again." Though the company is parted, and will in time grow old, they will meet again hereafter
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: religious nonballad separation reunion
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 216, "Indians' Farewell" (1 text)
ST Fus216 (Partial)
Roud #16410
NOTES: No, there is no hint in the text why Fuson's informant called it "Indians' Farewell." - RBW
File: Fus216
===
NAME: Inglewood Cocky, The
DESCRIPTION: "'Twas an Inglewood cocky of whom I've been told, Who died, it is said, on account of the cold." He divides his estate, in the form of assorted animals, among his children, and tells them to raise their children on "pumpkin and beer"
AUTHOR: unknown
EARLIEST_DATE: 1924 (Paterson's _Old Bush Songs_)
KEYWORDS: father death lastwill
FOUND_IN: Australia
REFERENCES: (3 citations)
Manifold-PASB, p. 109, "The Inglewood Cocky (or, The New England Cocky)" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 279-280, "The New England Cocky" (1 text)
DT, INGLCOCK*
NOTES: The title "New England" of course does not reter to the northeastern parts of the United States; Paterson/Fahey/Seal describe it as the region of New South Wales around Armidale and Tamworth. - RB
File: PASB109
===
NAME: Ingo-Ango Fay
DESCRIPTION: "Go fay, go fay! Ingo-ango fay! Circle this house in a hoo-sal lay, In a ingo-ango fay. Go fay, go fay! Ingo-ango fay! Will hew my 'ligion away, Mimbi, kiki, joki lo, In a ingo-ango-fay!"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: nonsense foreignlanguage nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 26, "Ingo-Ango Fay" (1 short text, 1 tune)
NOTES: Scarborough says this "seems to be a combination of African and English." Apart from the fact that "African" isn't a language, the formulaic nature of the text implies that it is either nonsense or, just possibly, a code version of English. Without more text, though, we can't establish the latter. - RBW
File: ScaNF026
===
NAME: Initiation of a Brother, The
DESCRIPTION: "Welcome, brother, to our band; Welcome, brother, heart and hand; True, together we will stand, Or together fall. By brave Schomberg's martyr fame, By great William's glorious name, We are brethren still the same, Brethren one and all"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: ritual nonballad
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 36, "Lines on the Initiation of a Brother" (1 text, 1 tune)
NOTES: The description is the complete text from OrangeLark. - BS
William III is of course William of Orange, and Schomberg is General Schomberg, killed at theBattle of the Boyne. For additional background, see the notes to "The Battle of the Boyne (I)." - RBW
File: OrLa036
===
NAME: Injy-Rubber Overcoat
DESCRIPTION: "Injy rubber overcoat, hip-te-doo-den-doo (x3), Injy rubber overcoat, molasses candy shoe. Oh what's the matter Susan, Oh what's the matter, my dear? Oh what's the matter Susan? I'm goin' away to leave you."
AUTHOR: (chrous from Dan Emmett's "What's de Matter, Susy?")
EARLIEST_DATE: 1919
KEYWORDS: nonballad clothes separation
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 254, "Injy-Rubber Overcoat" (1 short text, 1 tune)
Roud #7820
File: R254
===
NAME: Inky Dinky Derby Town: see The Derby Ram (File: R106)
===
NAME: Innishowen
DESCRIPTION: The singer, a resident of Magilligan, crosses Greencastle Ferry to live in Innishowen "where the purty girls go neat and trim in every degree." He describes the girl he loves. Assured of his character, she agrees to marry him
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: love courting beauty home marriage
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H209, pp. 465-466, "Innishowen" (1 text, 1 tune)
Roud #9458
NOTES: Sam Henry reports that this is based on the actual story of John Smith of Magilligan. Given that the song seems to have had only very local currency, it may even be true. - RBW
File: HHH209
===
NAME: Inniskillen Dragoon, The: see Fare Ye Well, Enniskillen (The Inniskillen Dragoon) (File: E150)
===
NAME: Inniskilling Dragoon, The: see Fare Ye Well, Enniskillen (The Inniskillen Dragoon) (File: E150)
===
NAME: Innocent Hare, The
DESCRIPTION: Sportsmen and hounds hunt the hare; after searching, the game is found. She takes off running; the huntsman blows his horn; the hare is killed. The singer declares she has led them a noble run, drinks success to all sportsment and to the "innocent hare"
AUTHOR: unknown
EARLIEST_DATE: 1952 (recorded from Mark Fuller & Luther Hills)
KEYWORDS: death hunting sports drink animal dog
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Kennedy 251, "The Innocent Hare" (1 text, 1 tune)
Roud #1216
CROSS_REFERENCES:
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. "Bold Reynard the Fox (Tallyho! Hark! Away!)" (theme)
cf. "The Echoing Horn" (theme)
cf. "Joe Bowman" (theme)
ALTERNATE_TITLES:
Sportsmen Arouse
Sportsmen Arise
File: K251
===
NAME: Innocent Prisoner, The
DESCRIPTION: "On a bright starry night sat two lovers." They discuss their plans for marriage, and part for the night. He does not return the next day; he is falsely arrested for stealing money from his work. When at last he is released, she is still waiting
AUTHOR: Bradley Kincaid?
EARLIEST_DATE: 1930 (Bradley Kincaid songbook #3)
KEYWORDS: love separation punishment lie reunion prison
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 140-141, "The Innocent Prisoner" (1 text)
Roud #18137
File: MHAp140
===
NAME: Innocents, The
DESCRIPTION: A tale of the birth of Jesus. In the time of Octavian and Herod, Isaiah's prophesy comes true and the King of the Jews is born. Brutal Herod orders the children of Bethlehem slain. Jesus escapes, but there is great mourning in Bethlehem
AUTHOR: unknown
EARLIEST_DATE: 1920 (Oxford Book of Ballads)
KEYWORDS: Jesus religious Bible execution death Jew
HISTORICAL_REFERENCES: 44 B.C.E. - Death of Julius Caesar brings Octavian to the front of Roman politics
37-4 B.C.E. - Reign of Herod the Great in Palestine
31 B.C.E. - Battle of Actium. Octavian gains sole control of Roman world
27 B.C.E. - Octavian named "Augustus" and declared "Princeps" by the Senate
6 B.C.E - Approximate date of the birth of Jesus
14 C.E. - Death of Octavian/Augustus
FOUND_IN: 
REFERENCES: (1 citation)
OBB 108, "The Innocents" (1 text)
ST OBB108 (Partial)
NOTES: Loosely based on the story of Herod and the Massacre of the Innocents in Matt. 2:1-18.
However, this is very obviously a literary production. It shows an apparent knowledge of Josephus (at least indirectly), since it refers to Herod as a "Paynim born" -- which is technically true (Herod was of Edomite ancestry) but rather unfair; Herod regarded himself as Jewish.
Even more interesting is the reference to Octavian as Roman Emperor. It is true that Octavian was Roman Emperor when Jesus was born (so explicitly Luke 2:1, but we would have known it even without that reference). But the Bible refers only to "Caesar Augustus," never "Octavian." So the author either got the name from Josephus (though this is unlikely; Josephus usually says "Augustus" or "(Young) Caesar") or a Roman history. This effectively precludes the possibility of folk composition.
Overall, the language of the whole rather over-stylized business strikes me as probably being of the seventeenth century. - RBW
File: OBB108
===
NAME: Inquisitive Lover, The
DESCRIPTION: Woman asks her sweetheart when he intends to marry. He says he will when all sorts of impossible events take place. The woman comments that if all men were of his persuasion, we'd be waiting a long time.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: marriage nonsense paradox
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Wyman-Brockway II, p. 106, "The Inquisitive Lover" (1 text, 1 tune)
Roud #10914
File: WB2106
===
NAME: Inspiration (The Rowan County Teachers)
DESCRIPTION: "The Rowan County teachers Convened the other day... I thought I would attend... And watch our modern teachers." He describes the meeting in the courthouse, praises the teachers' abilities, and hopes they will continue to spread learning
AUTHOR: Words: Edgar Hamm
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 252-253, "Inspiration" (1 text)
NOTES: I can't say with certainty that this is the most trivial thing I've ever seen memorialized in song -- but, other than Edgar Hamm's other school song, "Welcome (to Lyda Messer Caudill)," I haven't a better candidate off the top of my head.
The claim that the Rowan County school superintendant Lyda Messer Caudill was descended from Mary Queen of Scots is certainly possible (the song being written some three and a half centuries after her death, she would have uncounted descendants) -- but since Mary had only one child, James VI and I, the link to the British royal line must be more recent than Mary Stuart. - RBW
File: ThBa250
===
NAME: Internationale, The
DESCRIPTION: Communist anthem, translated into most major languages. English: "Arise, you pris'ners of starvation, Arise you wretched of the earth...." The workers are urged to rise up, throw off their chains and their overlords, and work toward a united human race
AUTHOR: Words: Eugene Pottier/Music: Pierre Degeyter
EARLIEST_DATE: 1887 (Chants Revolutionnaires)
KEYWORDS: political nonballad foreignlanguage
FOUND_IN: 
REFERENCES: (3 citations)
Silber-FSWB, p. 297, "The Internationale" (1 (English) text)
Fuld-WFM, p. 303, "L'Internationale"
DT, INTERNAT*
RECORDINGS:
Pete Seeger, "L'Internationale, " [sung in French] (on PeteSeeger47)
NOTES: Obviously not a "folk song" in the ordinary sense, and not as popular as it once was. But enough people have sung it at one time or another (in many languages, though the original is French) that it probably belongs here.
Ironically, this song was not written for Communism as such but for the Paris Commune of 1871 -- a movement which failed miserably, had no influence on future French policy, and wasn't "Communist" in the Leninist sense anyway. - RBW
File: FSWB297B
===
NAME: Intoxicated Rat, The
DESCRIPTION: Singer spills rum on the floor; rat licks it up, gets drunk and carries on. The cat comes out; the rat sobers up and runs back to his hole (or gets caught)
AUTHOR: probably Dorsey Dixon & Wade Mainer
EARLIEST_DATE: 1936 (recording, Dixon Brothers)
KEYWORDS: drink humorous animal
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Silber-FSWB, p. 234 "The Intoxicated Rat" (1 text)
DT, INTOXRAT
Roud #11257
RECORDINGS:
The Dixon Brothers, "Intoxicated Rat" (Bluebird B-6327/Montgomery Ward M-4823, 1936; Victor 27495, 1941)
Farley Holden & his Six Ice-Cold Papas, "Intoxicated Rat" (King 628, 1947)
Cisco Houston, "Drunken Rat" (Disc 5067, 1940s)
New Lost City Ramblers, "The Intoxicated Rat" (on NLCR08)
NOTES: The first verse of this is apparently derived from "Four Nights Drunk," and the metre of the whole song implies that "Four Nights"  may have been the source -- but it clearly has gone in its own direction. - RBW
File: FSWB234
===
NAME: Invasion Song, The
DESCRIPTION: 'Sad and dismal is the tale I now relate to you, 'Tis all about the cattlemen, Them and their murderous crew." Nate and Nick are "murdered by Frank Canton and his crew" as they defend the town of Buffalo. The singer tells how cattle raiders were repelled
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: cowboy murder war outlaw
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 173-174, "Invasion Song" (1 text)
CROSS_REFERENCES:
cf. "The Blood-Stained Diary" (subject)
NOTES: Burt links this with an event she calls the Johnson County War, a conflict in Wyoming between honest herders and cattle rustlers. There are, apparently, conflicting versions of what happened; see Burt for details.
This is item dB40 in Laws's Appendix II. - RBW
File: Burt173
===
NAME: Inverness-Shire
DESCRIPTION: "O as I came in by Inverness-shire, It was to view the brave Loch Ness, It was there I met wi' a fair young maiden...." The singer tries to induce her to marry. She says she had her chance years ago, and refused. He urges her to change her mind.
AUTHOR: unknown
EARLIEST_DATE: 1985 (recording, Belle Stewart)
KEYWORDS: courting rejection sailor
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

Roud #6856
RECORDINGS:
Belle Stewart, "Inverness-shire" (on SCStewartsBlair01)
NOTES: This sounds like it ought to have a broken-token-and-reunion ending, but in the Stewart version at least, it ends with the girl rejecting the sailor and the sailor saying she should change her mind. - RBW
File: RcInvSh
===
NAME: Inverquhomery Ploughing Match, The
DESCRIPTION: The contestants appear before the match: Andrew Penny from Shannas, William Morris from Yokieshill, Alex Cheyne from Middletown. After an ellipsis "a social evening we had through, And parted all a happy crew"
AUTHOR: John Sim (source: Greig)
EARLIEST_DATE: 1911 (GreigDuncan3)
KEYWORDS: contest farming moniker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #166, p. 2, ("And now three cheers to Andrew Penny") (1 excerpt)
GreigDuncan3 426, "The Inverquhomery Ploughing Match" (1 excerpt)
Roud #5943
NOTES: Greig: ." .. a newspaper cutting of a poetical account of a ploughing match held at Inverquhomery so long ago as 1867. It bears the name of John Sim, whom I take to be the individual to whom "Ah, Smiler lad," once given in this column was attributed. An extract will show the style of the piece." - BS 
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Inverquhomery (380,426) is at coordinate (h4-5,v0) on that map [roughly 26 miles N of Aberdeen] - BS
File: GrD3426
===
NAME: Iomairibh eutrom ho ro (Row Lightly)
DESCRIPTION: In Scots Gaelic; "The milkmaid went to the seashore/And she did a thing that others would not do there/She gathered shell-fish at high tide there/And she broke her leg and cut her hand there." Chorus: "Row lightly, ho ro"
AUTHOR: unknown
EARLIEST_DATE: 1951 (recording, Allan MacDonald)
KEYWORDS: foreignlanguage sea work injury worksong worker
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (0 citations)
RECORDINGS:
Allan MacDonald, "Iomairibh eutrom ho ro (Row Lightly)" (on Lomax43, LomaxCD1743)
NOTES: Why do I get the feeling something else happened to the milkmaid? - PJS
File: RcIEHR
===
NAME: Iounndrain-Mhara, An (Sea-Longing)
DESCRIPTION: Scots Gaelic. The singer laments being far from the sea, "For in the glen I am a stranger." She recalls her brother on the ocean, and asks where is the ship to carry her home. No joy can reach her far from the sea
AUTHOR: unknown
EARLIEST_DATE: 1917 (Kennedy-Fraser)
KEYWORDS: ship exile foreignlanguage
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: (2 citations)
Kennedy 11, "Fath Mo Mhulaid a Bhith Ann (Being Here Has Caused My Sorrow)" (1 text+English translation, 1 tune)
Kennedy-Fraser II, pp. 225-229, "Sea-Longing (An Iounndrain-Mharra)" (1 text+English translation, 1 tune)
NOTES: The Kennedy text of this is long and conveys better than anything I've seen the emptiness they say sea-folk feel away from the waves. The Kennedy-Fraser text is shorter and more lyric, probably somewhat trimmed. - RBW
File: K011
===
NAME: Ireland Must Be Heaven, For My Mother Came from There
DESCRIPTION: "I've often heard my daddy peak of Ireland's lakes and dells. The place must be like heaven if it's half like what he tells." As proof he offers the fact that his mother was an angel, and she came from Ireland
AUTHOR: Words: Joe McCarthy & Howard Johnson / Music: Fred Fischer
EARLIEST_DATE: 1916 (sheet music)
KEYWORDS: Ireland home
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 9, "Ireland Must Be Heaven, For My Mother Came from There" (1 text)
Roud #5493
CROSS_REFERENCES:
cf. "A Little Bit of Heaven" (theme)
NOTES: This was apparently one of the major hits of 1916, the year it was published, though Dean seems to be the only traditional performer to have learned it. - RBW
File: Dean009
===
NAME: Ireland's Glory
DESCRIPTION: In 1776 "we were lazy and slavish," "Our woman were sluts and their husbands all slovens" and "The King was a god." But "Our peasants grew smart," "We could look at a King without much admiration" and "From a nation of slaves we've emerg'd into glory"
AUTHOR: unknown
EARLIEST_DATE: c.1783 (Zimmermann)
KEYWORDS: pride nonballad patriotic royalty
FOUND_IN: 
REFERENCES: (2 citations)
Zimmermann 3, "Ireland's Glory" (1 text, 1 tune)
Moylan 11, "Ireland's Glory" (1 text, 1 tune)
NOTES: The complete title of Zimmermann's text is "Ireland's Glory" or "A Comparative View of Ireland, in the Years 1776 and 1783." 
Zimmermann p. 36: "Street ballads we were used then [1724 and 1725] as a form of protest by the Anglo-Irish "garrison," but this protest was not so much nationalism as the reaction of planters merely demanding the same rights as were enjoyed by the people of Britain. A spirit of independence awoke among the Anglo-Irish when a Volunteer army was raised, in 1779, to check a possible invasion from the combined forces of France, Spain and Holland. Martial enthusiasm extended to the Catholic population. Eventually some 80,000 men were in arms. With the example of the revolution achieved by their "fellow subjects" in America, they became conscious of their force and began to claim the removal of economic disabilities, (song [Zimmermann] 2). They enforced freedom of trade in 1780 and legislative independence in 1782. Songs reflected the increased feeling of self-confidence, (song [Zimmermann] 3)."
The text states
But great was the change in the year seventy-seven.
We then were inspired by a spark sent from heaven.
Moylan speculates that the Battle of Saratoga may have been that spark. - BS
Possibly, but there were plenty of events in Ireland which might have inspired it. For example, 1778 saw the repeal of most of the anti-Popery act of 1704, giving Catholics much greater land and worship rights (see Peter and Fiona Somerset Fry, _A History of Ireland_, pp. 183-184); I believe this was proposed in 1777. The same period saw the rise of the Volunteers, which included Catholics; Terry Golway, _For the Cause of Liberty_, p. 51, reports that there were 40,000 armed Volunteers by 1778, and Mike Cronin, _A History of Ireland_, p. 99, says there were 80,000 two years later. Cronin, p. 98, mentions much other legislation passed in the late 1770s. Obviously this was largely in response to the American rebellion, but any of these several events might have helped inspire the song. (See the notes to "The Song of the Volunteers.")
1782 was indeed the year of Irish semi-independence, as Grattan's Parliament gave Ireland what would later be called "Home Rule." The economy also improved.
(We should note that Ireland had had a parliament before that, but had had very little real power. For one thing, the British had held absolute veto power on legislation through a trick known as Poynings's Law, which had hobbled the parliament since 1494. Plus the British parliament retained the right to deal with Irish surpluses -- see, e.g., Cronin, p. 95. And, until Lord Townshend changed the rules in 1767, parliaments were elected for the life of the monarch, which of course made it completely unresponsive to events; see Cronin, p. 96).
The old Irish parliament had to be absolutely unified to accomplish anything, and even then, the British could find ways to get around their legislation. Grattan's more independent parliament changed that. 
There were, sadly, three problems. One was that the parliament and electorate were still Protestant. The second was that England still controlled Irish trade -- and still had a veto under Poynings's Law.
And third, while it was an independent parliament, it wasn't a particularly representative parliament. As in England, there were many "rotten" boroughs. Robert Kee, in _The Most Distressful Country_ (volume I of _The Green Flag_), p. 36, notes that "once the independence of the Irish parliament had been technically granted, the English government's hold over it was actually tightened by its systematic ever-increasing outlay of Crown patronage in Ireland."
Gradually Irish optimism turned to disillusionment, ending in the 1798 rebellion and the Act of Union. The truly sad part is, Grattan's Parliament *did* represent progress, and the biggest single concession England made until the 1920s. Had Ireland been a little more patient, a century of violence could perhaps have been saved. - RBW
File: Zimm003
===
NAME: Ireland's Liberty Tree
DESCRIPTION: A tree has been planted in Ireland ... 'Tis called 'Ireland's Liberty-Tree!'" Protect the tree. Emmet, Fitzgerald and Grattan died in its defence. Sheil and O'Connell forsee freedom. "Heaven will surely protect those Who guard Ireland's Liberty-Tree!"
AUTHOR: unknown
EARLIEST_DATE: second half 19C? (Zimmermann)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 67, "Ireland's Liberty Tree" (1 text, 1 tune)
NOTES: Robert Emmet (1780-1803) "Irish nationalist rebel leader. He led an abortive rebellion against British rule in 1803 and was captured and executed." (source: "Robert Emmet" at the Wikipedia site)
Lord Edward Fitzgerald (1763-1798) Irish revolutionary. "As a member of the United Irishmen, he helped organize the Irish Rebellion of 1798 against British rule in Ireland." He was arrested and died of his wounds in Newgate prison. (source: "Lord Edward Fitzgerald" at the Wikipedia site)
Henry Grattan (1746-1820) Lead the campaign leading, in 1782, to an Irish parliament in Dublin. He advocated Catholic emancipation in 1793. He opposed Union, which ended the Irish Parliament in 1801. In the English House of Commons he continued supporting Catholic emancipation. (source: "Henry Gratton: 1746-1820" in _The Age of George III_ at the Web of English History site)
Richard Lalor Sheil (1791-1851) Was instrumental in the 1828 election of the "Liberator," Daniel O'Connell, over Vesey Fitzgerald. He himself served in Parliament for eighteen years. (source: "Richard Lalor Sheil" by M.J. Flaherty in _The Catholic Encyclopedia_ at the New Advent site.) 
Daniel O'Connell (1775-1847) tried to convince the British to reform administration of Ireland and was the leading figure on behalf of Catholic Emancipation. - BS
For Emmet, see also "Bold Robert Emmet." Fitzgerald is the subject of "Edward (III) (Edward Fitzgerald)." Grattan role is covered in the notes to "Ireland's Glory." And Daniel O'Connell is the subject of a vast array of songs; see the notes and references under "Daniel O'Connell (I)." - RBW
File: Zimm067
===
NAME: Irene: see Goodnight Irene (File: LoF315)
===
NAME: Irene, Goodnight: see Goodnight Irene (File: LoF315)
===
NAME: Irish Barber, The: see The Love-of-God Shave (Lather and Shave) [Laws Q15] (File: LQ15)
===
NAME: Irish Boy and the Priest, The
DESCRIPTION: A son of Catholic father and Protestant mother prefers Protestantism. Father takes him to confession. The priest explains that all Catholics pay their confessor except the Pope who prays directly to God at no charge. The boy decides to do the same.
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: money religious father clergy
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 29, "The Irish Boy and the Priest" (1 text)
NOTES: OrangeLark prints no music for this entry but has no comment as to whether or not it was sung. The text is rhymed couplets. - BS
There is something rather curious about this, in that the Catholic church generally does not recognize marriages made by other denomination, and also expects children of Catholic marriages to be brought up Catholic. Both parents are expected to agree to this. So -- clever as is the conceit of this song -- it would not often happen in practice. - RBW
File: OrLa029
===
NAME: Irish Boy, The: see My Irish Jaunting Car (The Irish Boy) (File: HHH592)
===
NAME: Irish Colleen, The
DESCRIPTION: A party of four girls, from England, Wales, Scotland and Ireland each toasts her own land and national flower. "Though the flowers all resemble there's a vast gulf between The rose, leek, and thistle, and the Irish colleen"
AUTHOR: W. C. Robey
EARLIEST_DATE: before 1885 (broadside, Bodleian Firth b.28(10a/b) View 2 of 8)
KEYWORDS: party wine England Ireland Scotland nonballad patriotic flowers
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 366-368, "The Irish Colleen" (1 text plus a fragment, 2 tunes)
ST Pea366 (Partial)
Roud #6459
BROADSIDES:
Bodleian, Firth b.28(10a/b) View 2 of 8, "The Irish Colleen," R. March and Co. (London), 1877-1884
NOTES: The authorship claim is from the broadside: "Written and composed by W.C. Robey Sung by Miss Lizzie Howard Music, Francis, Day & Hunter, London, W."
Library of Congress American Memory 19th century song sheets collection lists 13 different songs, not including this one, attributed to W. C. Robey and published in New York between 1882 and 1884. - BS
File: Pea366
===
NAME: Irish Dragoons, The: see Martinmas Time (File: DTmartin)
===
NAME: Irish Emigrant (I), The: see Yellow Meal (Heave Away; Yellow Gals; Tapscott; Bound to Go) (File: Doe062)
===
NAME: Irish Emigrant (II), The: see I'm Sitting on the Stile, Mary (The Irish Emigrant II) (File: Pea462)
===
NAME: Irish Emigrant's Lament, The
DESCRIPTION: "I never will forget the sorrows of that day," when the singer sailed from home. He knows he will miss the land, the friends, "the trusty heart [of the girl] I once could call my own." He will eat strangers' bread, and feel their scorn, and wish for home
AUTHOR: William Kennedy
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: emigration separation farewell
FOUND_IN: Ireland Britain(Scotland)
REFERENCES: (2 citations)
SHenry H235, p. 203, "The Shamrock Sod No More" (1 text, 1 tune)
Ord, pp. 352-353, "The Irish Emigrant's Lament" (1 text, 1 tune)
ST HHH235 (Full)
Roud #2747
CROSS_REFERENCES:
cf. "The Emigrant (I)" (subject)
NOTES: William Kennedy, a contemporary of William Motherwell, is reported by Ord to have been one of the Whistle-Binkie poets. For a composed song, even one composed a century before, it's amazing how much variation there is, in both text and tune, in the Henry and Ord versions (the former in G major, the latter listed as being in F major but apparently in D minor). - RBW
File: HHH235
===
NAME: Irish Familie, The: see The Irish Family (File: K275)
===
NAME: Irish Family, The
DESCRIPTION: Singer describes his family: "Me father had a horse/And me mother she'd a mare... So we'd a ride from father's horse/And a gallop from mother's mare." Cho: "So the more we have to drink/And the merrier we shall be/For we all do belong/To an Irish family"
AUTHOR: unknown
EARLIEST_DATE: 1904 (Sharp mss.)
LONG_DESCRIPTION: Singer describes life in his family: "Me father had a horse/And me mother she'd a mare/Sister Susie had a rabbit/And Johnny he'd a hare/So we'd a ride from father's horse/And a gallop from mother's mare/We'd a pie from Susie's rabbit/And a course from Johnny's hare." Successive verses follow the same pattern of ownership and use. Chorus: "So the more we have to drink/And the merrier we shall be/For we all do belong/To an Irish (happy) familie"
KEYWORDS: farming drink food nonballad animal bird bug horse sheep brother family father mother sister
FOUND_IN: Britain(England(Lond,South))
REFERENCES: (2 citations)
Kennedy 275, "The Irish Familie" (1 text, 1 tune)
DT, HAPFAMLY
Roud #850
RECORDINGS:
Harold Covill, "The Happy Family" (on FSB10)
Jasper Smith, "Father Had A Knife" (on Voice11)
ALTERNATE_TITLES:
My Father Had a Horse
NOTES: It's worth noting that although the song was collected twice under the name of "The Irish Family," it's never been found in Ireland. - PJS
Kennedy claims that this tune is "similar" to "Click Go the Shears." There are certainly points of contact, but it's not close enough (in my opinion) to list them as the same. - RBW
File: K275
===
NAME: Irish Free State, The
DESCRIPTION: "I went to see David, to London to David, and what did he do? He gave me a Free State, a nice little Free State, A Free State that's bound up with Red, White, and Blue." The singer rejects any British influence and demands freedom from the crown
AUTHOR: unknown
EARLIEST_DATE: 1962 (Galvin)
KEYWORDS: Ireland freedom
HISTORICAL_REFERENCES: Dec. 6, 1921 - Negotiations for the Irish Treaty  concluded. (It will be accepted by a bare majority of the Irish government, with the minority, including President de Valera, demanding more)
FOUND_IN: Ireland
REFERENCES: (2 citations)
PGalvin, pp. 71-72, "The Irish Free State" (1 text, 1 tune)
DT, IRSHFREE*
CROSS_REFERENCES:
cf. "The Ash Grove" (tune)
NOTES: In the aftermath of the 1916 Dublin Rising, Irish opinion was strongly divided about what came next. Had the British responded with concessions, Ireland might still be part of the Commonwealth. But it was World War I, and the British in any case have never been good at understanding the needs of their colonies. Gradually, the quiet Irish hostility turned to open warfare.
The result was mass rebellion and mass reprisal (for this, see e.g. "The Bold Black and Tan" and "General Michael Collins"). Eventually, the British had to make a decision. They decided to treat with the Irish govenment.
"David" is David Lloyd George, the British Prime Minister at the time. The Irish negotiators were a divided group; the two most distinguished were Arthur Griffith, who simply wanted peace and self-determination, and Michael Collins, the de facto head of the guerrilla army, who was much more determined to have independence.
Notably missing was Eamon de Valera, who was head of the Irish government insofar as it existed. He had named his arch-rival Collins, who didn't want the job, but was unwilling to go himself. Tim Pat Coogan, in _Michael Collins_, p. 228, says that that was the "worst single decision of de Valera's life, for himself and for Ireland." (And that, frankly, is saying a lot, because de Valera made quite a few irrational choices.)
The negotiators were stuck ended up with divided opinions and no real list of demands. (According to Coogan, p. 230, de Valera eventually admitted to deliberately creating a delegation he expected to deadlock: Griffith the moderate, Collins the fire-breather who was nonetheless a realist, Erskine Childers the extremist.) In the end, the deal they worked out involved withdrawal of British forces from Ireland, and complete internal self-government; the only limitations were in defence and external affairs, and those very limited. They also got their way on trade relations with England.
It was a great deal by rational standards. But not by de Valera standards. The Treaty contained two objectionable provisions: Ulster was given the right to remain British (a boundary commission was promised, but it never did its work; the British refused to set it up with Ireland in conflict, and other attempts to a solution were halted by intransigence either in Dublin or Ulster; in any case, Lloyd George had made irreconcileable informal promises about it to the Ulster and Nationalist Irish), and Ireland was to become a Dominion, with internal autonomy but still formally under the British crown.
For more on the evolution of this problem, see especially "A Loyal Song Against Home Rule."
Robert Kee, in _Ourselves Alone_, being volume III of _The Green Flag_, pp. 156-157, defines the internal Irish problem pretty well, in my view: As long as there was no serious hope of an Irish republic, the rebels (Fenians, Irish Revolutionary Brotherhood, Volunteers) didn't have to resolve their differences. Now, though....
"There had always been moderates and extremists in the movement though the difference had been fairly efficiently concealed. More important: there had always been realists and fantasists and this difference was now revealed clearly for the first time as some of the toughest of the extremists in the past -- Commandants of the IRA like MacEoin, of Ballinalee, and Mulcahy the Chief of Staff -- followed Collins, the toughest of them all, in support of the Treaty." He notes, sadly, that it was the often the widows and family who were the worst fantasists: The mother of Padraic Pearse, the widow of Tom Clarke, the sister of Terence MacSwiney.
The Ulster question was an ironic one in that the compromise it produced sounded good and was unworkable. The Ulster Unionists had initially wanted all nine counties of Ulster; had they had their way, Ireland might well be united now (if still highly uncomfortable), because Ulster would have had a Catholic majority. On the other hand, some of the British, including Winston Churchill, had been willing to give away Ulster (see, e.g., Coogan, p. 334); they knew it would bring more trouble than it was worth. But they couldn't simply hand Ulster to the Irish; parliament wouldn't stand for it and the Ulster Unionists would fight (Randolph Churchill said, "Ulster will fight; Ulster will be right").
The temporary compromise -- a six county Ulster still part of Britain -- might have been adjusted had Ireland been organized enough for further negotiations (a boundary commission, religious protections, some self-government). Or Michael Collins, who had had thoughts of conquering Ulster, might have pulled another rabbit out of his hat. But Collins died, the Irish Civil War came, and further negotiations had to wait until after Ulster Protestants and Catholics had hunkered down and come to hate each other.
In the interim, the British has insisted on maintaining Ulster as a six-county unit (rather than ceding the two Catholic counties while retaining the four Protestant areas). Even so, Ulster actually was a safer place for both Catholics and Protestants during the twenty years after the Treaty was accepted than was the Irish Republic. In any case, Britain and the provisional Irish government were both willing to try to solve Ulster; this was not the final cause of Ireland's war.
The worst of it was, if Ireland had not descended into war, the problem might have solved itself. The boundary commission, if done properly, would have left Ulster with only about four and a half counties -- and would quite possible have split off (London)derry, the second city of the province. Nearly everyone agreed that this rump would be economically unviable (indeed, a lot of people thought the six counties unviable); they would be forced in time to turn to Ireland. That question was never to be resolved.
The idea of Dominion status, and the loyalty to the crown it required, proved the bigger sticking point at the time; de Valera was only one of many who refused to acknowledge any ties to Britain (de Valera in fact resigned his Presidency). It was only words -- they were supposed to pledge fealty to the King, but they didn't have to *act* on that fealty -- but, to the Irish radicals, they were fighting words.
Kee, p. 150, says that the real problem in the negotiations with Britain was that the issues of Crown and Partition somehow came to be linked, which forced the outcome as it came out. His opinion is that, with more "give" on each side, Ireland could have been more strongly linked to the crown while being kept united. For the majority of the Irish people, this would probably have been a better solution. It's less clear that it would have satisfied the radical nationalists.
Given the course the negotiations had taked, the commissioners insisted (probably rightly; Lloyd George's government, after all the disasters it had faced, was shaky) that the deal they brought home was the most Britain would offer, and on January 7, 1922 the Irish Dail voted (by 64 votes to 57) to accept the treaty. The population was almost certainly much more heavily in favor, since opponents of Sinn Fein generally had not dared to run in the election which had created this Dail.
If there were defects in the Treaty, one may lay much of the blame on the Irish government. It gave its negotiators plenipotentiary powers, but never told them what to ask for, and then tried to change the results. De Valera's conduct was particularly suspect -- he had hinted that he would accept dominion status, but when the commissioners came back with something that was essentially that, he condemned it out of hand.
The result was a civil war which lasted until 1923. It took two new constitutions, a split within Sinn Fein, the founding of the Fianna Fail and Sine Gael parties, sundry assassinations (including that of Collins), and many restrictive government measures to bring political stability to Ireland.
This even though the people clearly supported the Treaty and the Free State; they wanted an end to war. (Kee makes the valid point, p. 158, that the IRB and other militants hadn't paid any attention to the people's wishes until that point; there was no logical reason why they should start now.) Calton Younger (_Ireland's Civil War_, pp. 313-314) gives vote totals for the election which follows (which was largely a referendum on the treaty): "pro-Treaty panel candidates gained 239,193 votes of a total of 620,283 votes cast [39%]; anti-treaty panel candidates... polled 133,864 [22%]; and Labour, Independents and Farmers won between them 247,226 votes [40%]."
Coogan, p. 329, notes that this election cost both the de Valera and Collins factions in parliament, but the former much more heavily: "Certainly the result was a severe blow to the de Valera faction which held only thirty-six seats, a loss of twenty-two. The Collins/Griffith party won fifty-eight seats, a loss of eight, but which taken with the pro-Treaty Labour Party's seventeen seats, the Farmers' Party's seven, the six independents, and the four Unionists represented a solid pro-Treaty majority."
Still, the government that was elected was fragile, and there had already been some shooting. It would get worse.
"King George and Queen Mary" are, of course, George V of England and his wife Mary of Teck, to whom, under the Treaty, the Irish still owed technical allegiance.
The term "Free State" is an interesting one. The Irish were pushing for the establishment of the "Saorstat Eireann." That's usually translated as the "Republic of Ireland," and of course the more vehement Irish nationalists called themselves "Republicans."
The British, however, proposed to translate it as "Free State" (see Coogan, p. 263). This little bit of wordplay solved a major problem on the British side while technically giving the Irish what they wanted. At least, what the Irish-speaking ones wanted. Evidently not all that the Anglophones (which were, of course, all of them) wanted.
Although Galvin lists no author for this piece, it definitely looks contemporary with the events described; it appears that someone is putting words in the mouth of either Collins or Griffith. - RBW
File: PGa071
===
NAME: Irish Girl, The
DESCRIPTION: (The singer meets a girl by the river, lamenting her love gone to America). (She describes the pain of love.) (She) wishes she were far away with her love, or were a butterfly or a nightingale or a rose to be with her lover
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(2654))
KEYWORDS: love separation bird loneliness floatingverses
FOUND_IN: Ireland Britain US(Ap,MW,SE,So) Canada(Mar,Newf)
REFERENCES: (16 citations)
Belden, pp. 292-293, "The Irish Girl" (3 texts)
SHenry H711, pp. 234-235, "The Manchester Angel" (1 text, 1 tune -- a fragment with no beginning)
OLochlainn-More 2, "The New Irish Girl" (1 text, 1 tune)
BrownII 131, "The Irish Girl" (1 text)
Davis-Ballads 21, "The Lass of Roch Royal" (The "F" text in the appendix appears to be this, though heavily mixed with floating stanzas)
SharpAp 180, "The Irish Girl" (1 text plus 2 fragments, 3 tunes, but the "A" text is "Handsome Molly"; "B" and "C" are single-verse fragments which may or may not be this song)
Sharp/Karpeles-80E 44, "The Irish Girl" (1 text, 1 tune, a confused and conflate mix of this song and "Farewell Ballymoney (Loving Hannah; Lovely Molly)")
Dean, p. 109, "Molly Bawn" (1 short text)
Greenleaf/Mansfield 98, "The Lament" (1 text)
Creighton/Senior, pp. 195-198, "Pretty Polly" (2 texts, 2 tunes, even more infected by floating material than most songs of this group, but it appears to be this piece)
Creighton-NovaScotia 81, "My Irish Polly" (1 text, 1 tune, a long but very confused and mixed version)
Creighton-Maritime, p. 46, "Ruby Were Her Lips" (1 text, 1 tune)
OConor, p. 15, "The Irish Girl" (1 text)
Green-Miner, p. 230, "The Irish Girl" (1 text)
DT, IRISHGRL* IRISHGR2*
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 47,"The Irish Girl" (1 text, 1 tune)
Roud #454
RECORDINGS:
Robert Cinnamond, "I Wish My Love Was a Red Rose" (on IRRCinnamond02)
James McDermott, "Let the Wind Blow High or Low" (on IRHardySons)
Walter Pardon, "Let the Wind Blow High or Low" (on Voice10)
BROADSIDES:
Bodleian, Harding B 11(2654), "The New Irish Girl," J. Pitts (London), 1819-1844; also Harding B 25(1341), "The New Irish Girl" 
LOCSinging, as106240, "The Irish Girl," J. Andrews (New York), 1853-1859; also as106250, "The Irish Girl" 
Murray, Mu23-y1:025, "The Irish Girl," James Lindsay Jr. (Glasgow), 19C 
NLScotland, L.C.Fol.178.A.2(065), "The Irish Girl," James Lindsay (Glasgow), c.1875
CROSS_REFERENCES:
cf. "Farewell Ballymoney (Loving Hannah; Lovely Molly)" (floating lyrics)
cf. "Buddy Won't You Roll Down the Line" (lyrics)
cf. "Bonny Tavern Green" (floating lyrics)
cf. "Lover's Resolution" (floating lyrics)
ALTERNATE_TITLES:
I Wish I Were Yon Red, Red Rose
The Blue Cuckoo (the singer's name on IRHardySons)
NOTES: This mostly-lyric piece easily degrades and easily mixes. Sedley and Sharp both had versions which mixed with "Farewell Ballymoney (Loving Hannah; Lovely Molly)"; it appears that Roud lumps them. Sharp compounded the problem by tacking on verses from another version. And because the song is so lyric, it often loses parts (e.g. the Henry text has lost the first verses which describe the whole motivation). What tends to survive is the handful of "I wish I were" lyrics, e.g.
I wish I were a butterfly, I would light on my love's breast.
I wish I were a linnet, I would sing my love to rest.
I wish I were a nightingale, I'd sit and sing so clear,
I wish I were a red, red rose... and (he) to be the gardener.
Based on the contents, this could well be a degenerate fragment of "Erin's Flowery Vale (The Irish Girl's Lament)" [Laws O29]; at least some versions of this scattershot song seem to presuppose the situation described in that. But Laws ignores all the various versions of this song he should have known (e.g. Sharp, Belden, Brown). It must therefore be assumed that he either separates them or that he thinks these versions too lyric to include in his list. In any case, we've separated them. - RBW
Some clarity is provided for this confusing song by the LOCSinging broadsides as106250 and as106250. Their description, omitting floating verses and floating themes, is: The singer meets an expensively dressed Irish girl, crying and tearing her hair. Her lover has left and she won't follow. The lover says "I was of some noble blood and she of low degree." Her lover still loves her.
All of the broadsides I have seen include the floating verse "I wish I was in Dublin town [or Manchester, or Monaghan], and sitting on the grass, With a bottle of whiskey in my hand and on my knee a lass, We'd call for liquors merrily, pay before we go, And fold thee in my arms let the winds blow high or low."
Among the floating verses is this by Walter Pardon on Voice10, connecting to "The Manchester Angel" version:
I wish I were in Manchester, a-sitting on the grass
With a bottle of whisky in my hand and upon my knee a lass.
Also collected and sung by David Hammond, "The Irish Girl" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)).
Broadside LOCSinging as106240: 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: HHH711
===
NAME: Irish Girl's Lament, The: see Erin's Flowery Vale (The Irish Girl's Lament) [Laws O29] (File: LO29)
===
NAME: Irish Girl's Opinion, An
DESCRIPTION: "An Irish girl, and proud of it, a word I'd like to say... Paddy fights for England.... Then give to him old Ireland." No longer are Irishmen hung for wearing of the green, thanks to Dan O'Connell.
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: Ireland nonballad patriotic
HISTORICAL_REFERENCES: 1775-1847 - Life of Daniel O'Connell
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 66, "An Irish Girl's Opinion" (1 text)
BROADSIDES:
Bodleian, Harding B 11(2942), "An Irish Girl's Opinion", unknown, n.d.
CROSS_REFERENCES:
cf. "Daniel O'Connell (I)"  (subject: Daniel O'Connell) and references there
File: OCon066
===
NAME: Irish Harvestmen's Triumph, The
DESCRIPTION: Irishmen that "reap the English harvest" should be prepared to fight "with John Bull and his crew." Irish harvestmen beat some Englishmen and go to look for work. At a railway line they fight navvies and beat them with bricks, stones, scythes, and hooks.
AUTHOR: unknown
EARLIEST_DATE: c.1860 (Zimmermann)
KEYWORDS: fight harvest drink England Ireland patriotic
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (2 citations)
Zimmermann 66, "A New Song on the Irish Harvest Men's Triumph Over the English" (2 texts, 1 tune)
Creighton-SNewBrunswick 104, "John Bull and His Crew" (1 fragment, 1 tune)
Roud #13468
BROADSIDES:
Bodleian, Johnson Ballads 2235a, "The Irish Harvests Triumph Over the English ," P. Brereton (Dublin), c.1867; also 2806 c.8(223), "The Irish Harvestmen's Triumph" [title spelled "Thriump"]
CROSS_REFERENCES:
cf. "The Boys of Old Erin the Green" (subject)
NOTES: Zimmermann's variant last verse and other comment identifying the "holy priest" as Father Maguire are both illustrated by Bodleian broadside 2806 c.8(223).
The navvies were British railway workers [see Coleman, Terry _The Railway Navvies:A History of the Men Who Made the Railways_ (BCA, 1972)] 
Zimmermann guesses at the tune: "The final words of the last stanzas suggest "The Shamrock Shore," Joyce, No. 415." Creighton's tune, with an Angelo Dornan fragment, is probably a better bet. - BS
The name "John Bull" as a symbol for England or the English comes from John Arbuthnot's 1712 satire _The History of John Bull_, and does not represent a real person. (It's interesting to note that "The Roast Beef of Old England" by Richard Leveridge [c. 1670-1758] was an anthem of the Royal Navy.)
Dornan's fragment ("Be sure you're well provided for With comrades stout and true, For you'll have to fight both day and night With John Bull and his crew") initially made me think of a navy song -- a boast to the French, perhaps, during the Napoleonic Wars. Which just shows how hard it can be to identify what songs are about. - RBW
File: CrSNB104
===
NAME: Irish Jaunting Car, The
DESCRIPTION: "Oh, my name is Larry Doolin, IÕm a native of the soil." The singer offers a day's diversion in his red-and-green jaunting car. He claims the Queen enjoyed his car, and the Lord Lieutenant recommended it. Others have enjoyed it a well
AUTHOR: unknown
EARLIEST_DATE: 1884 (Universal Irish Songster)
KEYWORDS: royalty travel
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 115-116, "The Irish Jaunting Car" (1 text)
Roud #5497
CROSS_REFERENCES:
cf. "The Bonnie Blue Flag" (tune & meter) and references there
NOTES: Not to be confused with Sam Henry's "My Irish Jaunting Car (The Irish Boy)."
Although I have not (yet) found a copy of this reliably dated before 1884, it must be older, since Harry McCarthy used the tune for "The Bonnie Blue Flag." - RBW
File: Dean115B
===
NAME: Irish Jubilee, The
DESCRIPTION: "A short while ago An Irishman named Doherty Was elected to the Senate By a very large majority." This is cause for a tremendous party, described in loving and silly detail, e.g. those invited included "Old men, young men, Girls who were not men at all."
AUTHOR: Words: James Thornton / Music: Charles Lawler
EARLIEST_DATE: 1890 (sheet music)
KEYWORDS: party humorous political
FOUND_IN: US(So) Canada(Mar) Ireland
REFERENCES: (5 citations)
Randolph 472, "The Irish Jubilee" (1 text, 1 tune)
Randolph/Cohen, pp. 363-366, "The Irish Jubilee" (1 text, 1 tune -- Randolph's 472)
Ives-DullCare, pp. 160-162,247, "Irish Jubilee" (1 text, 2 tunes)
Spaeth-WeepMore, pp. 225-228, "The Irish Jubilee" (1 text, 1 tune)
Morton-Ulster 49, "The Irish Jubilee" (1 text, 1 tune)
Roud #2916
CROSS_REFERENCES:
cf. "Auld Lang Syne" (tune for final half-verse)
cf. "The Kelligrews Soiree"
cf. "O'Dooley's First Five O'Clock Tea" (theme)
File: R472
===
NAME: Irish Laborer, An
DESCRIPTION: Singer is an Irish laborer, willing to work but told "No Irish wanted here". He retains his pride, praising the Irish for their generosity and their willingness to fight for America. He asks Americans to welcome the Irish.
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: emigration discrimination Ireland nonballad
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Beck 84, "An Irish Laborer" (1 text)
Creighton-NovaScotia 123, "Irish Labourer" (1 text, 1 tune)
DT, IRSHLABR*
Roud #1137
CROSS_REFERENCES:
cf. "No Irish Need Apply" (subject)
cf. "The Honest Irish Lad" (subject)
cf. "There Is Na Luck About the House" (tune)
NOTES: The potato famine of 1845 brought millions of Irish emigrants to America; they were often resented by nativists and segments of the American labor movement.
This is clearly related to "No Irish Need Apply," sharing a few lines, but as it consists mostly of praise and exhortations, and lacks the narrative of that song, I've classified it separately. - PJS
File: Be084
===
NAME: Irish Mail Robber, The [Laws L15]
DESCRIPTION: The Irish youth turns bad despite his father's warnings. To support his wild habits, he turns to crime and is at last convicted of mail robbery. He is sentenced to transportation for nine years, forcing him to leave his father and sweetheart
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: father crime robbery separation transportation punishment
FOUND_IN: US(NE,So)
REFERENCES: (4 citations)
Laws L15, "The Irish Mail Robber"
Randolph 164, "A Prisoner for Life" (4 texts, 3 tunes, but only the "A" text is this piece)
DT 424, IRSHMAIL*
Randolph/Cohen, pp. 76-77, "A Prisoner for Life" (1 text, 1 tune -- Randolph's 164A)
Roud #1905
File: LL15
===
NAME: Irish Molly-O: see My Irish Molly-O (File: FSC062)
===
NAME: Irish Molly, O: see My Irish Molly-O (File: FSC062)
===
NAME: Irish Mother's Lament, An
DESCRIPTION: The Irish mother nurses her child and laments for her dead husband, "Won't you come back to your fond wife's arms? Have you no care for your sweet babe's charms?" She says she has no friends and no hope; "Cushla mavourneen, why did you die?"
AUTHOR: unknown
EARLIEST_DATE: 1935 (Sam Henry collection)
KEYWORDS: love death children father mother abandonment mourning
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H600, pp. 140-141, "An Irish Mother's Lament" (1 text, 1 tune)
Roud #9448
File: HHH600
===
NAME: Irish Patriot, The
DESCRIPTION: "On Africa's burning shore" an old Irishman says an English lord killed his wife and baby because he would not join the rebels. In the army in Africa, he kills the lord and hides. The singer takes the old man home; he is buried near his wife and baby
AUTHOR: unknown
EARLIEST_DATE: 1957 (Beck)
KEYWORDS: age murder revenge return escape help Africa Ireland patriotic soldier baby wife
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
Dibblee/Dibblee, pp. 90-91, "The Irish Emigrant" (1 text, 1 tune)
Ives-NewBrunswick, pp. 142-144, "The Irish Patriot" (1 text, 1 tune)
Roud #12486
NOTES: The singer considers the old man "a true [Irish] patriot" although his crime was killing an English lord who wanted him to "join the rebel horde." I suspect that a broadside source for this ballad might have a different story.
Ives-NewBrunswick begins "As I strayed below those lofty paths on India's burning shore, A-listening to a tiger's howl or a savage lion's roar." India, rather than Africa [see Dibblee/Dibblee], is the place to find tigers. On the other hand, even Ives-NewBrunswick has the action taking place in Africa: "And to fulfill the oath I took I revenged on him to be, I sailed in that same ship with him to the coast of Cape Colony. When I arrived at Capetown, I was chosen for to be Lieutenant in the army, his lone bodyguard to be." Ives-NewBrunswick makes more sense with the problem coming up when "that cruel rebellion came and we were forced to go To fight for home and liberty with a [hated Saxon foe]." However, the []-bracketed words were inserted by Ives.
Ives says that this song "doesn't show up much (only twice, in fact) in published collections, [but] is very much a part of the old lumbercamp tradition." Ives's two other sources are Edward D Ives, _Folksongs from Maine_, 1965, 18, "The Irish Patriot" (collected 1962) and Horace P Beck, _The Folklore of Maine_, 1957, pp 93-95. Ives notes "that the song seems to have been reasonably popular in the lumbercamps" (p. 81). [Ives apparently did not know] Dibblee/Dibblee.
Re "tigers" in Africa: From Captain James Riley, _Sufferings in Africa_, 2000 edition of book published in 1817, an account of the ordeal of Riley and his crew in North Africa in 1815: "... near watering places: some tigers also now and then made their appearance. Such is the great western desart, or Zahahrah...." p. 298. Is Captain Riley referring to leopards or other desert cats? Is "tiger" a generic term for "dangerous cat"? If so, how common was that usage? - BS
"Tiger" did indeed originally mean, broadly speaking, any big feline that isn't a lion. The word originated in Greek ("tigris,"), and seems to have come into use only around the time of Alexander (e.g. Aristotle uses it); it is possible that the first actual tiger to be seen in Europe was sent by Alexander's successors. This word then passed through Latin to Old French to English. There was apparently a time when leopards were thought to be hybrids of lions and something else, so "tiger" was the word for a non-lion bred in captivity. It does seem as if its use in this song is anachronistic. On the other hand, lions and tigers can interbreed (to produce ligers and tigrons).... - RBW
File: Dib090
===
NAME: Irish Peasant Girl, The
DESCRIPTION: Singer thinks about widow Brown's daughter. She crosses the Atlantic to send money home. Her dying wish is that a letter be written to her mother and brother at home. Singer in Ireland thinks of "the lily of the mountain furze that withers far away" 
AUTHOR: probably Charles Joseph Kickham (1825-1882)
EARLIEST_DATE: 1888 (Sparling)
KEYWORDS: emigration dying hardtimes Ireland separation money
FOUND_IN: Ireland
REFERENCES: (2 citations)
O'Conor, p. 126, "The Irish Peasant Girl" (1 text)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 261-262, 502, "The Irish Peasant Girl"
Roud #5687
RECORDINGS:
Tommy McGrath, "She Lived Beside the Anner" (on Voice04)
NOTES: O'Conor has the author as John Banim (1798-1842), who wrote "Aileen," "Soggarth Aroon," "The Reconciliation," "The Irish Maiden's Song," and "The Irish Mother in the Penal Days." Sparling makes Kickham the author and is supported in that by the article "Charles Joseph Kickham" at the New Advent site _Catholic Encyclopedia_. The first line is "She lived beside the Anner at the foot of Slievenamon"; _Catholic Encyclopedia_ notes that the same was true of Kickham. - BS
Colum's _An Anthology of Irish Verse_ also credits it to Kickham. For more on him, see the notes to "Patrick Sheehan" [Laws J11]. - RBW
File: RcTIrPGi
===
NAME: Irish Rebel Spy, The
DESCRIPTION: "In the city of Mialco, near the county of Leone There lived a comely maiden ... And the proper name she goes by is the Irish Rebel Spy." Her brother and true love die as Fenians. She outwits detectives, steals a horse, and warns the Fenians.
AUTHOR: unknown
EARLIEST_DATE: 1958 (Manny/Wilson)
KEYWORDS: rebellion trick Ireland patriotic
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 76, "The Irish Rebel Spy" (1 text, 1 tune)
ST MaWi076 (Partial)
Roud #9178
NOTES: I have no idea what the names of city and county, in the first line, should be. Roud quotes a first line from a Fowke sound recording as "In the county of Malonta(?) in the city of Malone." - BS
Since a song approving of the Fenians is unlikely to have originated in Canada (the Fenians, after all, wanted to attack Canada!), we must assume the song is of Irish origin. There is no Irish county with no name anything like either Leone or Malone. My wild, wild guess is that the name is an error for "Athlone" -- not a county, but a well-known city, and one in the county of Roscommon, which isn't very singable.
The other name defeats me. Not too far from Athlone, but in Westmeath, is the town of Moate; I can't come up with anything closer. But I don't really believe it.
The other possibility would be to make the county "Mayo." In that case, the best emendation I can come up with is "In the city of Ballina in the county of Mayo." In this case, the song might be connected, somehow, with the activities of Michael Davitt (1846-1905), whose family  had been evicted from their home in Mayo in 1852. Having lost an arm in a factory accident, and brutally treated as a prisoner, he returned to Mayo in 1879, and was in prison again by 1881. But he doesn't fit the song very well. More likely it arises from the Fenian uprising (read: fiasco) of 1867.
The one historical figure we can identify with certainty is James Stephens (1824-1901), a participant in the rebellion of 1848 and the founder of the Fenians in 1858, for whom see "James Stephens, the Gallant Fenian Boy." But he abandoned the movement in 1866, shortly before the Fenian rebellion. He was treated with scorn thereafter.
All in all, a very confusing, and confused, piece, this. - RBW
File: MaWi076
===
NAME: Irish Recruit, The: see The Kerry Recruit [Laws J8] (File: LJ08)
===
NAME: Irish Refugee, The (Poor Pat Must Emigrate)
DESCRIPTION: Leaving Ireland. "We have fought for England's queen ... why should we be so oppressed?" I'm going to America "for there is bread." "If ever again I see this land I hope it will be with a Fenian band, So God be with old Ireland, poor Pat must emigrate!"
AUTHOR: unknown
EARLIEST_DATE: before 1884 (broadside, Bodleian Harding B 11(3100))
KEYWORDS: emigration hardtimes America Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 53, "The Irish Refugee" (1 text); pp. 106-107, "Poor Pat Must Emigrate" (1 text)
Roud #2558
BROADSIDES:
Bodleian, Harding B 11(3100), "Poor Pat Must Emigrate", H. Disley (London), 1860-1883; also Harding B 11(3101), Harding B 11(3102), "Pat Must Emigrate"; 2806 b.10(79), Harding B 26(515), "Poor Pat Must Emigrate"; Harding B 18(297), "The Irish Refugee" or "Poor Pat Must Emigrate"; Harding B 19(78), "Irish Patt Must Emigrate "
SAME_TUNE:
Podgee and Rhu [i.e. Paudeen Rhu] (per broadside Bodleian Harding B 18(297))
Apple Potatoes (per broadside Bodleian Harding B 19(78))
Apple Praties (per broadside Bodleian Harding B 26(515))
NOTES: The famine year of 1848 is sometimes stated as 1854.
As for the tune it may be that there are a number of songs on "the latest travels of the raking Paudheen Rhu." - BS
File: OCon053
===
NAME: Irish Rover, The
DESCRIPTION: "In the year of our Lord eighteen hundred and six We set sail from the coal quay of Cork." The ship, with too many masts, too strange a crew, and too unusual a cargo, sinks on its own improbabilities; only the singer is left to tell the tall tale
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: sailor ship talltale humorous disaster wreck
FOUND_IN: 
REFERENCES: (1 citation)
DT, IRSHROVR*
Roud #4379
CROSS_REFERENCES:
cf. "Katey of Lochgoil" (theme)
File: DTirshro
===
NAME: Irish Sailor Boy, The
DESCRIPTION: "'My parents raised me tenderly, I being their only joy, When my first stroll I took to roam,' Cried the Irish sailor b'y"  The captain and eleven of a crew of twenty four survive a ship wreck and land in St Peter's, Newfoundland
AUTHOR: unknown
EARLIEST_DATE: 1920 (Greenleaf/Mansfield)
KEYWORDS: drowning sea ship wreck sailor disaster death
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 128, "The Irish Sailor Boy" (1 text, 1 tune)
Roud #6347
File: GrMa128
===
NAME: Irish Serenade, An: see Oh Molly, I Can't Say That You're Honest (File: HHH082)
===
NAME: Irish Shore, The
DESCRIPTION: The singer wasted his youth on gambling and fast women. In London he spent his money on women and went to China. Now he is going home. "My rambling's oer, I'll hae a wife.... by pious works of sweet contemplation I'll end my days on the Highland shore"
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian Harding B 28(69))
KEYWORDS: sex rambling return gambling China
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 534, "The Highland Shore" (2 texts, 1 tune)
Roud #5897
BROADSIDES:
Bodleian, Harding B 28(69)[some words illegible], "The Irish Shore" ("You curious searchers of each narration"), W. Armstrong (Liverpool), 1820-1824; also 2806 b.10(180), "Irish Shore"; Harding B 17(280a), 2806 b.10(211), Harding B 25(1756), Harding B 11(3471), Harding B 11(246), Harding B 11(247), Harding B 11(560), Harding B 11(561), 2806 c.18(283), "[The] Shamrock Shore"
ALTERNATE_TITLES:
Ye Curious Sages
NOTES: This singer blames all his misfortunes on women. In his youth "women's pleasures I freely tasted Which makes me wander thro' foreign clime." In London he sees "madams and crowds of lasses ... But do believe me their painted faces Are to ensnare us poor wanton slaves They hae nae love in their lewd embraces And we're all fools to their jilting ways." He condemns women of every country he has seen: "your gaudy dresses I do despise ... Wi' your surly looks and your greasy faces." - BS
File: GrD3534
===
NAME: Irish Sixty-Ninth, The
DESCRIPTION: A song telling the story of the 69th regiment, "The Irish Sixty-Ninth." The training of the regiment is described, then its long career in the Peninsula, at Antietam, Fair Oaks, Glendale, and perhaps Gettysburg
AUTHOR: unknown
EARLIEST_DATE: 1941 (recorded from John Galusha)
KEYWORDS: Civilwar soldier
FOUND_IN: US(MA)
REFERENCES: (2 citations)
Warner 14, "The Irish Sixty-Ninth" (1 text, 1 tune)
Spaeth-WeepMore, pp. 175-176, "The Gallant 69th" (1 text, 1 tune)
ST Wa014 (Full)
Roud #7455
RECORDINGS:
"Yankee" John Galusha, "The Irish 69th" [excerpt] (on USWarnerColl01)
NOTES: Determining which regiment this song is about takes some research. The very name "The Irish Sixty-Ninth" immediately brings to mind the 69th New York regiment, a famous unit of the equally famous "Irish Brigade" that saw service through the entire Civil War. (For more about that unit, see the notes to "By the Hush.")
However, the unit in the song is said to have been commanded by "Colonel Owens," and the song refers several times to Philadelphia. Thus the 69th NY is not meant; we must look to the 69th Pennsylvania.
This regiment is not famous (and it certainly didn't suffer the extreme -- 90% -- casualties faced by the 69th NY), but it was mustered in in August 1861 (as in the song; the 69th NY mustered in in September) and its original commander was Col. (later Brig. Gen.) Joshua T. Owen. It is reported to have been mostly Irish. And it was a Philadelphia regiment -- in fact it was a member of what later came to be called the "Philadelphia Brigade."
The 69th PA fought in most of the battles in the east, starting with the 1861 fiasco at Ball's Bluff, and was one of the regiments that received Pickett's Charge on July 3, 1863 at Gettysburg (possibly referred to in stanza 6, though this could refer to the Battle of Fair Oaks).
If there were only one version of this song, I might suggest that the name "Irish Sixty-Ninth" arose by confusion out of the World War I regiment with that nickname, in which Joyce Kilmer ("I think that I shall never see A poem as lovely as a tree") served and died. However, with multiple versions, all clearly Civil War, this does not seem possible.
Among the other references in the song:
"Little Mac": Gen. George McClellan, who commanded the Army of the Potomac for most of 1862 and directed the Peninsula Campaign.
Fort Monroe: The starting point of the Peninsular Campaign. Yorktown: besieged in the Peninsula Campaign (Apr. 5-May 4, 1862).
Pickett's guns: possibly a reference to Gettysburg, but this would be out of sequence; I think it more likely to refer to the Battle of Fair Oaks/Seven Pines (first major battle of the Peninsula Campaign, May 31-June 1, 1862), where Pickett faced a heavy Union attack.
Antietam: battle fought in Maryland, Sept. 17, 1862.
Fair Oaks: an inexplicable reference. If it points to Fair Oaks/Seven Pines, mentioned above, it is out of sequence; if it refers to the Fair Oaks battle of October 1864, the 69th PA was not present and the results were in any case unfortunate for the Federals. Probably this is an errant reference to some part of the Peninsula campaign.
Glendale (also known as White Oak Swamp): one of the Seven Days' Battles, fought June 20, 1862 at the end of the Peninsula Campaign. The 69th PA had a prominent part in this battle.
Speath's song "The Gallant 69th," sung by Harrigan and Hart, has none of the historical references of the Warner song, and may be a separate piece (frankly, the two have nothing in common) -- but what are the odds of two Civil War songs about an Irish 69th regiment? Even if they are distinct, we might as well file them together. - RBW
File: Wa014
===
NAME: Irish Soldier and the English Lady, The: see One Morning in May (To Hear the Nightingale Sing) [Laws P14] (File: LP14)
===
NAME: Irish Soldier Boy, The: see The Faithful Sailor Boy [Laws K13] (File: LK13)
===
NAME: Irish Spree, The
DESCRIPTION: The boys and girls go to Patsy Murphy's restaurant. A fight starts followed by a fire. A policeman has his head split. Soldiers are called, 16 are dead: warrants are issued for murder and robbery. "I set sail for Australia in the morning"
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: violence murder drink fire police transportation
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 80, "The Irish Spree" (1 text)
BROADSIDES:
Bodleian, Harding B 11(1796), "The Irish Spree", unknown, n.d.; also Harding B 11(1979), "The Irish Spree"
File: OCon080
===
NAME: Irish Stranger, The
DESCRIPTION: "I ne'er shall return to Hibernia's bowers.... It grieves me to ponder On the wrongs of thy injured isle... America might yield me some shelter from pain, I'm only lamenting whilst here I remain For the joys that I'll never see more"
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(1240))
KEYWORDS: emigration hardtimes America Ireland nonballad patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
O'Conor, pp. 111-112, "The Irish Stranger" (1 text)
OLochlainn-More 59, "The Irish Stranger" (1 text, 1 tune)
Roud #1629?
BROADSIDES:
Bodleian, Harding B 11(1240), "Irish Stranger", J. Catnach (Durham), 1813-1838; also 2806 b.11(219), Harding B 16(334b), Harding B 11(1797), Harding B 11(1631), Harding B 11(1657), Harding B 11(1241), "[The] Irish Stranger"
NOTES: Bodleian, 2806 c.17(179),"Irish Stranger" or "Joys That Are Gone", W. Armstrong (Liverpool),1820-1824 may be the earliest for this ballad at Bodleian but is illegible. - BS
File: OCon111
===
NAME: Irish Wake, The [Laws Q18]
DESCRIPTION: Pat Malone, being "pressed for ready cash," decides to fake death to collect his life insurance. All goes well until the wake and funeral; he thinks they cost too much. At last, shortly before he is buried, realizing the consequences, he gives up the sham
AUTHOR: unknown
EARLIEST_DATE: 1893
KEYWORDS: death funeral trick
FOUND_IN: US(MA,So)
REFERENCES: (6 citations)
Laws Q18, "The Irish Wake"
Randolph 473, "The Irish Wake" (1 text plus an excerpt, 1 tune)
Randolph/Cohen, pp. 366-368, "The Irish Wake" (1 text, 1 tune -- Randolph's 473A)
FSCatskills 121, "Pat Malone" (1 text, 1 tune)
Darling-NAS, pp. 148-149, "Pat Malone" (1 text)
DT 529, PATFORGT*
Roud #1008
RECORDINGS:
Lawrence Older,  "Pat Malone" (on LOlder01)
Dan W. Quinn, "Pat Malone Forgot That He Was Dead" (CYL: Columbia Concert 5048, n.d.)
CROSS_REFERENCES:
cf. "Finnegan's Wake" [Laws Q17]
NOTES: Laws lists this among the ballads of British origin, but cites no references. Cohen speculates that it is actually an American stage song. Given that it's been collected only on this side of the water (as best I can tell, and the Roud list supports this), I strongly suspect he's right. - RBW
File: LQ18
===
NAME: Irish Wedding, The
DESCRIPTION: "Sure won't you hear what roaring cheer was spread at Paddy's wedding, O?" All the boys and girls are named, there is music, food, dancing and drink. No fights! "Decadorous we'll have, says Father Quipes." A grand time is had by all.
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: wedding humorous dancing drink food music party moniker
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, pp. 57-58, "The Irish Wedding" (1 text)
BROADSIDES:
Bodleian, Harding B 25(926), "The Irish Wedding", unknown, n.d. 
File: OCon057
===
NAME: Irishman (I), The
DESCRIPTION: The singer, a new emigrant wandering in New Jersey, comes across "an oasis" -- the home of an old Irishman. They stop and talk; the old man asks about all the places he left behind long ago
AUTHOR: James O'Kane
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: rambling emigration homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H712, pp. 221-222, "The Irishman" (1 text, 1 tune)
File: HHH712
===
NAME: Irishman (II), The
DESCRIPTION: "Who a friend or foe can meet So generous as an Irishman?" He is warm-hearted, honest, forgiving, generous, open, honorable and fearless. "If the field of fame be lost It won't be by an Irishman"
AUTHOR: James Orr
EARLIEST_DATE: before 1820 (broadside, Bodleian Johnson Ballads 871)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 119, "The Irishman" (1 text)
BROADSIDES:
Bodleian, Johnson Ballads 871, "The Irishman" ("The savage loves his native shore"), J. Pitts (London), 1802-1819; also Harding B 18(294), Harding B 16(115a), 2806 c.8(153), "The Irishman"
SAME_TUNE:
Vive La (broadside Bodleian 2806 c.8(153))
File: OCon119
===
NAME: Irishman, The
DESCRIPTION: An Irishman arrives in America and sees many new things. He thinks a ship's anchor is an axe for a giant. A parrot singing "God Save the Queen" makes him think it a person; he would kill it were it not wearing green. He tries to hatch a pumpkin. Etc.
AUTHOR: unknown
EARLIEST_DATE: 1970 (collected by Logsdon from Riley Neal)
KEYWORDS: humorous emigration bird
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 59, pp. 268-270, "The Irishman" (1 text, 1 tune)
Roud #10109
File: Loga059
===
NAME: Irishman's Christening, An
DESCRIPTION: The parson mistakenly christened the singer with whisky: "it made me a sot." At his marriage he pulls out whisky instead of the ring. Were he dead in the ground where "no whisky is found" would he "call out from his grave to be christened again?"
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: childbirth death drink humorous clergy
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 71-73, "An Irishman's Christening" (1 text)
ADDITIONAL: Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 270-271, "An Irishman's Christening"
File: CPS071
===
NAME: Irishman's Farewell to his Country, The (The Shamrock Shore IV)
DESCRIPTION: Farewell, dear Erin's native shore, For here I cannot stay." The singer is leaving for America. "As our ship she lies at anchor, boys, Now ready for to sail." He bids farewell to friends, parents, grandfather.
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: emigration farewell sea ship America Ireland nonballad friend family
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 88, "The Shamrock Shore" (1 text, 1 tune)
Roud #1455
RECORDINGS:
Margaret Barry and Michael Gorman, "Farewell, My Own Fair Native Land" (on Voice04)
BROADSIDES:
Bodleian, 2806 c.8(157), "The Irishman's Farewell to his Country," Haly (Cork), 19C; also 2806 c.8(121), "The Irishman's Farewell to his Country"; 2806 b.10(89), "The Irishman's Farewell to his Native Land"
File: OLcM088
===
NAME: Irishman's Goldmine, The
DESCRIPTION: An Irishman comes to Australia and to look for gold. He innocently trusts to a man who points to a "gold" patch. The Irish boy sets to digging as the ants swarm out onto his skin -- and start biting. He concludes that gold *is* the root of evil
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: gold bug Australia injury
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 276-277, "The Irishman's Goldmine" (1 text, 1 tune)
File: MA276A
===
NAME: Irishman's Lumber Song: see The Monkey Turned Barber [Laws Q14] (File: LQ14)
===
NAME: Irishman's Shanty
DESCRIPTION: "Did you ever hear of an Irishman's shanty Where water was scarce and whiskey was plenty? A two-legged stool and a table to match A stick in the door instead of a latch?"
AUTHOR: George W. Osborn
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb20211b)
KEYWORDS: poverty drink humorous nonballad
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (2 citations)
Greenleaf/Mansfield 109, "Irishman's Shanty" (1 fragment)
O'Conor, pp. 118-119, "The Irishman's Shanty" (1 text)
Roud #4838
BROADSIDES:
Bodleian, Harding B 18(295), "The Irishman's Shanty," H. De Marsan (New York), 1864-1878 [same as LOCSinging sb20211b]; also Harding B 18(296), "The Irishman's Shanty"
LOCSinging, sb20211b, "The Irishman's shanty," H. De Marsan (New York), 1864-1878 [same as Bodleian Harding B 18(295)]; also as106270, as106280, as201680, "The Irishman's shanty"
CROSS_REFERENCES:
cf. "The Irish Washerwoman" (tune and meter)
cf. "The Old Country Party" (tune)
NOTES: Broadsides LOCSinging sb20211b and Bodleian Harding B 18(295): 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: GrMa109
===
NAME: Irishtown Crew, The
DESCRIPTION: "On the first day of April, I'll never forget, / The Irishtown boys at Ratigan's met. / They filled up their glasses and swore solemnly / That that very day they'd go out on a spree!" The rest of the song is devoted to the participants and their antics
AUTHOR: unknown
EARLIEST_DATE: 1939 (Warner)
KEYWORDS: drink moniker
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Warner 15, "The Irishtown Crew" (1 text, 1 tune)
ST Wa015 (Partial)
Roud #7466
CROSS_REFERENCES:
cf. "Campbell the Rover" (tune & meter)
File: Wa015
===
NAME: Iron Door, The [Laws M15]
DESCRIPTION: When the rich girl falls in love with a poor boy, her father locks her in a iron-doored prison. Her lover breaks in and sneaks her out (in men's clothing), but they meet her father. The boy prepares to die, but the father gives in
AUTHOR: unknown
EARLIEST_DATE: 1906
KEYWORDS: love prison escape mercy father
FOUND_IN: Britain(England(South,Lond)) Ireland Canada(Mar,Newf)
REFERENCES: (10 citations)
Laws M15, "The Iron Door"
Copper-SoBreeze, pp. 220-221, "Her Servant Man" (1 text, 1 tune)
SHenry H668, pp. 444-445, "Love Laughs at Locksmiths" (1 text, 1 tune)
OLochlainn-More 61, "The Young Serving Man" (1 text, 1 tune)
Tunney-SongsThunder, pp. 100-101, "Mary Ann" (1 text)
Kennedy 161, "The Iron Door" (1 text, 1 tune)
Peacock, pp. 590-591, "Since Love Can Enter an Iron Door" (1 text, 1 tune)
Creighton-NovaScotia 84, "Since Love Can Enter an Iron Door" (1 text, 1 tune)
Creighton-Maritime, p. 54, "Since Love Can Enter an Iron Door" (2 texts, 1 tune)
DT 580, IRONDOOR
Roud #539
CROSS_REFERENCES:
cf. "Locks and Bolts" [Laws M13] (theme)
cf. "The Gallant Shoemaker" (theme)
ALTERNATE_TITLES:
The Young Servant Man
The Daughter in the Dungeon
Since Love Can Enter an Iron Door
NOTES: I'm sure it's not related, but it's interesting to note that Johannes Gutenberg (yes, that Gutenberg) was once involved with a girl names Ennelin zur Yserin Thure (in modern German, Annalein zur Eiseren Tur, or Little Anna of the Iron Door). Ennelin, or her mother, was apparently after him for breach of promise of marriage. (Source: John Man, _Gutenberg_, pp. 57-59). - RBW
File: LM15
===
NAME: Iron Horse (I), The
DESCRIPTION: "Come Hielandman, come Lowlandman... I'll tell you how I got atween Dundee and Perth, man, I gaed upon an iron road -- a rail they did it ca'...." The singer tells of his ride, the conductor, the demand for a fare. He says he will use his feet hereafter
AUTHOR: Charles Balfour ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: train technology humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
MacColl-Shuttle, p. 19, "The iron horse" (1 text (conflate), 1 tune)
Ford-Vagabond, pp. 158-160, "The Iron Horse" (1 text)
GreigDuncan2 291, "The Iron Horse" (3 texts, 1 tune)
DT, IRONHORS*
Roud #5834
CROSS_REFERENCES:
cf. "The Greenock Railway" (theme: country folk ride the railroad)
NOTES: GreigDuncan2 quoting Kerr, _Kerr's "Cornkisters" (Bothy Ballads) as Sung and Recorded by Willie Kemp_ (Glasgow, 1950): "'The Iron Horse,' according to Ford, was written by Charles Balfour, for many years stationmaster at Glencarse between Dundee and Perth. It was first sung in public at a festival of railway servants held in Perth in 1848, and has since then attained wide popularity." - BS
Ford in fact knew Balfour, but his other attributions are sometimes so shaky that I'm putting a question mark on the claim of authorship. - RBW
File: FVS158
===
NAME: Iron Merrimac
DESCRIPTION: The Merrimac starts from Norfolk to "make an end of Yankee Doodle Dandy-O." After sinking the Cumberland, the Merrimac confronts the Monitor.
AUTHOR: unknown
EARLIEST_DATE: 1942 (recording, Judge Learned Hand)
KEYWORDS: battle Civilwar navy war ship
HISTORICAL_REFERENCES: March 8, 1862 - U.S. frigates Congress and Cumberland sunk by the CSS Virginia (formerly USS Merrimac). The Minnesota runs aground; had not the Monitor arrived the next day, the Merrimac would have sunk that ship also
FOUND_IN: US(MA)
REFERENCES: ()

Roud #4767
RECORDINGS:
Judge Learned Hand, "Iron Merrimac" (AFS, 1942; on LCTreas)
CROSS_REFERENCES:
cf. "The Constitution and the Guerriere" [Laws A6] (lyrics, structure, tune)
cf. "The Cumberland" [Laws A26] (subject)
cf. "The Cumberland Crew" [Laws A18] (subject)
NOTES: This song is a rewrite of "The Constituion and the Guerriere"; however, as it describes a different battle, with different ships, half a century later, I've given it a separate entry. - PJS
For the historical background on this battle, see the notes to "The Cumberland Crew" [Laws A18]. - RBW
File: RcIroMer
===
NAME: Iron Mountain Baby, The
DESCRIPTION: "I have a song I would like to sing, It's awful, and it's true, About a babe thrown from a train By a mother, I know not who." The injured child is found by Bill Helm, and cared for. The singer warns people to beware of judgment
AUTHOR: J. T. Barton
EARLIEST_DATE: 1909 (Belden); probably written 1902
KEYWORDS: train abandonment orphan
HISTORICAL_REFERENCES: Aug 14, 1902 - Discovery of the baby later to be known as William Moses Gould Helm
FOUND_IN: US(MW,So)
REFERENCES: (1 citation)
Belden, pp. 419-420, "The Iron Mountain Baby" (1 text)
Roud #4162
RECORDINGS:
 Johnny Iron, "Iron Mountain Baby Song" (Local Artists RC6-1B, n.d., prob. early 1950s)
CROSS_REFERENCES:
cf. "The Dying Preacher (Hick's Farewell)" (tune)
NOTES: Belden reports that J. T. Barton wrote this song to help support the infant it commemorates. One can but hope the parents were better at caring for children than was Barton at crafting lyrics.
Barton said that this piece was printed and sold, so there may be a broadsheet copy somewhere, but no one seems to have found one. It really is a lousy piece of poetry, as well as being obnoxiously moralizing; one suspects that it was preserved only by people who personally remembered the story or the sales pitch.
This is item dH43 in Laws's Appendix II. - RBW
File: Beld419
===
NAME: Iron Ore by 'Fifty-Four
DESCRIPTION: "Come, ladies and gentlemen, listen to me, I'll sing you a song of our north Counteree... Bound north to Ungava for rich iron ore In July, nineteen fifty-four." The building of a railroad into Labrador, and the four years of work involved, are described
AUTHOR: Words: Alan Mills
EARLIEST_DATE: 1960
KEYWORDS: work technology Canada
FOUND_IN: 
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 215-217, "'Iron Ore by Fifty-Four" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Red Iron Ore" [Laws D9] (tune)
File: FMB215
===
NAME: Iroquois Lullaby (Ho, Ho, Watanay)
DESCRIPTION: Iroquois: "Ho, ho, Watanay (x3), Ki-yo-ki-na, ki-yo-ki-na." Translation: "Sleep, sleep, little one (x3), Now go to sleep, now go to sleep."
AUTHOR: unknown (English translation by Alan Mills)
EARLIEST_DATE: 1955
KEYWORDS: Indians(Am) lullaby nonballad foreignlanguage
FOUND_IN: Canada(Queb)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 2-3, "An Iroquois Lullabye" (1 text, 1 tune)
ALTERNATE_TITLES:
Hey Hey Wataney
File: FMB002
===
NAME: Irrawaddy, The
DESCRIPTION: Fragment: "The curse upon Crossgadden, likewise his robbing crew; They robbed the Irrawaddy and the John R Skiddy, too"
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: sea ship wreck commerce theft shore
HISTORICAL_REFERENCES: Apr 1, 1850 - "... Captain Shipley the master of the _John R Skiddy_ ... sailed his vessel ashore on Glascarrick beach .... he described the locals as 'the most abandoned set of villains that he had encountered'. They pillaged the wreck and anything brought ashore in defiance of both coastguard and police" (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 49)
Oct 13, 1856 - "... the _Irrawady_ was wrecked opposite Cahore Point on the Blackwater Bank. A fleet of local fishing boats was organised by the local coast-guards and rescued the crew and passengers.... The teak from her hull was used to form the pews at Ballyragget Church" (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 69)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 127, "The Irrawaddy" (1 text)
CROSS_REFERENCES:
cf. "Mariposa" (theme)
cf. "The Teapots at the Fire" (theme)
cf. "The Middlesex Flora" (theme)
cf. "The Old Mayflower" (theme)
NOTES: Ranson: "The 'John R Skiddy' had 430 passengers aboard, all of whom were saved. When the 'Irrawaddy' ran aground ... between four hundred and five hundred people ... boarded the vessel and carried away a large quantity of goods from her.... The coast-guards, evidently, had a hand in the looting for Mr Crossgadden was a coast-guard."
It may be unusual on the Irish coast, but not elsewhere, for coastal inhabitants to consider the cargo and ship remains among wreckage to be a fair source of enrichment. See, for example, "The Old Mayflower" from Newfoundland and "Mariposa" from Labrador. On the other hand see Ranson's "The Middlesex Flora" for similar activity on the Wexford coast. - BS
File: Ran127
===
NAME: Irthing Water Hounds, The
DESCRIPTION: October 11, 1873, hounds from Irthing Water are on a fox hunt. Finally "the celebrated Mowdie" finds a fox in a hole. A terrier flushes Reynard and his trail flushes a vixen. Both foxes are killed. "Drink success to the Irthing lads"
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, Willie Scott)
KEYWORDS: death hunting animal dog
FOUND_IN: Britain(Scotland(Bord))
REFERENCES: ()

Roud #5692
RECORDINGS:
Willie Scott, "The Irthing Water Hounds" (on Voice18)
NOTES: River Irthing is in Northumberland. - BS
File: RcIrtWaH
===
NAME: Is It Really Worth the While?: see The Morning After (File: Dean131)
===
NAME: Is There for Honest Poverty: see A Man's A Man For A' That (File: FSWB297A)
===
NAME: Is Your Lamps Gone Out
DESCRIPTION: "Is your lamps gone out? (x2), Oh, what you going to do in Egypt When your lamps gone out?" "If you get there before I do, O what you going to do... When your lamps gone out?" "The tallest tree in paradise..." "The Christians call it the tree of life..."
AUTHOR: unknown
EARLIEST_DATE: 1933 (field recording, unknown artists)
KEYWORDS: religious nonballad floatingverses
FOUND_IN: US(MW,So)
REFERENCES: (1 citation)
MWheeler, pp. 75-77, "Is Yo' Lamps Gone Out" (1 text, 1 tune)
Roud #10025
RECORDINGS:
Art Thieme, "Is Your Lamps Gone Out?" (on Thieme06)
Unknown artists, "When Yo' Lamp's Gone Out" (AFS CYL-11-1, 1933)
CROSS_REFERENCES:
cf. "Wade in the Water" (floating lyrics) and references there
cf. "All My Trials" (lyrics)
cf. "Tell All the World, John" (lyrics)
cf. ""Michael, Row the Boat Ashore" (floating lyrics)
NOTES: Almost all of this, except the chorus "Oh, what you going to do in Egypt When your lamps gone out," is paralleled in "All My Trials," and also in "Tell All the World, John." It is not clear to me which inspired the others. - RBW
From the ... verse "Come on sister and follow me/I will show you the man who set me free," it has been theorized that this may have been an Underground Railroad song. I don't think so, but it's worth mentioning. Thieme also suggests that "Egypt" may be a reference to the area of southern Illinois near the confluence of the Ohio and Mississippi Rivers, known to boatmen as "Egypt" or "Little Egypt." The probable collection of this song in Texas makes that problematical.  - PJS
File: MWhee075
===
NAME: Isabeau S'y Promene (Isabel)
DESCRIPTION: French: Isabel goes walking by the sea side. She meets a sailor who sings sweetly to her. She joins him on his boat, but then grieves because she has lost her gold ring. He dives three times to try to find it; the third time he does not come up.
AUTHOR: unknown
EARLIEST_DATE: 1880 (E. Gagnon, Chansons Populaires du Canada)
KEYWORDS: courting ship death drowning ring foreignlanguage grief
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Hugill, pp. 515-517, "La Danae" (2 texts-French & English, 1 tune)
Scott-BoA, pp. 297-300, "Isabeau S'y Promene (Isabel)" (2 texts (1 French, 1 English), 1 tune)
DT, ISABEAU
ADDITIONAL: Edith Fowke and Richard Johnston, Chansons de Quebec (Folk Songs of Quebec), 1957, pp. 74-75, "Isabeau s'y Promene (One day Isabel Wandered)" (1 text, 1 tune)
RECORDINGS:
Pete Seeger, "Isabeau S'y Promeneau" (on PeteSeeger29)
NOTES: Reported by Scott to be sung in France, Quebec, and Louisiana, though his version is from New Brunswick. - RBW
File: SBoA297
===
NAME: Island Jacobite Song, An: see The Silver Whistle (File: K009)
===
NAME: Island Unknown, The
DESCRIPTION: Singer has led a reckless life; leaving home, he joins the US Navy. His ship is wrecked in a storm. The lone survivor, he makes his way to a desert island. Resigned to death, he writes his life story, hopes his body will be found, and bids farewell
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Eck Robertson)
LONG_DESCRIPTION: Singer says he has led a reckless life; leaving home, true love and parents, he joins the "jolly band" (of the US Navy). He sails, while they (and he) lament. After three weeks, his ship is wrecked in a storm. The lone survivor, he clings to wreckage, and makes his way to a desert island where no one has been before. Resigning himself to death, he writes his life story in a diary, and hopes his body will someday be found; he bids farewell to his loved ones
KEYWORDS: grief homesickness farewell parting separation travel death sea ship disaster storm wreck family lover sailor
FOUND_IN: US(So)
REFERENCES: ()

Roud #17557
RECORDINGS:
Eck Robertson & Family, "The Island Unknown - Parts 1 & 2" (Victor 40166, 1929; on ConstSor1)
CROSS_REFERENCES:
cf. "William and Harriet" [Laws M7] (some plot parallels)
NOTES: The parallel with "William and Harriet" is obvious: a desert island, starvation, death. But the circumstances of his leaving home are different, and he is traveling alone when shipwrecked rather than with his sweetheart. Those are enough differences for me to classify this as a separate ballad -- but see the cross-reference nonetheless. - PJS
File: RcIslUnk
===
NAME: Island(s) of Jamaica, The: see The Gallant Brigantine [Laws D25] (File: LD25)
===
NAME: Isle de France, The
DESCRIPTION: "Oh, the sun went down, and the moon advanced When the convict came to the Isle de France." The Irish convict was on his way home when a storm cast him ashore on the Isle. A letter from the queen sets the convict free
AUTHOR: unknown
EARLIEST_DATE: 1962 (Manifold; broadside printed probably c. 1890)
LONG_DESCRIPTION: A convict is shipwrecked on the Isle of France; he had been sentenced to seven years' transportation (for unruly behavior), and was on his way home when his ship, the "Shamrock Green," foundered. Cast up on the island, he is offered sustenance and comfort by the Coast Guard, who sends a sympathetic letter to the Queen. The convict is pardoned; he blesses the Coast Guard and wishes success to the Isle of France
KEYWORDS: royalty ship wreck rescue freedom transportation captivity crime punishment mercy pardon wreck Australia France prisoner
FOUND_IN: Australia Britain(England,Scotland)
REFERENCES: (2 citations)
MacSeegTrav 93, "The Isle of France" (1 text, 1 tune)
Manifold-PASB, pp. 24-25, "The Isle de France" (1 text, 1 tune)
Roud #1575
BROADSIDES:
NLScotland, L.C.1270(009), "The Isle of France," unknown, n.d.
NOTES: The Isle de France mentioned here is not the Parisian region of France (the old crownlands of the French king), but (in the Australian version; the British versions may refer to one of the Channel Islands) the island of Mauritius.
The island was originally colonized by the Dutch (from 1638; they discovered it in 1507), then taken over by the French in 1721. The British occupied it in 1810, and renamed it Mauritius at about the same time. It became an independent member of the Commonwealth in 1968.
Mauritius was not a true prison colony, but it was uninhabited when the Dutch occupied it. The French brought in slaves from Africa to grow sugar. The British abolished slavery in 1834, but this left them with a need for workers, whom they imported primarily from India. Thus Mauritius was sort of a guarded colony even though it was not a destination for prisoners.
Manifold believes the Queen of the song to be Victoria, making the "Isle de France" of the song an anacronism. But it is at least possible that a non-ruling queen could have expedited the convict's appeal.
Alternately, it occurs to me that Ile-de-France has been the name of a number of French ships. Perhaps the name is a corruption of a version in which the sailor was rescued by a ship called Ile-de-France? - RBW
Perhaps it's not surprising, given our field of study, that we lack the keyword "kindness," but that is without question the subject of this ballad. - PJS
File: PASB024
===
NAME: Isle of Doagh (I), The
DESCRIPTION: The singer is leaving Isle of Doagh "to taste the cup of freedom in Americay." He thinks about the island and the school "where my childhood days I spent." "It will break my heart full sore to part with my comrades one and all."
AUTHOR: Willie "Jack" McLaughlin (source: McBride)
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: emigration America Ireland nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 41, "The Isle of Doagh" (1 text, 1 tune)
NOTES: Isle of Doagh is in Donegal.
McBride: the song was written around 1910. - BS
File: McB1041
===
NAME: Isle of Doagh (II), The
DESCRIPTION: The singer is leaving Isle of Doagh for a foreign land. He recalls when he first arrived and how surprised he was to find it so lovely. He is sad to leave it now.
AUTHOR: unknown
EARLIEST_DATE: 1988 (McBride)
KEYWORDS: emigration lyric home
FOUND_IN: Ireland
REFERENCES: (1 citation)
McBride 42, "The Isle of Doagh" (1 text, 1 tune)
NOTES: Isle of Doagh is in Donegal. - BS
File: McB1042
===
NAME: Isle of France, The: see The Isle de France (File: PASB024)
===
NAME: Isle of Fugi
DESCRIPTION: "Then I'm bound for the Isle of Fugi; Fugi, Fugi; Then I'm bound for the Isle of Fugi; And from there to Tennessee."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: nonballad shanty
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Smith/Hatt, p. 29, "Isle of Fugi" (1 text)
Roud #9417
NOTES: Smith/Hatt: Smith's comment is "Well-known shanty for general work." Fowke notes that Hugill suggests "Fiji" may be meant. - BS
Since we're talking about Pacific destinations anyway, how about "Fuji," which would mean Japan? (Japan also has a city "Fukui," for that matter.) There is also an anchorage off the Philippines known as "Fuga." - RBW
File: SmHa029
===
NAME: Isle of Man Shore, The (The Quay of Dundocken; The Desolate Widow) [Laws K7]
DESCRIPTION: The singer and her family set out for Liverpool. A storm strikes; the passengers abandon the ship. The boats are swamped; Willie sees his wife (the singer) ashore, but is lost trying to save his father. The singer and her children must turn to begging
AUTHOR: unknown
EARLIEST_DATE: 1883 (Smith/Hatt)
KEYWORDS: ship storm family begging shore travel drowning sea wreck baby father husband wife
FOUND_IN: US(NE) Canada(Mar,Newf)
REFERENCES: (6 citations)
Laws K7, "The Isle of Man Shore (The Quay of Dundocken; The Desolate Widow)"
Greenleaf/Mansfield 104, "The Quay of Dundocken" (1 text, 1 tune)
Peacock, pp. 486-487, "Willie" (1 text, 1 tune)
Smith/Hatt, pp. 89-91, "The Desolate Widow" (1 text)
Creighton-Maritime, pp. 106-107, "The Quays of Belfast" (1 text, 1 tune)
DT 818,ISLEMAN
Roud #525
File: LK07
===
NAME: Isle of Saint Helena, The: see Saint Helena (Boney on the Isle of St. Helena) (File: E096)
===
NAME: Isle of St. Helena, The: see Saint Helena (Boney on the Isle of St. Helena) (File: E096)
===
NAME: Israelites Shouting
DESCRIPTION: "Oh, I wonder where's my sister, She's gone away to stay, Got hidden behind God's altar, She'll be gone till judgment day. Goodbye, the Israelites shoutin' in the heaven...." Remaining verses describe the departure of other family members
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson)
KEYWORDS: death religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 71, "Israelites Shouting" (partial text); pp. 248-249, "Israelites Shouting" (1 tune, partial text)
Roud #16362
RECORDINGS:
Rich Amerson, "Israelites Shouting" (on NFMAla4)
NOTES: Although the title immediately makes me think of the fall of Jericho, there is no clear evidence of that in the song; the shouting seems simply to be joyous. - RBW
File: CNFM071
===
NAME: It Fell Aboot the Mart'mas Time: see Martinmas Time (File: DTmartin)
===
NAME: It Fell About the Martinmas Time: see Martinmas Time (File: DTmartin)
===
NAME: It is Not the Cold Wind
DESCRIPTION: "It is not the cold wind that makes me tremble" but the singer's love for a false man who left her for a new sweetheart. "But after evening there comes a morning, And after morning a sunny day, And after false love there comes a true love"
AUTHOR: unknown
EARLIEST_DATE: 1925 (Hayward-Ulster)
KEYWORDS: courting infidelity love nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Hayward-Ulster, p. 38, "It is Not the Cold Wind" (1 text)
Roud #6528
CROSS_REFERENCES:
cf. "Farewell He" (theme) and references there
File: HayU038
===
NAME: It Is of a Rich Lady: see The Jolly Young Sailor and the Beautiful Queen [Laws O13] (File: LO13)
===
NAME: It Makes a Long-Time Man Feel Bad
DESCRIPTION: "It makes a long-time man feel bad... When he can't-a get a letter... from home." There's a wreck out on the road somewhere...." "Captain George, don't you drive me all the time...." "Hattie Belle, don't you cry about a dime...."
AUTHOR: unknown
EARLIEST_DATE: 1947
KEYWORDS: prison chaingang loneliness
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Lomax-FSNA 291, "It Makes a Long-Time Man Feel Bad" (1 text, 1 tune)
Jackson-DeadMan, pp. 77-78, "Make a Longtime Man Feel Bad" (2 short texts, both beginning "Roberta, let your hair grow long"; 1 tune); pp. 123-126, "Sure Make a Man Feel Bad" (1 text, 1 tune; Jackson apparently considers this a separate song, but it shares many lyrics with "Long-Time Man" and much of the rest is floating or improvised verses)
Roud #15968
CROSS_REFERENCES:
cf. "Alberta, Let Your Hair Hang Low" (lyrics)
File: LoF291
===
NAME: It Rained a Mist: see Sir Hugh, or, The Jew's Daughter [Child 155] (File: C155)
===
NAME: It Rains, It Hails and Snows and Blows: see Let Me In This Ae Nicht (File: DTaenich)
===
NAME: It Takes A Girl to Fool You Every Time: see notes under The Warranty Deed (The Wealthy Old Maid) [Laws H24] (File: LH24)
===
NAME: It Was a Lover and His Lass
DESCRIPTION: "It was a lover and his lass With a hey and a ho and a hey nonnie no." "In spring time (x3), the only pretty ring time, When the birds do sing... Sweet lovers ove the spring." The song alludes to courting in the rye, but there is little real plot.
AUTHOR: unknown
EARLIEST_DATE: 1600 (Morley's "The First Book of Ayres or Little Short Songs")
KEYWORDS: love courting nonballad
FOUND_IN: 
REFERENCES: (5 citations)
Chappell/Wooldridge I, pp. 114-115, "It Was a Lover and His Lass" (1 text, 1 tune)
HarvClass-EP1, pp. 263-264, "A Lover and His Lass" (1 text)
Silber-FSWB, p. 155, "It Was A Lover And His Lass" (1 text)
ADDITIONAL: Norman Ault, _Elizabethan Lyrics From the Original Texts_, pp. 290-291, "It Was a Lover and His Lass" (1 text)
DT, LOVERLAS
NOTES: This is quoted by Shakespeare in "As You Like It" (Act V, Scene III, lines 13-30 or so). I'm far from convinced it's traditional; it was obviously a popular piece of Shakespeare's time -- and is attributed to Shakespeare, e.g., in Palgrave's _Golden Treasury_ (item XI). But it shows up in enough songbooks that I decided to include it.
Morley, who in 1600 first published the lyrics, in 1599 published a tune called "O Mistress Mine" in _The First Book of Consort Lessons_. It is generally assumed, but cannot be proved, that they are to be connected. - RBW 
File: FSWB155B
===
NAME: It Was a Mouse: see Frog Went A-Courting (File: R108)
===
NAME: It Was A' For Our Rightful' King
DESCRIPTION: "It was a' for our rightfu' king We left fair Scotland's strand; It was a' for our rightfu' king We e'er saw Irish land...." "Now a' is done that men can do, And a' is done in vain." The defeated soldier must leave his love and go into exile
AUTHOR: Robert Burns?
EARLIEST_DATE: 1796 (Scots Musical Museum)
KEYWORDS: Jacobites soldier separation exile
HISTORICAL_REFERENCES: 1685-1688 - Reign of James II (James VII of Scotland), the last Catholic king of Britain
1688 - Glorious Revolution overthrows James II in favor of his Protestant daughter Mary II and her husband and first cousin William III of Orange
Mar 12, 1689 - James arrives in Ireland and begins, very hesitantly, to organize its defense. 
April-July, 1689 - Siege of Londonderry. James's forces fail to capture the Protestant stronghold, leaving Ireland still "in play" for William
August, 1689 - Marshal Schomberg brings the first of William's troops to Ireland. James continues to be passive, allowing more troops to reinforce them
March, 1690 - James receives reinforcements from France but still does nothing
June 14, 1690 - William lands in Ireland
July 1, 1690 - Battle of the Boyne. William III crushes the Irish army of James, at once securing his throne and the rule of Ireland. Irish resistance continues for about another year, but Ireland east of the Shannon is his; James flees the country, and many of his followers also depart into exile, to become the "Wild Geese" of Irish legend
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Hogg1 15, "It Was A' For Our Rightfu' King" (1 text, 1 tune)
Additional: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #589, p. 694-695, "It was a' for our rightfu' king" (1 text, 1 tune, from the Scots Musical Museum)
Charles Sullivan, ed., Ireland in Poetry, p. 89, "The Farewell" (1 text)
Walter de la Mare, _Come Hither_, revised edition, 1928; #196, "The Farewell" (1 text)
ST SMM5IWAF (Full)
Roud #5789
CROSS_REFERENCES:
cf. "Mally Stewart" (tune)
NOTES: Was this song written by Burns or collected by him? 
Hogg1: "This song is tradtionally said to have been written by Captain Ogilvie, related to the house of Inverquharity, who was with King James in his Irish expedition, and was in the battle of the Boyne." - BS
File: SMM5IWAF
===
NAME: It Was at the Town of Caylen
DESCRIPTION: "It was at the town of Caylen this gelding we sold" then we stole a gallon of wine from Thomas Grant. "I and two more were condemned to the rope. But I led a scheme and the prison we broke."
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: theft trial escape
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 101, "It Was at the Town of Caylen" (1 fragment, 1 tune)
Roud #2775
NOTES: The current description is based on the Creighton-SNewBrunswick fragment.
Creighton-SNewBrunswick: "If the music is any guide, this song in which the hero overcomes his difficulties must be a cheerful one." - BS
File: CrSNB101
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NAME: It Was Daylight the Next Morning: see Nelson's Fame, and England's Glory (File: GrD1146)
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NAME: It Was Early One Monday Morning: see William and Nancy I (Lisbon; Men's Clothing I'll Put On I) [Laws N8] (File: LN08)
===
NAME: It Was One Summer Morning: see The Summer Morning (The White/Blue/Green Cockade) (File: StoR068)
===
NAME: It Wasna My Fortune to Get Her: see The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)
===
NAME: It Wasna Sae
DESCRIPTION: These days we have only stumbling horses that falter in the bog but our cows can do that work. These days our farmers "are grown sae big Wi' thrashin' mills and a', It wasna sae in my young days When the ploomen thresh the straw"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: farming technology humorous nonballad animal horse
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 444, "It Wasna Sae" (1 text)
Roud #5956
CROSS_REFERENCES:
cf. "The Good Old Days of Adam and Eve" (theme: Whining about the good old days)
File: GdR3444
===
NAME: It's a Long Way to Tipperary: see It's a Long, Long Way to Tipperary (File: DTtiprar)
===
NAME: It's a Long, Long Way to Tipperary
DESCRIPTION: Of an Irishman who comes to London then is called back home by his sweetheart. Know mostly for the chorus: "It's a long way to Tipperary, It's a long way to go, It's a long way to Tipperary, to the sweetest girl I know. Goodbye, Piccadilly...."
AUTHOR: Jack Judge (and Harry Williams?)
EARLIEST_DATE: 1912
KEYWORDS: love separation return
FOUND_IN: Britain(England) US(SE)
REFERENCES: (2 citations)
Fuld-WFM, pp. 308-309, "It's a Long, Long Way to Tipperary"
DT, TIPRARY*
Roud #11235
RECORDINGS:
Fiddlin' John Carson, "Long Way to Tipperary" (OKeh 45077, 1927; rec. 1926)
Frank Hutchison, "Long Way To Tipperary" (Okeh 45089, 1927)
John & Emery McClung "It's a Long, Long Way to Tipperary" (Brunswick 136, 1927)
Gid Tanner & his Skillet Lickers, "It's a Long Way to Tipperary" (Columbia 15249-D, 1928; rec. 1927)
SAME_TUNE:
The Harvest War Song (Greenway-AFP, p. 211)
It's a Long Way from Amphioxus (Pankake-PHCFSB, pp. 68-69)
NOTES: The folklore about this song is, if anything, better than the song itself (which, apart from the tune, is banal). Jack Judge came into a town on New Year's night and claimed he could write a song then and there. Challenged, he wrote "Tipperary."
Harry Williams was (like Judge) a vaudeville performer. The legend says that Judge owed Williams money, and offered this song in payment of the debt.
It is, of course, no longer possible to verify this. What is certain is that the song became immensely popular in the First World War, though more for the chorus (many, many Tommies came from London, after all) than the plot. - RBW
File: DTtiprar
===
NAME: It's a Rosebud in June: see Rosebud in June (File: ShH93)
===
NAME: It's a Shame to Whip Your Wife on Sunday
DESCRIPTION: "It's a shame to whip your wife on Sunday/When you've got Monday, Tuesday, Wednesday...." Subsequent verses "It's a shame to play cards on Sunday...." "It's a shame to get drunk on Sunday."
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Fiddlin' John Carson)
KEYWORDS: abuse gambling drink humorous nonballad
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 78, "It's A Shame to Whip Your Wife on Sunday" (1 text, 1 tune)
Silber-FSWB, p. 22, "Ain't It a Shame" (1 text)
DT, AINTSHAM
RECORDINGS:
Fiddlin' John Carson, "It's A Shame To Whip Your Wife On Sunday" (Okeh 45122, 1927)
New Lost City Ramblers, "It's a Shame to Whip Your Wife on Sunday" (on NLCR12)
Pete Seeger, "Ain't It a Shame" (on PeteSeeger32)
NOTES: Some joke. -PJS
I have to suspect this is funnier in concert than in print. (It would be hard for it to be LESS funny, after all.)
The version in the Folksinger's wordbook omits the crucial first verse, but I don't think it actually circulated in that form; I think it's just a case of political correctness. - RBW
File: CSW078
===
NAME: It's Advertised in Boston: see Blow Ye Winds in the Morning (File: LxU044)
===
NAME: It's All Night Long
DESCRIPTION: "Of all the animals in this world, I'd rather be a squirrel, I'd climb up on a telephone pole And peep all over the world. It's all night long. It's all night long."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: animal nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 170, "It's All Night Long" (1 text)
NOTES: This song may be a version of one of the other "All Night Long" pieces, but I haven't seen the verse anywhere else, so it lists separately. - RBW
File: Br3170
===
NAME: It's Almost Day
DESCRIPTION: "Chickens crow for midnight and it's almost day (x2)" ""Christmas is a-coming and it's almost day." "Santa Claus is coming...." "Turkey's in the oven...." "I thought I heard my mother say...." 
AUTHOR: unknown
EARLIEST_DATE: 949 (recording, Lead Belly)
KEYWORDS: Christmas food nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Silber-FSWB, p. 373, "It's Almost Day" (1 text)
Roud #11655
NOTES: This is about as silly as a song can be -- but the tune is good, and it's easy to improvise six-syllable lines with no rhyme for any occasion. There may even be some ballad-like versions out there. - RBW
File: FSWB373A
===
NAME: It's Almost Done: see Almost Done (File: LxU094)
===
NAME: It's Braw Sailin' on the Sea
DESCRIPTION: "There cam a letter late yestreen, Our ship maun sail in the morn." The girl gives back his ring, declaring, "Tak that, my bonnie lad, For I hae changed my mind." The song is largely comparisons: "It's braw sailing on the sea, It's better drinkin' wine."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love sailor separation betrayal ring
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 203, "It's Braw Sailin' on the Sea" (1 text)
Roud #5537
File: Ord203
===
NAME: It's Down in Old Ireland
DESCRIPTION: The singer was born in Limerick. In spite of his mother's pleading he "carried on with my wicked career." He marries and takes up highway robbery to care for her, is convicted and transported for seven years. Women are deceitful but he'd have no other
AUTHOR: unknown
EARLIEST_DATE: 1953 (Creighton-Maritime)
KEYWORDS: prison robbery transportation mother wife Ireland
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 161, "It's Down in Old Ireland" (1 text, 1 tune)
Roud #490
CROSS_REFERENCES:
cf. "The Wild and Wicked Youth" [Laws L12] (theme)
cf. "Salisbury Plain" (theme)
NOTES: Creighton-Maritime includes this verse partly floated to/from "Old Kimball" (as sung by Texas Gladden):
Now ofttimes I've wondered how women loves man,
And more times I've wondered how men can love them,
For robbing by night and a-planning by day
Which caused me behind this prison walls for to lay. - BS
File: CrMa161
===
NAME: It's Down Where the Water Runs Muddy: see The Lover's Curse (Kellswater) (File: HHH442)
===