NAME: Old Maid's Song (II), The
DESCRIPTION: "Oh, Father, I'm sixteen years of age; I'm weary of my life.... I think it's almost time for me to be made a wife." Her father calls men liars; she points out that her mother married younger and her sister also. She says, "Don't let me die a maid"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Karpeles-Newfoundland)
KEYWORDS: marriage oldmaid
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Fowke/Johnston, pp. 162-163, "Time to be Made a Wife" (1 text, 1 tune)
Karpeles-Newfoundland 79, "Young Men, Come Marry Me" (1 text, 1 tune)
DT, OLDMAID5
Roud #2304
CROSS_REFERENCES:
cf. "The Old Maid's Song (I)" and references there
File: FJ162
===
NAME: Old Maid's Song (III), The: see I'll Not Marry at All (File: E072)
===
NAME: Old Man and a Young Man, An: see I Wouldn't Have an Old Man (File: R401)
===
NAME: Old Man and the Door, The: see Get Up and Bar the Door [Child 275] (File: C275)
===
NAME: Old Man and the Oak, The: see Says the Old Man to the Oak Tree (File: BGMG071)
===
NAME: Old Man at the Mill, The
DESCRIPTION: "Same old man, sitting at the mill/Mill turns around of its own free will...ladies go forward and the gents fall back." This is followed by floating verses, many taken from "The Birds' Courting Song (Leatherwing Bat)"
AUTHOR: unknown
EARLIEST_DATE: 1962 (recording, Clint Howard et al)
KEYWORDS: courting floatingverses nonballad playparty
FOUND_IN: US(SE)
REFERENCES: ()

Roud #733
RECORDINGS:
Clint Howard et al, "The Old Man at the Mill" (on Ashley02, WatsonAshley01)
CROSS_REFERENCES:
cf. "The Bird's Courting Song (The Hawk and the Crow; Leatherwing Bat)" (floating lyrics)
NOTES: This certainly shares a good deal with "The Birds' Courting Song (Leatherwing Bat)," but there are enough differences that I have split them. - PJS
Roud, interestingly, lumps it not with that song but with "The Miller Boy (Jolly is the Miller I)," presumably on the basis of the first verse. The result may well be a complex composite of the two. - RBW
File: RctOMatM
===
NAME: Old Man Came Over the Moor, An (Old Gum Boots and Leggings)
DESCRIPTION: The singer's mother tells her to open the door to an old man. He is come to court her; she will not have him; he is too old. The girl's mother makes her to offer him various attentions; she does, and the old man spoils each. (At last he is sent home)
AUTHOR: unknown
EARLIEST_DATE: 1724 (Ramsey)
KEYWORDS: age courting rejection humorous clothes
FOUND_IN: US(Ap,MA,MW,SE,So) Britain(England(All),Scotland(Aber)) Canada(Mar)
REFERENCES: (19 citations)
Belden, p. 264, "The Old Man's Courtship" (1 text)
Randolph 66, "The Old Black Booger" (3 texts, 3 tunes)
Randolph/Cohen, pp. 129-131, "The Old Black Booger" (1 text, 1 tune -- Randolph's 66C)
Eddy 42, "An Old Man Who Came Over the Moor" (3 texts plus a fragment, 4 tunes)
Gardner/Chickering 171, "The Old Man" (2 texts, 2 tunes)
BrownIII 9, "The Old Man's Courtship" (5 texts)
Brewster 48, "The Old Man Who Vame Over the Moor" (2 texts)
Ford-Vagabond, pp. 128-129, "The Carle He Cam' Ower the Craft"; p. 130, "The Dottered Auld Carle" (2 texts)
Fowke/Johnston, pp. 152-154, "The Old Man" (1 text, 1 tune)
Warner 165, "Old Grey Beard" (1 text, 1 tune)
MHenry-Appalachians, pp. 9-10, "There Was an Old Man" (1 text)
FSCatskills 131, "Old Shoes and Leggings" (1 text)
JHCox 169, "The Old Man Who Came Over the Moor" (1 text)
SharpAp 108, "My Mother Bid Me" (5 texts, 5 tunes)
Ritchie-Southern, p. 87, "Mama Told Me" (1 text, 1 tune)
Creighton/Senior, pp. 190-191, "The Old Man" (1 text, 1 tune)
Vaughan Williams/Lloyd, pp. 76-77, "The Old Man from Lee" (1 text, 1 tune)
Kennedy 139, "Old Grey Beard" (1 text, 1 tune)
DT, OLDSHOE*
ST R066 (Full)
Roud #362
RECORDINGS:
Frankie Armstrong, "The Old Man from Over the Sea" (on BirdBush1, BirdBush2)
Burnett Bros., "Old Shoes a-Draggin'" (Victor 23727, 1932)
[The Stoneman Family and] Uncle Eck Dunford, "Old Shoes and Leggins" (Victor V-40060, 1928; on AAFM1)
Betty Garland, "Old Gum Boots and Leggings" (on BGarland01)
Otis High, "Old Gray Beard A-Flappin'" (on HandMeDown2)
Lawrence Older,  "Old Shoes and Leggings" (on LOlder01)
Jeannie Robertson, "Old Grey Beard Newly Shaven" (on FSB1)
CROSS_REFERENCES:
cf. "Maids When You're Young Never Wed an Old Man"
cf. "I Wouldn't Have an Old Man"
cf. "The Brisk Young Lad" (plot)
ALTERNATE_TITLES:
An Old Man Came Courting Me
The Young Lass contra Old Man
The Carle He Came o'er the Croft
The Auld carle
I'll Not Have Him
The Old Man from Over the Sea
His Old Grey Beard Kept Waggin'
Overshoes and Leggin's
File: R066
===
NAME: Old Man Fox: see The Fox (File: R103)
===
NAME: Old Man from Lee, The: see Old Man Came Over the Moor, An (Old Gum Boots and Leggings) (File: R066)
===
NAME: Old Man from Over the Sea, The
DESCRIPTION: An old man courts a young woman, whose mother advises her what to do when they are married -- all to no sexual avail.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy marriage age
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 336-339, "The Old Man from Over the Sea" (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 Marry an Old Man"
cf. "I Wouldn't Have an Old Man"
cf. "My Husband's Got No Courage in Him"
NOTES: Legman provides significant notes on, and references to, ballads about May-December marriages in Randolph-Legman I. - EC
File: RL336
===
NAME: Old Man in the North Countree, The: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Old Man Kangaroo, The
DESCRIPTION: The singer and Bill Chippen are out of food when they spot a kangaroo. Chippen attacks the beast, which seizes him. The singer shoves his tucker-bag over the 'roo, then cuts off its tail. The animal drops dead; the two feed on its tail
AUTHOR: "Tom Tallfern," according to _The Australian Journal_
EARLIEST_DATE: 1871 (_The Australian Journal_, according to Paterson/Fahey/Seal)
KEYWORDS: animal fight Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 40-41, "The Old Man Kangaroo" (1 text, 2 tunes)
Paterson/Fahey/Seal, pp. 303-305, "Tailing a Kangaroo" (1 text)
File: MA040
===
NAME: Old Man Rocking the Cradle: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Old Man under the Hill, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Old Man Who Lived in the Woods, The: see Father Grumble [Laws Q1] (File: LQ01)
===
NAME: Old Man, The: see Old Man Came Over the Moor, An (Old Gum Boots and Leggings) (File: R066)
===
NAME: Old Man's Courtship, The: see Old Man Came Over the Moor, An (Old Gum Boots and Leggings) (File: R066)
===
NAME: Old Man's Lament (II)
DESCRIPTION: "When I was young and in my prime, I could get a hard on any time," but now he is old and is almost non-functional. The singer tells of all the things he used to be able to do, and warns listeners, "The time soon will ome when you'll be the same as I."
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: bawdy age nonballad
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 50, pp. 238-240, "The Old Man's Lament" (1 text, 1 tune)
Roud #10105
CROSS_REFERENCES:
cf. "The Little Brown Jug" (tune)
File: Logs050
===
NAME: Old Man's Lament, The: see Rocking the Cradle (and the Child Not His Own) (File: R393)
===
NAME: Old Man's Three Sons (Jeffery, James, and John)
DESCRIPTION: "There was an old (wo)man had three sons, (Jerry) and James and John. Jerry was hung, and James was drowned, John was lost and never found, And there was the end of (her) three sons, Jerry and James and John."
AUTHOR: unknown
EARLIEST_DATE: 1632 (Choice of Inventions, according to Opie-Oxford2)
KEYWORDS: mother father children death drowning
FOUND_IN: 
REFERENCES: (2 citations)
Opie-Oxford2 540, "There was an old woman had three sons" (3 texts)
Baring-Gould-MotherGoose #262, p. 160, "(There was an old woman had three sons)"
Roud #4661
NOTES: Opie-Oxford2: "This is the first of fourteen verses in _The Old Woman and Her Three Sons_, a toy book with coloured illustrations published by John Harris in 1815. It is a verse which was certainly current in the reign of Charles I, and may go back to Elizabeth's time." - BS
File: BGNG262
===
NAME: Old Marse John
DESCRIPTION: Lyrics about a slave promised freedom by his mistress -- but the freedom does not arrive as scheduled. Many floating verses about southern life. Chorus: "O mourner, you shall be free... When the good Lord sets you free."
AUTHOR: unknown
EARLIEST_DATE: 1925
KEYWORDS: slave freedom animal food clergy floatingverses
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 271, "Old Marse John" (1 text, 1 tune)
BrownIII 471, "Jigger, Rigger, Bumbo" (1 fragment)
Roud #6707
CROSS_REFERENCES:
cf. "Raise a Ruckus" (lyrics)
cf. "My Ole Mistus Promised Me" (lyrics)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (floating lyrics)
cf. "Hard Time in Old Virginnie"
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)" (floating lyrics)
NOTES: About half of this song, as found in Lomax, is identical to "Raise a Ruckus." But the chorus is different, and the similarities could be due to the Alan Lomax's "improvements." So I've classified them separately.
The Brown fragments "Jigger, Rigger, Bumbo" is another mystery unto itself. It has the "Raise a Ruckus"/"My old marster promised me" opening, and a chorus, and that's it. At some point, there comes a limit on separating songs based on nonsense choruses. So I tossed it here. Roud appears to have a whole category (#11723) of fragments around the "My old master/mistress promised me." - RBW
File: LoF271
===
NAME: Old Massa He Come Dancin' Out: see Ol' Gen'ral Bragg's a-Mowin' Down de Yankees (File: BrII233)
===
NAME: Old Mayflower, The
DESCRIPTION: Mayflower runs ashore with its cargo of dry fish and ale. After the cargo is stolen we take the pail, jars, kettle, and, finally, the wood. "And that was the end of the old Mayflower"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Peacock)
KEYWORDS: ship wreck humorous theft
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 87-88, "The Old Mayflower" (1 text, 1 tune)
Roud #9954
CROSS_REFERENCES:
cf. "Mariposa" (theme)
cf. "The Teapots at the Fire" (theme)
cf. "The Middlesex Flora" (theme)
cf. "The Irrawaddy" (theme)
NOTES: I find myself wondering if Stan Rogers didn't have this or one of the other songs in the cross-references somewhere in the back of his mind when he wrote "The Wreck of the Athens Queen." It's interesting to see how many songs on the theme of, shall we say, extremely rapid and perhaps premature salvage come from Newfoundland. - RBW
"The Hoban Boys" mentions the looting of a ship _Mayflower_. Whether they are the same ship I do not know. - RBW
File: Pea087
===
NAME: Old Miller, The: see The Miller's Will (The Miller's Three Sons) [Laws Q21] (File: LQ21)
===
NAME: Old Missouri: see Old MacDonald Had a Farm (File: R457)
===
NAME: Old Moke Pickin' on the Banjo (Song of the Pinewoods)
DESCRIPTION: Singer lands in America in 1844 and works in the pinewoods. An Irish girl offers him whiskey and looks him over. He describes the teamsters with whom he works. Song may have many floating verses and a nonsense chorus.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering work emigration floatingverses music
FOUND_IN: US(MW)
REFERENCES: (4 citations)
Beck 22, "Song of the Pinewoods" (1 text)
Hugill, pp. 340-341, "The Old Moke Pickin' on the Banjo"  (1 text, 1 tune) [AbEd, p. 255]
Sharp-EFC, IV, pp. 4-5, "He-Back, She-Back" (1 text, 1 tune)
DT, OLDMOKE*
Roud #862
CROSS_REFERENCES:
cf. "Whoa Back, Buck" (floating lyrics)
cf. "Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier)" (floating lyrics)
cf. "I'm a Rowdy Soul" (floating lyrics)
ALTERNATE_TITLES:
He-bang, She-bang
Tapiocum
NOTES: Clearly we have a muddle here. Beck notes that this song can have a huge number of verses, but he lists only four, and the song makes little sense as a result. The chorus, meanwhile, is a reworking of "Shule Agra", with a last line close to "Tighten on the Backband (Whoa Back Buck)." Ah, the folk process! - PJS
A muddle indeed, and one with bounds very hard to define. Beck's refrain for this piece runs
Shu-li, shu-li, shula-racka-ru
Hacka-racka, shacka-racka, shula-bobba-lu
I'm right from the pinewoods. So are you
Johnny, can't you pick it on your banjo?
The more common chorus to this seems to be something like
Hooraw! What the hell's the row?
We're all from the railroad, too-rer-loo,
We're all from the railroad, too-rer-loo,
Oooh! The ol' moke pickin' on the banjo!
This chorus occurs, with variations, in Hugill and Sharp. - RBW
Hugill cites a Negro shanty titled "Tapiocum" found in v.3 of the _Folk Song Journal_. He only quotes one verse but believes that it is a variant of "Old Moke." - SL
File: Be022
===
NAME: Old Molly Hair: see Old Molly Hare (File: R277)
===
NAME: Old Molly Hare
DESCRIPTION: Fiddle tune with words, often of the form, "Old Molly Hare, What('r) you doin' there?" followed by a reply, e.g. "Sitting in the briarpatch, combing out my hair."
AUTHOR: unknown
EARLIEST_DATE: 1881 (Uncle Remus: His Songs and His Sayings)
KEYWORDS: animal fiddle nonballad dancetune
FOUND_IN: US(SE,So)
REFERENCES: (6 citations)
Randolph 277, "Old Molly Hare" (1 short text, 1 tune)
Randolph/Cohen, pp. 238-239, "Old Molly Hare" (1 text, 1 tune -- Randolph's 277)
BrownIII 167, "Old Molly Hare (Mr. Rabbit)" (2 texts plus 4 fragments, 1 excerpt, and mention of 2 more; the "C," "D," and "E" fragments, plus probably "B," are "Old Molly Hare," "I" is "Mister Rabbit"; "A" and "G" mix the two)
Lomax-ABFS, pp. 283-284, "Old Mother Hare" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 108-109, "Old Molly Hair" (1 text, 1 tune)
DT, MOLLHARE
Roud #7781
RECORDINGS:
Clayton McMichen & Riley Puckett, "Old Molly Hare" (Columbia 15295-D, 1928; on CrowTold01)
New Lost City Ramblers, "Old Molly Hair" (on NLCR05)
Fiddlin' Powers & Family, "Old Molly Hare" (Okeh 45268, 1928; rec. 1927; on Cornshuckers2)
Riley Puckett, "Old Molly Hair" (Columbia 15295-D, 1928)
NOTES: Joel Chandler Harris quoted the first stanza of this song in "Mr. Rabbit Gorssly Decieves Mr. Fox," published in 1881 in Uncle Remus: His Songs and His Sayings:
Ole Molly Har'.
W'at you doin' dar,
Settin' in de cornder
Smokin' yo seegyar? - RBW
File: R277
===
NAME: Old Mont Line, The
DESCRIPTION: "Come gather 'round me lads... Oh, maybe you don't believe me, lads... But ship in this starvation tow and you'll see the same as I." "There one Mont, two Monts, three Monts in a row." The sailors take a dull trip up the Lakes and grumble about the owner
AUTHOR: Captain F. W. Elliott and crew?
EARLIEST_DATE: 1933 (collected from Elliott by Walton)
KEYWORDS: sailor ship hardtimes money
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 124-126, "The Old Mont Line" (1 test, 1 tune)
RECORDINGS:
Ivan Watson, "The Old Mont Line" (fragment, 1938; on WaltonSailors)
NOTES: According to Walton/Grimm/Murdok, the Mont Line operated a set of sailing barges (cut-down schooners) with such names as _Monymorency_ and _Monticello_. Supposedly Captain Elliott and crew made up this song during a particularly boring trip. Grimm's notes compare the tune to "The Bigler," but it seems to me the dependence on "The Derby Ram" is stronger. - RBW
File: WGM124
===
NAME: Old Moses Smote de Waters: see Old Moses Smote the Waters (File: R290)
===
NAME: Old Moses Smote the Waters
DESCRIPTION: "Old Moses smote the waters, Hallelujah! Old Moses smote the waters, huh!..." "The waters they divided...." "The children passed over...." "Old Pharaoh's host got drownded...." "I see that ship a-coming...." "She'll take us on to glory...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: Bible religious travel freedom
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 290, "Old Moses Smote de Waters" (1 text, 1 tune)
BrownIII [612], "Moses Smote the Waters" (1 fragment, printed in the notes to Brown #610)
Roud #7822
CROSS_REFERENCES:
cf. "Sinful Army" (lyrics)
File: R290
===
NAME: Old Mother Hare: see Old Molly Hare (File: R277)
===
NAME: Old Mother Head's
DESCRIPTION: Adventures of staff and guests at Mother Head's. "Nobody knows what the sailors eat; Cast no remarks about your meat; But eat your pie, and close your mouth, In the hungry starving boarding house"
AUTHOR: Joe Broadfield
EARLIEST_DATE: 1940 (Smith/Hatt)
KEYWORDS: food hardtimes humorous nonballad sailor
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Smith/Hatt, p. 11, "Old Mother Head's" (1 text)
Roud #9414
File: SmHa011
===
NAME: Old Mother Hubbard
DESCRIPTION: "Old Mother Hubbard Went to the cupboard To get her poor dog a bone, But when she got there The cupboard was bare And so the poor dog had none." Additional verses tell of Mother Hubbard's efforts for the dog and how almost all fail
AUTHOR: unknown
EARLIEST_DATE: before 1797 (cf. Baring-Gould-MotherGoose)
KEYWORDS: dog death food humorous home commerce clothes
FOUND_IN: 
REFERENCES: (3 citations)
Opie-Oxford2 365, "Old Mother Hubbard" (1 text)
Baring-Gould-MotherGoose #134, pp. 111-113, "(Old Mother Hubbard)"
cf. DT, MERRYLND
NOTES: This is probably only a nursery *rhyme*, and not a nursery *song*, and so properly does not belong in the Index. But Tony and Irene Saletan recorded it as part of their version of "Hail to Britannia" (which includes many nursery rhymes), so it does have a musical tradition of sorts.
In addition, though most of us hear only one verse of this, the Baring-Gould text is 14 stanzas long, though many of the stanzas are silly:
She went to the tailors
To buy him a coat,
But when she came back
He [the dog, note] was riding a goat.
Still, there is a plot in the early stanzas. The whole looks like a song, if an absurd one. - RBW
Opie-Oxford2: "It is now clear that the first three verses of Sarah Catherine Marin's 'Old Mother Hubbard' were taken from tradition, and that her contribution was to write eleven more verses, and to illustrate the whole. The first three verses had appeared in sheet-music form as one of Dr Samuel Arnold's _Juvenile Amusements_ (1797), and were certainly not new then." - BS
Louis Untermeyer, _The Golden Treasury of Poetry_, credits the whole thing to Sarah Catherine Martin, and has a total of 16 verses. But he doesn't understand tradition very well. - RBW
File: BGMG134
===
NAME: Old Mountain Dew
DESCRIPTION: The praises of mountain dew are sung. "Oh, they call it that good old mountain dew, And those who refuse it are few...." Doctor, preacher, conductor, lawyer (and, in some versions, Uncle Nort, Aunt June, Brother Bill) derive various benefits from it.
AUTHOR: Bascom Lamar Lunsford
EARLIEST_DATE: 1928 (recording, Bascom Lamar Lunsford)
KEYWORDS: drink family 
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Botkin-SoFolklr, p. 736, "Good Old Mountain Dew" (1 text, 1 tune)
Darling-NAS, p. 289, "Good Old Mountain Dew" (1 text, filed with "Real Old Mountain Dew"="Good Old Mountain Dew")
Silber-FSWB, p. 236, "Mountain Dew" (1 text)
DT, MTDEW3*
Roud #9133
RECORDINGS:
Delmore Brothers, "Old Mountain Dew" (Decca 5890, 1940)
John Griffin, "Real Old Mountain Dew" (Columbia 33145-F, n.d.)
Grandpa Jones, "Mountain Dew" (King 624, 1947)
Lulu Belle & Scotty, "Mountain Dew" (Conqueror 9249, 1939) (on CrowTold02; this may be the reissue of the Conqueror recording, but it's not certain)
Bascom Lamar Lunsford, "Mountain Dew" (Brunswick 219, 1928); "Old Mountain Dew" (on BLLunsford01)
NOTES: Botkin's text is from a 1949 field recording. He says Lunsford composed and recorded it in the twenties, but that it has already changed substantially in oral tradition. - NR
Some have thought that Lunsford took a traditional song and made it his own. His recording, however, remains the first known version -- and there is no evidence that Lunsford did this with any other song. - RBW
Lunsford himself said he wrote it in the early years of this century, and that it was made up out of whole cloth, not adapted. It should not be confused with the traditional Irish song usually called "Real Old Mountain Dew" [or "Good Old Mountain Dew"]. - PJS
File: BSoF736
===
NAME: Old Mud Cabin on the Hill: see The Little Old Mud Cabin on the Hill (File: HHH207)
===
NAME: Old Nantucket Whaling Song
DESCRIPTION: Description of a whaling voyage. Crew faces months of cold and storms. Upon spotting a whale they give chase, harpoon and fight with the whale, trying to avoid being swamped or crushed. Gives detailed descriptions and is written in future tense.
AUTHOR: unknown
EARLIEST_DATE: 1945 (Harlow)
KEYWORDS: whaler ship sea work hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Harlow, pp. 216-219, "Old Nantucket Whaling Song" (1 text, 1 tune)
Roud #9153
File: Harl216
===
NAME: Old Napper: see Old Tyler (File: JRSF069)
===
NAME: Old Ninety-Seven: see The Wreck of Old 97 [Laws G2] (File: LG02)
===
NAME: Old Noah: see De Fust Banjo (The Banjo Song; The Possum and the Banjo; Old Noah) (File: R253)
===
NAME: Old Noah Built an Ark
DESCRIPTION: "Good old Noah built an ark, To save the soul of man; A vessel built of gopher wood, By God, the father, planned. Noah preached for years and years To change their awful ways." The flood comes; Noah is saved; listeners are advised to turn to Jesus
AUTHOR: unknown
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: Bible ship flood Jesus religious
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 101-105, (no title) (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Old Uncle Noah" (subject) and references there
NOTES: For background on the Noah story, see the notes to "Old Uncle Noah."
This song has enough points of contact with that that I suspect common ancestry. But that song is humorous and this so brutally "straight" that I can't see any option but to split them.
Incidentally, "gopher wood" is not a reference to the small mammal. We don't know what sort of wood it is; the word occurs only in Genesis 6:14, and no cognates are known in related languages. So translations tend to just transliterate the word rather than guess at a translation. - RBW
File: ThBa101
===
NAME: Old Oak Tree, The [Laws P37]
DESCRIPTION: (Betsy) sets out from home to meet her love and never returns. Her widowed mother, after a long search, dies of grief. The girl's body is found during a hunt with the murderer's knife still there. He confesses the crime and (dies/kills himself)
AUTHOR: unknown
EARLIEST_DATE: 1921 (Greenleaf/Mansfield)
KEYWORDS: murder suicide gallows-confession
FOUND_IN: US(MW) Canada(Mar,Newf) Ireland
REFERENCES: (13 citations)
Laws P37, "The Old Oak Tree"
Doerflinger, pp. 283-285, "The Old Oak Tree" (1 text, 1 tune)
SHenry H207, pp. 417-418, "The Old Oak Tree" (1 text, 1 tune)
Morton-Ulster 15, "The Old Oak Tree" (1 text, 1 tune)
Morton-Maguire 49, pp. 141-143,175, "The Old Oak Tree" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 11, "The Old Oak Tree" (1 text, 1 tune)
Gardner/Chickering 33, "The Old Oak Tree" (1 text plus mention of 1 more, 1 tune)
Greenleaf/Mansfield 55, "Squire Nathaniel and Betsy" (1 text, 1 tune)
Peacock, pp. 628-629, "The Old Oak Tree" (1 text, 1 tune)
Leach-Labrador 12, "The Old Oak Tree" (2 texts, 2 tunes)
Dibblee/Dibblee, pp. 80-81, "The Old Oak Tree" (1 text, 1 tune)
Manny/Wilson 66, "Eliza Long (The Old Oak Tree)" (1 text, 1 tune)
DT 514, OLDOAKTR
Roud #569
RECORDINGS:
Robert Cinnamond, "The Old Oak Tree" (on IRRCinnamond02)
Warde Ford, "Beneath the Old Oak Tree" (AFS 4195 A1; tr.; in AMMEM/Cowell)
Tom Lenihan, "The Old Oak Tree" (on IRTLenihan01)
ALTERNATE_TITLES:
The Squire
NOTES: Bodleian Library site Ballads Catalogue appears to have two broadsides for this ballad
Bodleian, Harding B 40(5), "The Old Oak Tree" ("The night was dark, cold blew the wind"), J.F. Nugent and Co.? (Dublin?), 1850-1899; also Harding B 26(481), "The Old Oak Three," P. Brereton (Dublin), c.1867
However, I was unable to read either of them. - BS
File: LP37
===
NAME: Old Oaken Bucket, The
DESCRIPTION: "How dear to this heart are the scenes of my childhood, When fond recollection presents them to view...: The old oaken bucket, the iron-bound bucket, The moss-covered bucket That hung in the well." The singer recalls being refreshed by its water
AUTHOR: Words: Samuel Woodworth
EARLIEST_DATE: 1818
KEYWORDS: home nonballad
FOUND_IN: US
REFERENCES: (4 citations)
RJackson-19CPop, pp. 167-170, "The Old Oaken Bucket" (1 text, 1 tune)
Silber-FSWB, p. 256, "The Old Oaken Bucket" (1 text)
Fuld-WFM, pp. 413-414, "The Old Oaken Bucket"
DT, OAKBUCK
ST RJ19167 (Full)
RECORDINGS:
David Bangs, "Old Oaken Bucket" (Berliner 0600, rec. 1895)
Columbia Stellar Quartet, "The Old Oaken Bucket" (Columbia A-1820, 1915)
Jimmie Tarlton [Darby & Tarlton] "By the Old Oaken Bucket" (Columbia 15763-D, 1932; rec. 1930)
Edison Male Quartet, "The Old Oaken Bucket" (CYL: Edison 2216, 1897)
Haydn Quartet, "The Old Oaken Bucket" (Berliner 023-N, 1899)
Haydn Quartet w. S. Dudley, "Old Oaken Bucket" (Berliner 0873, 1898)
Honolulu Strollers, "Ole Oaken Bucket" (OKeh 45226, 1928)
Kaplan's Melodists, "The Old Oaken Bucket" (CYL: Edison [BA] 5155, c. 1926)
Knickerbocker Quartet, "The Old Oaken Bucket" (CYL: Edison [BA] 2046, n.d.)
Peerless Quartette, "The Old Oaken Bucket" (Zonophone 696, 1907) (Pathe 40032, 1916)
Standard Quartette, "The Old Oaken Bucket" (CYL: Columbia 2239, rec. c. 1895)
Anon. [Sterling Trio] "The Old Oaken Bucket" (Little Wonder 268, 1915)
SAME_TUNE:
The Old Family Toothbrush (Pankake-PHCFSB, p. 160)
Nat Wills, "Parody on 'Old Oaken Bucket'" (Victor 16661/Victor 5659 [as "Old Oaken Bucket (parody)"], 1909)
The Old Oaken Bucket (As censored by the Board of Health) (Hazel Felleman, _The Best Loved Poems of the American People_, p. 386)
NOTES: Samuel Woodworth's only other noteworthy composition was "The Hunters of Kentucky." His novels and plays are mercifully forgotten.
Woodworth originally published this poem under the title "The Bucket." It soon acquired several (rather feeble) tunes and the title "The Old Oaken Bucket." Around 1850, it was fitted to the tune "Araby's Daughter" by George Kiallmark; that somehow rescued it from the dustbin of nostalgia and made it into a highly popular song. - RBW
File: RJ19167
===
NAME: Old Orange Flute, The
DESCRIPTION: A Protestant man marries a Catholic woman, but his flute refuses to convert, and continues to play Orange songs. Ultimately it is burnt at the stake as a heretic.
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: marriage music fire
FOUND_IN: Ireland
REFERENCES: (7 citations)
Hodgart, p. 216, "The Old Orange Flute" (1 text)
OLochlainn 50, "The Old Orange Flute" (1 text, 1 tune)
Hayward-Ulster, pp. 112-113, "The Ould Orange Flute" (1 text)
OrangeLark 27, "The Ould Orange Flute" (1 text, 1 tune)
Graham, p. 12, "The Ould Orange Flute" (1 text, 1 tune)
Silber-FSWB, p. 318, "The Old Orange Flute" (1 text)
DT, OLDFLUTE*
Roud #3013
CROSS_REFERENCES:
cf. "The Protestant Maid" (subject: religious conversion) and references there
NOTES: OLochlainn: "Learnt in Belfast about 1912; the tune is another version of Villikens." - BS
File: Hodg216
===
NAME: Old Orange Tree, The
DESCRIPTION: King William brought the Orange tree and planted it near London "and frighten'd Popery." He took the plant with him to the Boyne where it frightened King James and his men. Winter cropped the tree but in spring it will flourish, and bloom on July 12.
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: England Ireland patriotic political
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 38, "The Old Orange Tree" (1 text, 1 tune)
NOTES: For William of Orange and the Battle of the Boyne, see the notes to "The Battle of the Boyne (I)." - RBW
File: OrLa038
===
NAME: Old Paint (I): see I Ride an Old Paint (File: LxU063B)
===
NAME: Old Paint (II): see Goodbye, Old Paint (File: LxU063A)
===
NAME: Old Palmer Song, The
DESCRIPTION: "The wind is fair and free, my boys... The steamer's course is north, my boys, And the palmer we will see." The singer encourages his listeners to come with him to the gold fields; by working together, they can prosper
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: river gold travel
HISTORICAL_REFERENCES: 1875 - Discovery of gold in the Palmer River in Queensland. The influx of people from all over the world meant that few grew rich -- and many starved in the inhospitable terrain
FOUND_IN: Australia
REFERENCES: (1 citation)
Manifold-PASB, pp. 38-39, "The Old Palmer Song" (1 text, 1 tune)
File: PASB038
===
NAME: Old Pete Bateese
DESCRIPTION: French-Canadian dialect song. Pete Bateese is chased by wolves. He climbs a tree. The wolves fetch beavers to gnaw it down. Pete pours out some "hooch"; the beavers get drunk and chew up the wolves instead. Pete comes down and cries for the wasted hooch
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
LONG_DESCRIPTION: French-Canadian dialect song. Pete Bateese is chased by wolves one night; he climbs a tree, so the wolves fetch beavers to gnaw it down. Pete pours out some "hooch"; the beavers get drunk and chew up the wolves instead. Pete comes down and "cry and cry to t'ink for where/His one-quart hooch she go."
KEYWORDS: humorous talltale drink animal
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 75, "Old Pete Bateese" (1 text)
Roud #8851
File: Be075
===
NAME: Old Petticoat, The
DESCRIPTION: The singer sees "an old petticoat hanging high" and hangs his trousers near to "keep that old petticoat warm" He says "'Old trousers, I hope you're on form!'" "The night of the wedding ... the father he's dead; he was shot with a gun"
AUTHOR: unknown
EARLIEST_DATE: 1975 (recording, Paddy Tunney)
KEYWORDS: sex clothes humorous
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, pp. 54-55, "As I Was Going into the Fair of Athy" (1 text)
Roud #12940
RECORDINGS:
Paddy Tunney, The, "The Old Petticoat" (on Voice10)
File: RcOldPet
===
NAME: Old Plaid Shawl, The: see The Red Plaid Shawl (File: OCon084)
===
NAME: Old Polina, The
DESCRIPTION: "There's a noble fleet of whalers a-sailing from Dundee... There's not another whaler that sails the Arctic Sea Can beat the old Polina, you need not try, my sons." The singer describes all the various ships which failed to outrace the Polina
AUTHOR: unknown
EARLIEST_DATE: 1955 (Doyle)
KEYWORDS: ship whaler racing bragging
HISTORICAL_REFERENCES: March 1884 - Loss of the Polynia (believed to be the model for this song) in the Straits of Belle Isle
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Fowke/Mills/Blume, pp. 165-166, "The Old 'Polina'" (1 text, tune referenced)
Fowke/MacMillan 15, "The Old 'Polina'" (1 text, 1 tune)
Blondahl, pp. 22-23, "The Old Polina" (1 text, 1 tune)
Doyle3, pp. 44-45, "Old Polina" (1 text, 1 tune)
ST FMB165 (Partial)
Roud #285
CROSS_REFERENCES:
cf. "A Noble Fleet of Sealers" (tune)
cf. "Save Our Swilers" (tune)
NOTES: GEST Songs of Newfoundland and Labrador site claims the song was written in the 1880s.
The notes to A.L. Lloyd's _Leviathan!_ for "The Balaena" makes this whaler R. Kinnes's _Balaena_, the "largest and fastest" of the 1873 Dundee whaling fleet. According to the Dundee City Council site, it "sailed its last voyage in 1892 under Captain Alexander Fairweather." That's a different explanation than the sinking of the Polynia proposed by the GEST site. - BS
It's worth noting that Lloyd's seems to be the only one calling the ship the _Balena_ or anything similar. One suspects either an error of hearing as the song transferred to Britain or a Canadian adaption. The notes in Fowke/Mills/Blume also associate the song with the _Polynia_, lost in the Straits of Belle Isle in 1884. . - RBW
File: FMB165
===
NAME: Old Ponto Is Dead: see Old Roger is Dead (Old Bumpy, Old Grimes, Pompey) (File: R569)
===
NAME: Old Port Rockwell
DESCRIPTION: "Old Port Rockwell has work to do, So he saddles his sorrel and rides away... the waiting wife... shrinks in terror as down the night Comes the wailing of Port's dread war cry, 'Wheat!'" Rockwell's cry means that a wife and children will be orphaned
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder mother orphan
FOUND_IN: US
REFERENCES: (1 citation)
Burt, pp. 114-115, "(Old Port Rockwell)" (1 text)
Roud #10880
NOTES: Burt lists Orrin Porter Rockwell (1813-1878) as a bodyguard to both Joseph Smith and Brigham Young, but he was evidently a dangerous tough also. He was the most famous of the Sons of Dan, or Danites (see  Dale L. Walker, _Legends and Lies: Great Mysteries of the American West_, Forge, 1997, p. 209), which also apparently included John D. Lee, the alleged main perpetrator of the Mountain Meadows Massacre (for which see "The Mountain Meadows Massacre" [Laws B19]).
Rockwell's cry "Wheat!" is reputedly derived from the parable of the wheat and the tares (Matthew 13:24-30): The wheat was to be kept, the tares (weeds) to be burned.
According to Wallace Stegner, _The Gathering of Zion: The Story of the Mormon Trail_, pp. 37-38, "Rockwell had been promised by Joseph [Smith] that no bullet would ever touch him. He wore his hair long in remembrance of that prophecy, and in a long life that his enemies said included upwards of a hundred holy murders (his most scrupulous biographer guesses twenty) the promise held good. He was illiterate, nerveless, tireless, dedicated, an utterly dependable zealot."
Even Fawn M. Brodie, herself a Mormon, calls his appearance "sinister"; see Fawn M. Brodie, _No Man Knows My History: The Life of Joseph Smith_, 1945, 1971 (I use the 1995 Vintage edition), p. 322
At the time Burt and Stegner wrote, however, there do not appear to have been any really good biographies of Rockwell. The first appears to be Harold Schindler, _Orrin Porter Rockwell: Man of God/Son of Thunder_ (with illustrations by Dale Bryner), University of Utah Press, 1966, 1983 (I use the 1993 paperback edition).
Little is known of Rockwell's early life, except what is found in church and other official records; he was born in 1813 in Belcher, Massachusetts, the second of nine children. At the age of ten, he broke a leg, and the doctor who set it did a poor job, leaving him with a lifelong limp (something he shared with his idol Joseph Smith) Early in life, his family moved close to the home of Smith, and he seems to have fallen under the Prophet's spell even while Smith was compiling the Book of Mormon, working in the fields to help the Prophet's work. Apparently the first record of him as an individual is as a rambunctious youth of 17, in 1831, as he is found running off his energy on a boat on the Erie Canal. He was already a Mormon at this very early date -- indeed, he was one of the first converts, and helped to bring his mother into the fold (Schindler, pp. 2-6).
Rockwell was one of the Mormons who moved to the colony in Independence, Missouri, where he married his first wife Luana Beebe in 1832 -- "the first Mormon wedding in Jackson County" (Schindler, p. 8). He came to work as a ferryman, which finally closed off any possibility of schooling; Rockwell never did learn to read or write (Schindler, p. 9). According to Schindler, pp. 10-11, it was Rockwell and his father who ferried the toughs who perpetrated the first assault on the Missouri Mormon colony. It was this that brought the state's Lieutenant Governor, Lilburn W. Boggs, to the area, where he made it clear that he wanted the church destroyed. The Mormons promised to get out, then sought relief from the courts -- and found themselves under even more severe assault.
The Missouri brutality was personal to Rockwell -- his brother-in-law and a neighbor were beaten in one of the assaults (Schindler, p. 15). A later attack destroyed, among others, the homes of Rockwell and his father (Schindler, pp. 16-17). The Mormons scattered to other parts of the state; Rockwell ended up in the Mormon Community of Far West in 1838; his wife had borne him two daughters, Emily and Caroline, in the interim (Schindler, pp. 23-24).
It was in this context that the Sons of Dan were formed. After some experimentation, they settled on their name based on Genesis 49;17, which calls Dan a serpent in the road that bites at horses' heels. It is also noteworthy that the name "Dan" means "judge" -- though that is not evident from the King James Bible, and there seems to have been no one in the Mormon church with the Biblical learning to realize that (had there been, someone would surely have told Joseph Smith of the fact that the Greek and Hebrew, unlike the King James Bible, are not full of archaisms; they were in the ordinary language of the times they were written. Maybe that someone would also have told him that Hebrew is an actual language, not something in which one could arbitrarily make up words).
Little is really known of the Danites; it's not even clear whether Joseph Smith was aware of their founding (Schindler, p. 32). It is known that, contrary to legend, Rockwell was not their chief (Schindler, p. 33). But we have testimony that they were sworn to work for the "utter destruction of apostates" and to keep the group's secrets at all costs (Schindler, p. 36).
Meanwhile, the war in Missouri was just getting hotter as the Mormons began to fight back seriously. Bands of Danites were important to this process. It is thought that Rockwell may have fought his first battle in a raid on the Crooked River, though we cannot be certain he was present (Schindler, pp. 45-46).
Lilburn Boggs [this is the spelling used in most histories; the _Dictionary of American Biography_ prefers "Lillburn"] made anti-Mormonism one of his key issues, and rode it to the Missouri governorship in 1836. In 1838, he issued an  "Extermination Order" against the Mormons (see Bernard DeVoto, in _The Year of Decision: 1846_, Little, Brown and Company, 1943, p. 83; Schindler, p. 49, prints the order and notes that it was not rescinded until 1976!). We know that Rockwell was prepared to fight the battle which followed the Boggs order (Schindler, p. 52), but Joseph Smith decided to yield in Missouri.
Smith ended up in prison, where Rockwell visited him regularly (Schindler, p. 56). After that, Smith, Rockwell, and most other Mormons headed for Illinois.
Rockwell's father died in 1839, but Rockwell the Younger -- whose wife bore a son around this time -- was clearly becoming an important figure in the Church; when Smith sent a petition for relief to Martin van Buren (which the president rejected as politically inexpedient), Rockwell was one of those sent to convey it. It sounds as if his real role was bodyguard (Schindler, p. 59), but still, he was clearly a trusted bodyguard.
His looks probably contributed. By this time, he worse his beard long and his hair longer -- well below his shoulders; he really did have the look of an Old Testament prophet. The one problem with the image was his voice, which went into the falsetto when he became worked up. Schindler, p. 61, reports that he tried very hard to control his emotions as a result.
In 1842, with his fourth child about to be born, Rockwell headed back to Missouri to be with his wife wife and her parents. He was well enough known by now that he chose to use the pseudonym "Brown" rather than his own name (Schindler, p. 66).
Of course, returning to Missouri also brought him back into the state of Lilburn Boggs.
In 1842, someone attempted to kill Boggs by shooting through his window (Walker, pp. 207-208). If the murderer didn't manage to kill him, it wasn't for lack of trying; he had a heavy pistol loaded with buckshot, and fired it through Boggs's window. Boggs suffered four wounds, the worst being to his head and neck; he was thought to be doomed, and it was considered miraculous that his six-year-old daughter, who was in the room at the time, was not injured (Schindler, pp. 67-70). Boggs gradually recovered, but left Missouri in 1846 to settle in California.
Rockwell, who had been in Missouri for only a few months, was quickly credited with the assassination attempt, though no absolute proof was offered at the time. Indeed, Schindler is not entirely sure Rockwell committed the crime, though he cites strong evidence for it (p. 73). Brodie, pp. 323-324, notes only two points of evidence: That Rockwell had briefly visited Missouri at the time, and that Rockwell seemed to come into some money after his return -- and Smith had offered $500 for anyone who killed Boggs. But she also notes that Rockwell's improved circumstances seemed to be derived from the work he did for Smith, not from any payment for the attack on Boggs. Will Bagley, _Blood of the Prophets: Brigham Young an the Massacre at Mountain Meadows_, University of Oklahoma Press, 2002, p. 13, is certain Rockwell did it, though he admits in the footnote that he couldn't prove it at law.
As a result of the attempted murder, a newsman dubbed Rockwell "The Destroying Angel." Rockwell later threatened the writer John Cook Bennett for the charges published against him (Schindler, p. 72) -- though much of Bennett's information in fact came from Boggs, who swore to an affidavit charging Smith with being an accessory to murder (Brodie, p. 324)
The Nauvoo authorities (in effect, Smith) ignored the charge against Rockwell (and against Smith himself), refusing to extradite them to Missouri (Schindler, pp. 74-76). Eventually Rockwell ended up with a price of $3000 on his head. Although he remained free, he was unable to find employment in the world outside the church, and spend some time wandering around the Midwest; his wife left him at this time (Schindler, p. 79). Eventually the Illinois authorities tossed out the warrant against Smith -- but Rockwell was apprehended (Schindler, p. 82). The trip back to Missouri had comic aspects; the driver was so drunk that he twice cracked up the stage, and Rockwell, with his knowledge of horses and carts, twice had to repair and rescue the vehicle (Schindler, pp. 84-85). He was imprisoned in dreadful conditions while awaiting trial (Schindler, pp. 85-87), attempted an escape which failed mostly because his companion was too slow (Schindler, pp. 88-89) -- and, upon his recapture, was shackled so tightly that he could not even stand up straight (Schindler, p. 90). 
Ironically, Rockwell was eventually cleared of the murder charge, but was forced to stay in prison because he had attempted to escape (Schindler, p. 95). After much more maneuvering, an apparent attempt to kill Rockwell, and most of a year in prison, he finally came to trial. The case finally went to the jury, which sentenced him to "five minutes in the county jail" (Schindler, p. 99). After a few hours of last-minute attempts to file new charges, Rockwell went free. Of course, he was still stuck in Missouri, and vigilantes were after him. Broke, and with his shoes in tatters, he had to walk most of the way to Nauvoo (Schindler, pp. 100-101). This was considered to fulfill one of Smith's visions, though if God were really watching over Rockwell, I'd have to say, that should have included taking care of his badly injured feet....
When Rockwell arrived in Nauvoo, he went to visit a party being held by Smith. And it was there that Smith made his prophecy: "you -- Orrin Porter Rockwell -- so long as ye remain loyal and true to thy faith, need fear no enemy. Cut not thy hair and no bullet or blade can harm thee!" (Schindler, p. 102, who notes the obvious similarity to the tale of Samson -- who, in the Book of Judges, had superhuman strength and avoided capture and death until his hair was shaved).
The prophecy would come to inspire its own folklore; Schindler, p. 351 n. 52, tells two well-known stories about Rockwell which he understandably does not believe. In one, he put a gang of desperadoes to flight and then shook himself, to have several bullets fall out of his coat. According to the other, a man stuck a pistol in his face -- and Rockwell calmly asked if he would try to fire a pistol without a firing cap. While the other hesitated and glanced at the weapon, Rockwell shot him.
For a brief time, Rockwell served as a bartender in Smith's large hotel -- until Smith's wife Emmy convinced the prophet that the head of a church shouldn't himself be serving liquor (Schindler, pp. 103-104). Smith then started a police force of sorts. Or perhaps we should call it a secret police (Schindler, pp. 105-108).
Rockwell's first unquestionably criminal act came as a member of this force. Joseph Smith's authoritarian rule of the Mormon Church led to the founding of a sort of opposition newspaper, the _Nauvoo Expositor_. Among other things, it carefully documented Mormon polygamy (see Brodie, pp. 374-375). Smith determined to suppress it, taking a posse to the offices, where the press was destroyed, the type pied, and the whole office burned (Brodie, p. 377). Rockwell was one of those involved in the destruction, reportedly kicking in the office door (Schindler, p. 116).
The affair was to prove a fatal mistake; Smith ended up in prison in Carthage, Illinois, where he was lynched (Brodie, pp. 382-395).
Rockwell had a curious part in this final tragedy. When Smith realized the Illinois authorities were coming for him, he decided to flee west, leaving his senior wife Emma and the entire Mormon colony behind to suffer the rage of the citizens of Illinois. Rockwell was one of the handful he took with him as a guide, and it was Rockwell who was to get them across the Mississippi. But before Smith left the western shore of the river, Rockwell was sent back to the Illinois side -- and brought back word of the fears of the people of Nauvoo. Smith relented and returned to his martyrdom (Brodie, pp. 384-386; Schindler, pp. 119-121). Rockwell was curiously passive in this, accepting whatever Smith decided -- but did not accompany Smith to Carthage, and so survived even though, in terms of raw violence, he was surely as guilty as the prophet. This was apparently at Smith's command; he wanted Rockwell in Nauvoo to rescue him if need be (Schindler, p. 121). Obviously that didn't work out.
Rockwell did end up being arrested not long after, but immediately escaped (Schindler, p. 136), His first unquestioned killing came soon after this: Lieutenant Frank Worrell, one of those who took part in the capture and killing of Smith, pursued Rockwell and a companion, and was fatally shot during the pursuit (Schindler, pp. 138-139).
Schindler notes that the death of Smith turned Rockwell "aggressive, even belligerent"; he went so far as to appropriate the wife of fellow Mormon Amos Davis at gunpoint (Schindler, pp. 142-143). This at least technically made him guilty of bigamy (polygamy being of course normal Mormon practice at the time), but his first wife, as we know, was no longer with him (Schindler, p. 145). Curiously, I found no mention of the former Mrs. Davis in Schindler's pages after this; she seems to disappear the moment he had won her favors.
When the Mormons began their exodus to Utah (for which see, e.g., "Brigham Young"), Rockwell was given the important task of carrying messages between those already on their way and those who had not yet departed; the logic seems to have been that he would be hard to stop along the way (Schindler, p. 146). Eventually he was captured by Gentiles in Nauvoo -- and found to have so many guns that he could have fired 71 rounds without having to reload (Schindler, p. 147).
Schindler, p. 148, describes this as a sort of publicity stunt. With Rockwell on trial, attention would be shifted away from the rest of the Mormons. The trial was moved to a neutral county, and there were no witnesses against Rockwell (Stegner, p. 90, though he seems to think Rockwell intimidated the witnesses while Schindler gives him a more complex defence). Rockwell went free. He then became one of the pioneers Brigham Young brought along to search for the site of the New Zion (Schindler, pp. 152-153). Rockwell did much hunting and scouting on this trip. When Young selected the site of Salt Lake City, Rockwell was chosen to accompany and protect Ezra T. Benson when the latter was sent to lead the remainder of the Mormon exodus (Schindler, p. 167).
Salt Lake City, of course, was barren, and the Mormons arrived with very little. It was a desperate time. Eventually, an expedition was sent to California to try to purchase much-needed supplies, with Rockwell along as a scout. The planning for this expedition was utterly botched (Schindler, p. 171), and in the end it wasted a lot of money without bringing in much in the way of food. Rockwell, before it was over, had parted company with the commander of the expedition (Schindler, p. 172).
Rockwell soon after went on another expedition to California, to collect tithes from Mormons there (Schindler, pp. 184-185). Rockwell, left on his own while the financial types did their work, apparently tried panning for gold, then brought in whisky for a saloon (Schindler, pp. 186-187). He also won a rifle contest, which resulted in his name (which he had concealed) being revealed (Schindler, p. 190); he barely avoided lynching. Charges of murder would greet him when he returned to Utah, but of course the Mormon hierarchy supported him.
It supported him also when he led a group to settle a contract dispute, and in the complications which followed, ended up executing four Indians (Schindler, p. 196).
In 1854, Rockwell married Mary Ann Neff, who was about half his age (Schindler, pp. 197, 205). She bore him a daughter in March 1855 (Schindler, p. 217), and another in August 1856 (Schindler, p. 238).
Soon after the birth of that first child came another Samson-like incident: He had, until then, worn his hair very long. On a trip to California, he met the widow of one of Joseph Smith's brothers, who had lost her hair due to illness. Having nothing else to do for her, he cut his hair to make her a wig. From then on, he claimed, he could no longer control his urge to drink and swear (Schindler, p. 220). Of course, he soon grew his hair out again.
Despite his reputation in the Boggs affair, Rockwell's career to this point had been relatively tame. But "as the year 1855 came to a close, Rockwell, now a man of forty-two, was entering the most exciting period of his checkered career -- a time when his name would become synonymous with the mysteries and terrors of Mormonism described in the dime novels of the day" (Schindler, p. 223). Though it appears that, at first, he was more sinned against than sinning. He was nearly lynched while carrying the mail between the Mormon colony and the rest of the United States (Schindler, p. 240).
That didn't last long; the Utah War soon followed, in which the United States tried to guarantee its control over the independence-minded Mormons. The Mormons were sadly deficient in trained military officers; theoretically their forces were commanded by a Lieutenant General (a typical piece of Joseph Smith fiction; he had appointed himself to that rank because it would make him senior to every officer in the United States Army), but their actual forces would have been more suitable to a brigadier -- if they'd had anyone competent even to that office (Schindler, p. 293, quotes Captain Albert Tracy, who observed their formations: "They little seemed to know or heed the modern system of deploying of skirmishing.... [T]he 'corrals' of rock which they had erected... would have been knocked about their ears, and rendered untenable in but a brief time...").
In such a setting, it is little surprise that Rockwell, though he had never commanded troops, was given command of a cavalry company (Schindler, p. 251); he may have been illiterate, impetuous, and not particularly bright, but he was a survivor and knew both horses and weapons.
"Selecting five reliable men, Rockwell set out on the first Mormon action against the United States government" (Schindler, p. 255). He started a panic among the expeditionary force's transport mules -- only to have the mules head back for the Federal lines when the soldiers sounded the Stable Call. To add to the embarrassment, the Mormon's own horses proceeded to follow the Federal mules back to camp, leaving the raiders without mounts (Schindler, p. 256). So they slipped into the Federal lines again, and stole horses for themselves -- only to be told on their return that the horses had earlier been stolen by the Federals from the Mormons (Schindler, p. 257).
Rockwell had better luck later; the Mormon plan was for a "scorched earth policy" to deny the Federals any supplies, an Rockwell was one of those involved in clearing the land of any useful material (Schindler, p. 260). He also was involved in additional raids, depriving the Federals of much  livestock; late in the year, he would lead over 600 head of cattle into the Mormon ranks (Schindler, p. 264).
This was the period of the Mountain Meadows Massacre (for which see "The Mountain Meadows Massacre" [Laws B19]). Rockwell does not seem to have had any part of it -- but he did participate in the killing of the Aiken party, a group of (apparently) gentile con artists who had hoped to get rich preying off the Federal army (Schindler, p. 276). It will tell you something about relations between the Mormons and Gentiles at this time that Rockwell, an active guerilla and now undeniably a murderer, was still permitted to preach in church (Schindler, p. 283 n.).
He did find himself again under federal charges. A federal judge with a grudge against the Mormons had induced a grand jury to frame treason charges against much of the Mormon community, mostly unnamed -- but Rockwell was one whose name was given explicitly (Schindler, p. 284). Fortunately for him, he was included in the amnesty which ended the Utah War (Schindler, p. 288). During the negotiations which followed, Rockwell continued to serve as scout, sentry, and messenger for Brigham Young; at the beginning of the negotiations, it was Rockwell who escorted the Federal commissioners into the Mormon camp (Schindler, p. 292). As relations improved, Rockwell -- who became the father of a son late in 1858, then another in early 1860 -- began to look for a way to pick up money, and went back to serving liquor (Schindler, p. 294).
Later in 1860, two men engaged in a scheme to produce counterfeit quartermaster's notes which they could use to requisition supplies. Both would end up dead by gunfire. Schindler, pp. 307-308, seems uncertain just what happened -- but it was possible that Rockwell fired the shots.
It is interesting that it is only on p. 309 that Schindler first mentions Rockwell's slogan "Wheat!" The famous explorer Sir Richard Francis Burton, who had earlier visited Mecca and who had an interest in non-standard religion, decided to see what he could learn in Salt Lake City. There he met and drank with Rockwell -- and the Mormon said "Wheat!" because he enjoyed the contents of his glass (Schindler, p. 309). Rockwell is also said to have used the phrase "Old wheat in the mill" in referring to an easy task (Schindler, p. 347), and to have said "Wheat!" when discussing a court case with his lawyers -- seemingly to indicate disinterest in the charges against him (Schindler, p. 365).
In this period Rockwell also worked to track criminals. Schindler, p. 317, describes him winning a shootout with one wanted fugitive, and tells (p. 319) how two of the fugitive's colleagues also ended up dead by gunfire, though not shorty until after Rockwell had turned them in.
After the Utah War, Rockwell found success managing a mail-carrying outfit as well as running his inn. Schindler, p. 321, writes, "This brief interlude in Rockwell's otherwise violent existence may have been his most enjoyable era, but destiny did not plan a quiet life for Orrin Porter Rockwell." As early as 1862, he was back to fighting Indians (in this case, the Shoshone); he was one of those who lured them into what proved to be a set-piece battle against United States (Schindler, p. 327 -- though Bagley, pp. 252-253, thinks that Rockwell may have been trying to lure the Federals into an ambush).
The result was a slaughter of the natives known as the Bear Creek Massacre, which resulted in the death of at least 250 Indians. But the Europeans came close to destruction themselves due to the weather; the commanders credited Rockwell with saving them by bringing up enough transport (Schindler, p. 331). Indeed, Rockwell and the federal officer became close friends -- so close that some sources claim Rockwell confessed to him of the attempted murder of Boggs (Schindler, pp. 332-333, though it sounds as if he doesn't believe it). He continued to work with the Federals in their Indian wars in the coming years, but managed to father another daughter on Mary Ann in 1863 (Schindler, p. 335).
The Indian conflicts had, however, resulted in the death of one of Mary Ann's close friends; she insisted on leaving the area, so Rockwell moved back to Salt Lake City, then filed a claim on some ranchlands west of Sheeprock Mountain (Schindler, p. 337).
His fame, or infamy, continued to grow. Newspaper reports at this time credited him with forty or more murders (Schindler, pp. 340-341), though this may have been just an attempt to sell more papers.
In 1866, Mary Ann experienced her sixth pregnancy, dying in childbirth on August 24, with the boy dying soon after (Schindler, p. 344). Rockwell then moved again, the better to hand his contract carrying the mail (Schindler, p. 346. It is not clear to me who was watching the children during all this. Rockwell eventually was involved in a dispute over payment, but his lawyers managed to collect in full; Schindler, p. 360). It appears, though, that he mostly sold alcohol, living as quietly as a man in that occupation can do (though he once threw one of his assistant bartenders through a window; Schindler, p. 355. This brought him up before the law). He did manage to get a stake in a silver mine that became the successful Rockwell Mining Company (Schindler, p. 356).
Through it all, he remained intensely loyal to Brigham Young. When Young was charged in a murder conspiracy, and the court tried to set thing up so that he would be found in contempt for not being in court on time, it was Rockwell who rode a race to inform the Prophet of the trap and hurry him back to the court (Schindler, p. 359).
In his later years, Rockwell turned to ranching (Schindler, pp. 361-362). He also, in 1870 or 1871, took a fourth wife (Schindler, p. 360), his former housekeeper, who was 34 years old (he was 59 at the time). She bore him three girls, though the first died shortly after birth.
As long as Brigham Young was alive, he was never brought to account for his previous activities. After Young died, however, Rockwell was charged with the murder of John Aiken and arrested in 1877. Released on bail, he died of natural causes in 1878 (Schindler, pp. 365-366) -- meaning that Joseph Smith's prophecy came true: No bullet did touch him.
I wish I knew what to make of Rockwell. Schindler's biography is unhelpful -- the only assassination he seriously discusses is that of Boggs, and he nowhere says that Rockwell did it (though he does leave the impression of Rockwell's guilt). Rockwell, it is true, shot at a few others, but all in legitimate circumstances. It is, I suppose, possible that Rockwell never did go after anyone else. But it feels as if Schindler is hiding evidence -- his portrait of Rockwell is just too favorable. Rockwell's reputation was surely exaggerated, but presumably it was based on something.
Schindler, p. 362, lists two ballads about Rockwell: This one, which he knew from Burt [Roud #10880], and one beginning "Have you heard of Porter Rockwell, the Mormon Triggerite?" [Roud #10879]. - RBW
File: Burt114
===
NAME: Old Prospector's Crime, The
DESCRIPTION: "Gather round me, people, While I speak this last one word, I am on the gallows And I'll ne'er again be heard." The singer and Hard Rock Jim are miners; the singer finds a claim, tricks Hard Rock Jim into a fight with a bear, kills him, and is executed
AUTHOR: unknown
EARLIEST_DATE: 1958 (Burt)
KEYWORDS: murder animal mining gold execution
FOUND_IN: US(Ro)
REFERENCES: (1 citation)
Burt, pp. 90-91, "(The Old Prospector's Crime)" (1 text, 1 tune)
File: Burt090
===
NAME: Old Rattler
DESCRIPTION: Chorus: "Here, Rattler, Here." Rattler is a great tracking dog. When (Old Riley) escapes from prison, Rattler is put on his trail, and finds the man despite many distractions and even (the Brazos River) in the way
AUTHOR: unknown
EARLIEST_DATE: 1924 (recording, George Reneau)
KEYWORDS: dog manhunt prison escape captivity worksong chaingang floatingverses prisoner
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Courlander-NFM, pp. 104-105, "(Here, Rattler, Here)" (1 text, perhaps composite, plus apparently a portion of another version)
Lomax-ABFS, pp. 66-67, "Ol' Rattler" (1 text, 1 tune)
Jackson-DeadMan, pp. 282-285, "Long Hot Summer Days" (2 texts, 2 tunes); pp. 290-296, "Rattler" (4 texts, 2 tunes)
Silber-FSWB, p. 66, "Old Reilly (In Dem Long Hot Summer Days" (1 text); p. 395, "Old Rattler" (1 text, with the chorus of this song though the verses are those of "Old Tyler")
Roud #6381
RECORDINGS:
Elizabeth Cotten, "Here Old Rattler Here" (on Cotten01)
Mose "Clear Rock" Platt & James "Iron Head" Baker, "Old Rattler" (AFS 208 B1, 1934; on LC8)
Mose "Clear Rock" Platt, "Old Rattler" (AFS 205 B2) [this is a solo recording, as opposed to the duet with James "Iron Head" Baker]
George Reneau, "Here Rattler, Here" (Vocalion 14814, 1924)
Texas state farm prisoners, "Here Rattler Here" (on NPCWork)
CROSS_REFERENCES:
cf. "Take This Hammer" (lyrics)
cf. "Long John (Long Gone)" (floating lyrics)
cf. "Poor Lazarus (Bad Man Lazarus)" (plot)
ALTERNATE_TITLES:
Here, Rattler, Here
NOTES: The "Old Reilly" version is officially credited to Huddle Ledbetter. This looks to me like Lead Belly's adaption of "Long John" -- but of course there is Lomax influence. Given that "Long John" is also derived primarily from the Lomaxes, it's hard to have any confidence about the relationship between the songs, or even their folk status. - RBW
Seeger reports that the Texas state farm prisoners from whom he collected a version of the song believed it described the escape of the prisoner Riley from Clements State Farm. - PJS
To add to all the fun, Jackson thinks that the Leadbelly-type versions which combine "Old Rattler" verses with the chorus "In the long, hot, summer days" are a composite of "Old Rattler" with an independent song which he would title "Long Hot Summer Days." At first glance, this seems reasonable, since he has a "Long Hot Summer Days" version which never mentions Rattler. But it has a lot of "Godalmighty Drag" in it. And his other version does mention Rattler. So, in desperation, I'm continuing to file "Long Hot Summer Days" versions here until we find a pure "Long Hot Summer Days" version.
Jackson of course also has "Rattler" texts with no mention of "Long Hot Summer Days." He says that the convicts he talked to considered Rattler a sort of super-dog, capable of things most other dogs could not do. This does little to clarify matters, since these versions could easily be worn down from a version which did feature long hot summer days. - RBW
File: CNFM104
===
NAME: Old Rattler (II): see Old Tyler (File: JRSF069)
===
NAME: Old Recruiting Soldier (Twa Recruiting Sergeants)
DESCRIPTION: Recruiter(s) from the Black Watch tell a ploughboy the advantages of enlisting. Leave your rotten food and work. "If you chance to get a bairn" or would leave "Three little weans and a wife" "we'll soon rid your hand of that"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan1)
KEYWORDS: army recruiting humorous nonballad food wife children soldier
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #176, p. 1, "The Recruiting Sergeant" (2 texts)
GreigDuncan1 77, "The Recruiting Sergeant" (4 texts, 1 tune)
DT, TWARECRU
Roud #3356
CROSS_REFERENCES:
cf. "Wha Saw the Forty-Second" and references there (subject: The Black Watch)
ALTERNATE_TITLES:
Twas In That Year
NOTES: Greig's first version "is made to apply to the days of Queen Victoria; but there are earlier versions." His second version refers to King George; Greig's correspondent "says that the song was popular about the time of the French wars."
GreigDuncan1 quotes a song in which "words like the chorus appear in ... George Farquhar's play _The Recruiting Officer_ (1706); the queen here is Queen Anne." - BS
The irony of this song is that the sergeant's recruiting technique consists mostly of telling the potential recruit of the dangers he will escape:
"O laddie, ye dinna ken the danger that ye're in, Gin yer hoorses was to flag... The greedy auld farmer he winna pay your fee...." True, of course, but pay in the British army was legendarily low and late.
"It's a slavery a' your life" to obey a farmer: And obeying a sergeant, and an officer who has the right to punish you with the lash, isn't? The British army controlled its recruits with savage disciplline.
"O laddie, gin ye hae a sweethairt or a bairn, Ye'll easily be rid o' that ill-spun yarn": The usual problem for soldiers, of course, was that they had to leave sweethearts behind. The British army in this period did make provision for bringing some wives along -- but not enough to let all the men stay with their women; competition was fierce for the few slots available for spouses.
"With your tattie porin's and yer meal and kale": Food for the plowboy at home may have been poor -- but the British hired out contracts for provisions, and the contractors often provided inadequate, rotten, and inedible food. (In the Navy, this would result in the Spithead and Nore Mutinies, for which see "Poor Parker.") Almost all formations in the British army suffered more casualties from diet-related disease than from battle.
"And it's over the mountain and over the main Through Gibralter, to France and Spain": An interesting lack of mention of India. And Sudan. And other such places, where the risk of disease and casualties were far higher, and where a soldier might spend years without seeing anyone he knew other than his messmates.
The ultimate irony, though, is that the Black Watch managed to maintain its numbers all through the eighteenth and nineteenth and even the twentieth century. Only in the twenty-first, when most of the above problems were solved, did it have to be dissolved. For background, see the notes to "Wha Saw the Forty-Second." - RBW
File: GrD1077
===
NAME: Old Reilly: see CNFM104 (File: CNFM104)
===
NAME: Old Reuben: see Reuben's Train (File: Wa133)
===
NAME: Old Riley: see Old Rattler (File: CNFM104)
===
NAME: Old Robin Gray : see Auld Robin Gray  (File: Pea482)
===
NAME: Old Robin of Portingale [Child 80]
DESCRIPTION: Old Robin's young wife arranges with her lover Sir Gyles for 24 men to kill Robin. Warned by a page, he kills Gyles, then cuts off his wife's breasts and ears. He makes the page his heir, burns a cross into his shoulder and goes to the holy land.
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy)
KEYWORDS: betrayal husband wife injury death fight travel lastwill
FOUND_IN: 
REFERENCES: (3 citations)
Child 80, "Old Robin of Portingale" (1 text)
Percy/Wheatley III, pp. 50-58, "Old Robin of Portingale" (2 texts, the second being that of the folio manuscript and the first being Percy's rewrite)
OBB 53, "Old Robin of Portingale" (1 text)
Roud #3971
NOTES: This ballad is so thoroughly nasty, I'm surprised it isn't more popular. - PJS
The likely explanation is that it is literary; there is no evidence that it ever entered oral tradition. And the moral, that young women should not marry old men, is adequately taught in other songs. - RBW
File: C080
===
NAME: Old Roger is Dead (Old Bumpy, Old Grimes, Pompey)
DESCRIPTION: (Old Bumpy) is dead and buried. An apple tree grows from his grave. An old woman comes to gather apples. Bumpy arises from his grave and kicks the woman for her temerity
AUTHOR: unknown
EARLIEST_DATE: 1876 (sheet music); some similar text from 1849 (Halliwell)
KEYWORDS: burial humorous supernatural playparty
FOUND_IN: US(Ap,MW,NE,SE,So) Britain(England(All)) Ireland
REFERENCES: (12 citations)
Belden, pp. 509-511, "Old Grumbler" (3 texts plus mention of 1 more, 1 tune)
Randolph 569, "Old Bumpy" (1 text, 1 tune)
Randolph/Cohen, pp. 411-413, "Old Bumpy" (1 text, 1 tune -- Randolph's #569)
Hudson 138, pp. 284-285, "Old Grampus" (1 text plus mention of 4 more)
Scarborough-NegroFS, pp. 136-137, "Old Ponto Is Dead" (1 text plus a fragment which might be part of this, 1 tune)
Eddy 65, "Old Granddaddy's Dead" (2 texts, 1 tune)
Flanders/Brown, pp. 182-183, "The Tommy Song or Apples are Ripe" (1 text)
Fuson, p. 186, "Old Grumbler" (1 text)
SharpAp 259, "Old Roger" (2 texts, 2 tunes)
Botkin-NEFolklr, p. 585, "Pompey" (1 text, 1 tune)
LPound-ABS, 114, pp. 232-233, "Poor Robin" (1 text)
Hammond-Belfast, p. 16, "Poor Toby is Dead" (1 text, 1 tune)
ST R569 (Full)
Roud #797
RECORDINGS:
Dora Richards, "Pompey is Dead" (AFS, 1940; on LC55)
ALTERNATE_TITLES:
Old Limpy
Old Grimes
NOTES: Eddy quotes John Powell as writing, "This is not a song but a singing game, 'Old Roger is Dead.' It is a relic of an ancient pagan ritual...." Randolph gives details on how the game is played.
Botkin believes this originated with "Pompey! A Famous End Song," with words credited to "Mrs. K. B." and music by W. R. Dehnoff. This is possible, as I know of no collections prior to the 1876 publication of that song. But the degree of variation makes me suspect it is older.
This should not be confused with "Bohunkus (Old Father Grimes, Old Grimes Is Dead)," which also goes by the title "Old Grimes"; the forms are different, and "Bohunkus" has a plot about two competing brothers. - RBW
File: R569
===
NAME: Old Rosin the Beau (Bow): see Rosin the Beau (File: R846)
===
NAME: Old Rustic Bridge by the Mill, The
DESCRIPTION: "I'm thinking tonight of the old rustic bridge... 'Twas there, Maggie dear, with our hearts full of cheer, We strayed 'neath the moon's gentle gleam." The singer recalls their happy meeting by the bridge, and all the joys they had there
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 124, "The Old Rustic Bridge by the Mill" (1 text)
Roud #3792
CROSS_REFERENCES:
cf. "When You and I Were Young, Maggie" (theme)
NOTES: This feels so much like "When You and I Were Young, Maggie" (right down to the name of the girl) that I have to suspect dependence. But they aren't the same song, though they're about equally sloppy. - RBW
File: Ord124
===
NAME: Old Sailor's Song
DESCRIPTION: No tune given, basically a poem recounting the various travails of sailors. Nine stanzas; begins "Come listen unto me a while and I will tell you then, the hardships and the misery of life on a merchantman..."
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: sailor work hardtimes
FOUND_IN: US
REFERENCES: (1 citation)
Colcord, pp. 138-140, "Old Sailor's Song" (1 text)
ST Colc138 (Partial)
Roud #4705
NOTES: Colcord says this was secured from Fannie Hardy Eckstorm, co-author of _Minstrelsy of Maine_ (though it is not in that collection), which would date it to around 1927. - SL
Curiously, the song does not appear in Jean Patten Whitten's description of the Eckstorm folk song collection (_Fannie Hardy Eckstorn: A Descriptive Bibliography_), at least not under this title or filed under Colcord's first line.
The lyrics fit "Bold Jack Donahoe"/"Jim Jones at Botany Bay," and there are enough similarities that I think that may have been the tune intended. - RBW
File: Colc138
===
NAME: Old Sally Walker: see Little Sally Walker (File: CNFM157)
===
NAME: Old Sam Fanny: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Old Satan's Mad: see Free at Last AND Down by the Riverside (Study War No More) (File: FSWB368A)
===
NAME: Old Scout's Lament
DESCRIPTION: "Come all of you, my brother scouts, And join me in a song." The singer notes that "but few" old scouts  are left alive. But the elk and buffalo are gone, and the Indians driven away: "We won great homes for gentle ones, And now, our West, goodbye."
AUTHOR: unknown
EARLIEST_DATE: 1910
KEYWORDS: age Indians(Am.) animal cowboy work farewell
FOUND_IN: US
REFERENCES: (2 citations)
Ohrlin-HBT 18, "The Old Scout's Lament" (1 text)
DT, OLDSCOUT
Roud #4631
File: Ohr018
===
NAME: Old Section Boss, The: see Jerry, Go and Ile that Car [Laws H30] (File: LH30)
===
NAME: Old Settler's Song,The: see Acres of Clams (The Old Settler's Song) (File: LxU055)
===
NAME: Old Settoo, The
DESCRIPTION: A rich farmer's daughter courts a beggar wearing an old settoo. Her father tries unsuccessfully to dissuade her. She joins the beggar begging. They get married. "The cold of winter she never knew, For every night I rolled her in my old set-too"
AUTHOR: unknown
EARLIEST_DATE: 1925 (OLochlainn-More)
KEYWORDS: courting marriage clothes begging father
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 26A, "The Old Settoo" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The White Cockade" (tune)
cf. "A-Begging I Will Go" (theme and some lines)
NOTES: OLochlainn 26A: "Settoo = Surtout, Overcoat."
OLochlainn-More 26A shares lines with "A-Begging I Will Go": "Above all trades going sure begging is the best, When a man is tired he may sit down and rest," "When night comes on for lodgings we seek, They will put us in the barn us both to sleep" - BS
File: OLcM026A
===
NAME: Old Shawnee, The: see Banks of the Ohio [Laws F5]
 (File: LF05)
===
NAME: Old Sheep Went to Sleep
DESCRIPTION: "Old sheep went to sleep And left the lambs a-feeding, Little mouse jumped over the house And set his nose a-bleeding." Other verses also tell of off moments in animal life: A mare kicks a bear, a goat jumps into a boat, a goose breaks loose
AUTHOR: unknown
EARLIEST_DATE: 1939 (Gardner/Chickering)
KEYWORDS: animal sheep humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 191, "Old Sheep Went to Sleep" (1 text)
ST GC191 (Partial)
Roud #3709
File: GC191
===
NAME: Old Ship of Zion (I), The
DESCRIPTION: Following the form of "She'll Be Coming 'Round the Mountain": "The old ship of Zion, when she comes, when she comes." "She rocks so steady any level when she comes." "Have your lamps trimmed and burning." "Have oil in your vessels."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 623, "The Old Ship of Zion" (3 texts, but only the "A" text is certain to be this piece)
Roud #4204
RECORDINGS:
Uncle Dave Macon, "Old Ship of Zion" (Vocalion 15033, 1925)
Ernest Phipps & his Holiness Singers, "Old Ship of Zion" (Victor 20927, 1927)
CROSS_REFERENCES:
cf. "She'll Be Coming Round the Mountain" (form, tune, lyrics)
NOTES: The references to a trimmed lamp and having oil in one's vessels are clearly an allusion to Jesus's parable of the Wise and Foolish Virgins, Matt. 25:1-13. - RBW
File: Br3623
===
NAME: Old Ship of Zion (II): see The Ship of Zion (I, II, etc.) (File: FSC083)
===
NAME: Old Shoes and Leggings: see Old Man Came Over the Moor, An (Old Gum Boots and Leggings) (File: R066)
===
NAME: Old Smite, The: see The Wreck of the Semmity (Yosemite) (File: Pea983)
===
NAME: Old Smokey: see On Top of Old Smokey (File: BSoF740)
===
NAME: Old Smoky: see On Top of Old Smokey (File: BSoF740)
===
NAME: Old Soap-Gourd, The
DESCRIPTION: "Here we go round the old soap-gourd, theold soap-gourd, the old soap-gourd, Here we go round the old soap-gourd, Earlye in the morning." "The old soap-gourd likes sugar in his tea" as he finds a girl: "Rise and give me your lily-white hands."
AUTHOR: unknown
EARLIEST_DATE: 1952 (copyrighted by Jean Ritchie)
KEYWORDS: playparty courting drink
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-Southern, p. 62, "The Old Soap-Gourd" (1 text, 1 tune)
Roud #7387
CROSS_REFERENCES:
cf. "Here We Go Round the Mulberry Bush" (form)
cf. "This Is the Way We Wash Our Clothes" (form)
NOTES: This appears to be another variation of the "Here We Go Round the Mulberry Bush"/"This Is the Way We Wash Our Clothes" tune group and game. But the lyrics are entirely different, so I split them. - RBW
File: RitS082
===
NAME: Old Soldier, The: see The Old Tobacco Box (File: FSC143)
===
NAME: Old Soldiers Never Die (I)
DESCRIPTION: "There is an old cookhouse not far away Where we get sweet damn all three times a day. Ham and eggs we never see, damn all sugar in our tea, As we are gradually fading away. Old soldiers never die... They just fade away."
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: soldier army age
FOUND_IN: US
REFERENCES: (2 citations)
Silber-FSWB, p. 277, "Old Soldiers Never Die" (1 text)
DT, OLDSOLDR*
Roud #10521
CROSS_REFERENCES:
cf. "There Is a Happy Land Far Away" (tune)
NOTES: The verse quoted above seems to be the only item truly characteristic of this piece. But other verses exist, often bawdy and/or scatological, describing the difficulties of army life or veterans' affairs. - RBW
File: FSWB277A
===
NAME: Old Southwester: see My Father's Old Sou'wester (File: Doyl3042)
===
NAME: Old Sow Song, The: see The Sow Took the Measles (File: LoF015)
===
NAME: Old Sow, The
DESCRIPTION: "And the old sow went to the barn to pig, (whistling) barn to pig, And the old sow went to the barn to pig, But never cry di dry do cry da. For old Susanna is a pretty woman." The sow and piglets may try to escape, but are stopped by the wall.
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: animal
FOUND_IN: US(SE) Britain(England(Lond))
REFERENCES: (2 citations)
BrownIII 178, "The Old Sow" (1 fragment)
DT, OLDSOW
Roud #1737
RECORDINGS:
Albert Richardson, "The Old Sow" (on Voice07)
Cyril Smith, "The Old Sow Song" (Castle [UK?] 1259, n.d.)
Rudy Vallee & his Connecticut Yankees w. Cyril Smith, "The Old Sow Song" (Bluebird B-7078, 1937)
ALTERNATE_TITLES:
Susannah's a Funny Old Man
NOTES: The Brown text and that from the Digital Tradition have little in common, but they both mention Susanna, are about sows, and contain a lot of nonsense; it seems pointless to separate them.
The editors of Brown seemed helpless to expain their text (quoted in full in the description, though they note that several lines are apparently missing), notably the verb "to pig." I wonder if it isn't an error for "to dig." Alternately, presumably, it means "to live as a pig" or "to have piglets." - RBW
The latter, according to the Random House Dictionary. - PJS
File: Br3178
===
NAME: Old Spencer Rifle,The
DESCRIPTION: The singer tells of Johnny's visit, and his "shooting" her with his gun, no less than seven times. John does the mother too and goes off with his gun-barrel bent.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 128-129, "The Old Spencer Rifle" (1 text, 1 tune)
Roud #11499
NOTES: Annotator Legman in Randolph-Legman I asserts that the melody of this apparently unique ballad is "unmistakably" similar to "Yankee Doodle." In fact, it directly quotes "Cotton-Eyed Joe." - EC
File: RL128
===
NAME: Old Spotted Cow, The: see The Crafty Farmer [Child 283; Laws L1] (File: C283)
===
NAME: Old Stable (Sable) Jacket, The: see Wrap Me Up in my Tarpaulin Jacket (File: FR439)
===
NAME: Old Stepstone, The: see Goodbye to My Stepstone (File: R853)
===
NAME: Old Stone Wall, The
DESCRIPTION: "Outside Casey's cabin there is an old stone wall." The singer recalls the sights the wall has seen: Friends meeting, youths singing, pipers playing, lovers meeting. He wishes he could live on the wall; not even a throne would be better
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H83, pp. 156-157, "The Old Stone Wall" (1 text, 1 tune)
Roud #13453
File: HHH083
===
NAME: Old Stormey: see Stormalong (File: Doe082)
===
NAME: Old Stormy: see Stormalong (File: Doe082)
===
NAME: Old Stumper
DESCRIPTION: Leo B MacCormack and his brother Archie agree to dig Uncle Stones's well in exchange for "skin and bones" nag Stumper. When title is questioned Stumper asks "did you get a clear receipt?" At the trial title is settled in MacCormack's favor.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: bargaining trial work humorous horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 17-18, "Old Stumper" (1 text, 1 tune)
Roud #12481
NOTES: The song dates delivery of the summons March 17, 1892. - BS
File: Dib017
===
NAME: Old Swansea Town Once More: see Swansea Town (The Holy Ground) (File: Doe152)
===
NAME: Old Tamarack Dam, The: see The Wild Mustard River (Johnny Stile) [Laws C5] (File: LC05)
===
NAME: Old Testament in Verse (The Books of the Bible)
DESCRIPTION: "In Genesis the world was made, In Exodus the march is told, Leviticus contains the law, In Numbers are the tribes enrolled." And so on to "...And Malachi of John his sign, The Prophets number seventeen And all the books are thirty-nine."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Randolph)
KEYWORDS: Bible nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 875, "The Books of the Bible" (1 fragment)
Pankake-PHCFSB, p. 204, "Books of the Old Testament"; p. 205, "Books of the New Testament" (2 texts, 2 tunes)
Roud #7540
BROADSIDES:
NLScotland, RB.m.143(073), "The Books of the Bible: A Literary Curiosity" ("In Genesis the world was made by God's creative hand"), Poet's Box (Dundee), n.d.
NOTES: In general the summaries in this song are accurate, though it is very clearly Protestant Christian -- the Catholics, e.g., add assorted deuterocanonical books to the Old Testament.
The Jewish canon contains the same books as the Protestant, but organize them differently. The number of books is not 39, but 24 (or 22): 5 books of the Law (Genesis-Deuteronomy), eight of the Prophets (Former Prophets=Joshua, Judges, Samuel, Kings; Later Prophets=Isaiah, Jeremiah, Ezekiel, and the Twelve), and the rest, with some reorganization, form the Writings (note that Daniel is not one of the Prophets).
The texts in Pankake are NOT the same song as in Randolph, but they are so thematically close (and so unlikely to be looked up separately) that I just decided to lump them in here. Their two texts simply list the books of the Bible in order -- both in the Protestant order of the King James Bible (a traditional Greek Bible would put the "Catholic Epistles" of James through Jude with Acts, and might place Hebrews after 2 Thessalonians rather than Philemon).
A third anonymous poem on this general theme, "Names and Orders of the Books of the Old Testament," is found on pp. 602-603 of Hazel Felleman's _The Best Loved Poems of the American People_.
The greatest myster of all may be the relationship between the Randolph text and the NLScotland broadside. They have very many common lyrics, but the Randolph text is in short lines and the Scottish version in long. A rewrite seems likely, but how it proceeded is unclear at best.- RBW
File: R875
===
NAME: Old Texas: see Going to Leave Old Texas (Old Texas, Texas Song, The Cowman's Lament) (File: FCW066E)
===
NAME: Old Timbrook Blues
DESCRIPTION: Race between Timbrook & Molly; Timbrook races "like a bullet from a gun", while Molly creeps along "like a criminal to be hung." Singer addresses jockey Johnny Walker. Timbrook beats Molly "to the hole in the wall." Singer says old mistress lost her "mon"
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, John Byrd)
LONG_DESCRIPTION: Race between Timbrook & Molly; Timbrook races "like a bullet from a gun", while Molly creeps along "like a criminal to be hung." Singer addresses jockey Johnny Walker, telling him to hold Timbrook's reins tight. On the windy race day, "you couldn't see old Timbrook as he come darting by." Everyone shouts, but Timbrook beats Molly "to the hole in the wall." Singer says he loves his racehorse; "old mistress went to the racecourse, lost all of her mon." Song also incorporates the "fourth day of July" verse from "The Cuckoo"
KEYWORDS: gambling horse
HISTORICAL_REFERENCES: July 4, 1878 - race between Ten Broeck and Miss Mollie McCarthy (won by Ten Broeck)
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
John Byrd, "Old Timbrook Blues" (Paramount 12997, 1930; on StuffDreams1)
CROSS_REFERENCES:
cf. "Molly and Tenbrooks" [Laws H27] (subject)
cf. "Timbrook" (subject)
 cf. "The Cuckoo" (inexplicable floating verse)
NOTES: Obviously this describes the same events as "Molly and Tenbrooks" and "Timbrook." However, it does not share lyrics or tune with either of those songs, so I classify it separately. So far as I know, it's the only occurrence of the story in African-American tradition -- unless you count Henry Thomas's "Run, Mollie, Run," which includes the title phrase but none of the story.
The verse from "The Cuckoo" ("The cuckoo was a fine bird, hollered when he fly/But he never hollers cuckoo til the fourth day o' July") makes no sense until you note that the race between Ten Broek and Miss Mollie was held on July 4, 1878. - PJS
File: RcOTimbB
===
NAME: Old Time Cowboy (Melancholy Cowboy)
DESCRIPTION: "Come all you melancholy folks wherever you may be, I'll sing about the cowboy whose life is light and free." We are told "his heart is gay," "they're a little bit rough... but if you do not hunt a quarrel you can live with them in peace," etc.
AUTHOR: unknown
EARLIEST_DATE: 1908
KEYWORDS: cowboy nonballad
FOUND_IN: US
REFERENCES: (2 citations)
Thorp/Fife XIX, pp. 240-243 (40-41), "Old Time Cowboy" (2 texts, 1 tune)
Ohrlin-HBT 17, "Old-Time Cowboy" (1 text, 1 tune)
Roud #8046
ALTERNATE_TITLES:
Come All Ye Melancholy Folks
File: TF19
===
NAME: Old Time Religion, (The): see That Old Time Religion (File: R628)
===
NAME: Old Time Sealer's Song
DESCRIPTION: "We'll sound the hardy sealers praise, a wild and cheerful strain...." The singer notes that merchant vessels stop travelling in winter, but sealers work through all the dark. stormy months. At last they can come home from the ice
AUTHOR: "Mr. Webber... of Harbour Grace" ?
EARLIEST_DATE: 1902 (Murphy, Songs and Ballads of Newfoundland, Ancient and Modern); dated by Murphy to 1842
KEYWORDS: hunting ship work
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 18-19, "Old Time Sealer's Song" (1 text, 1 tune)
ST RySm018 (Partial)
File: RySm018
===
NAME: Old Time Sealers, The
DESCRIPTION: "The bells they are ringing, the sirens are screaming... The sealing fleet's ready to leave port once more." As snow blows in, the fleet sails. The singer tells of the hunt; he says sealers face dangers  greater than mountain climbers or big game hunters
AUTHOR: unknown
EARLIEST_DATE: 1964 (Newfoundland Stories and Ballads)
KEYWORDS: hunting ship bragging
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 138-139, "The Old Time Sealers" (1 text, 1 tune)
File: RySm138
===
NAME: Old Timer's Song, The: see The Day Columbus Landed Here (File: FJ178)
===
NAME: Old Tippecanoe
DESCRIPTION: "The times are bad and want curing, They're getting past all enduring, Let us turn out old Martin Van Buren, And put in old Tippicanoe." A political song, this piece points out the depressed economic conditions and Tippicanoe's humble origins.
AUTHOR: unknown
EARLIEST_DATE: 1940 (Warner)
KEYWORDS: political hardtimes derivative
HISTORICAL_REFERENCES: Dec 2, 1840 - William Henry Harrison defeats Martin Van Buren
Mar 4, 1841 - Harrison (the first Whig to be elected President) is inaugurated. He gives a rambling inaugural address in a rainstorm and catches cold
April 4, 1841 - Harrison dies of pneumonia, making him the first president to fail to complete his term. After some hesitation, Vice President John Tyler is allowed to succeed as President
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Warner 73, "Old Tippecanoe" (1 text, 1 tune)
ST Wa073 (Full)
CROSS_REFERENCES:
cf. "We Won't Go Home Until Morning" (tune) and references there
cf. "Tippecanoe and Tyler Too" (subject)
cf. "Tippecanoe" (subject)
cf. "Harrison Campaign Song" (subject)
NOTES: When Andrew Jackson stepped down as President, he hand-chose Martin Van Buren as his successor. It was Van Buren's misfortune to suffer the consequences of Jackson's questionable economic policies. May 10 is traditionally considered the first day of the Panic of 1837, in which hundreds of banks failed. The economic consequences lasted until the early 1840s, and made Van Buren extremely unpopular.
Harrison's campaign was far from honest. He ran as a frontiersman (his election strategy is referred to as the "Log Cabin and Cider" campaign) even though he was a southern aristocrat. He also ran as a successful soldier, even though his only military exploits were the slaughter of Tecumseh's Shawnee and allies on the Tippecanoe River (and that only because Tecumseh himself wasn't present and in his absence the warriors attacked Harrison's defensive position; see John K. Mahon, _The War of 1812_, pp. 24-27; also p. 63, which notes that Harrison actually resigned his commission due to the controversy over the battle) and some minor maneuverings on the Great Lakes during the War of 1812 after the Battle of Lake Erie (for which see "James Bird" [Laws A5]) had opened the way.
But it didn't matter; people would have taken anything in preference to Van Buren. This song, sung to the tune of "I Won't Be Home Until Morning/The Bear Went Over the Mountain," betrays the simplistic popular view of the campaign.
To be as fair as I can (probably fairer than Harrison deserves), his exploits against the Indians did open the way for much American expansion. Pierre Berton, _The Invasion of Canada [Volume I], 1812-1813_, Atlantic-Little Brown, 1980, pp. 53-68, tells how the great Shawnee Tecumseh, and his brother the Prophet, were gradually building a coalition of tribes that might be strong enough to halt American expansion. Harrison was determined to stop it -- and his timing was brilliant: He waited until Tecumseh was too far away to interfere, and then lured the Prophet into battle.
According to Berton, p. 69, "The Battle of Tippecanoe is not the glorious victory that Harrison, down through the years, will proclaim. It is not even a battle, more a minor skirmish, and indecisive, for Harrison, despite his claim, loses far more men than the Indians. Overbolown in the history books, this brief fracas has two significant results: it is the chief means by which Harrison will propel himself into the White House... and, for the Indians, it will be the final incident that provokes them to follow Tecumseh to Canada, there to fight on the British side in the War of 1812.
"Tippecanoe is unnecessary. It is fought only because Harrison needs it to further his own ambitions." Furthering his own ambitions is something at which he was always amazingly successful.
Berton, pp. 75-76, describes the casualties of Tippecanoe as follows: "Harrison has lost almost one-fifth of his force [pf roughly a thousand men].Thirty-seven white corpses lie ssprawled on the battlefield. One hundred and fifty men have been wounded of whom twenty-five will die of their injuries.... No one can be sure how many Indians took part in the skirmish. Nobody know howmany died. Harrison, like most military commanders, overstimates the enemy's losses, declar[ing] that the Prophet's casualties run into the hundreds. This is wishful thinking; only thirty-six Indian corpses are found." Harrison did, however, hold the field, and as a result was able to burn the Prophet's settlement -- and the food supplies left there; he may have caused more casualties by starvation than he did in the battle.
But he also increased Tecumseh's desire for blood, and Tecumseh is a much more formidable leader than his brother the Prophet could ever hope to be. - RBW
File: Wa073
===
NAME: Old Tobacco Box, The (There Was an Old Soldier)
DESCRIPTION: "There was an old (soldier) and he had a wooden leg. He had no tobacco; no tobacco could he beg." He asks a comrade for tobacco, and is refused. He is told to save; then he will have tobacco. He gets even by stabbing the other with a splinter from his leg
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: soldier humorous begging
FOUND_IN: US(Ap,MA,MW,Ro)
REFERENCES: (11 citations)
Warner 182, "The Old Geezer" (1 text, 1 tune)
FSCatskills 143, "The Old Tobacco Box" (1 text, 1 tune)
Brewster 93, "The Soldier's Song" (1short  text)
Sandburg, pp. 432-433, "There Was an Old Soldier" (1 text, 1 tune)
Flanders/Brown, p. 50, "The Auld Soldier" (1 text, 1 tune)
Silber-CivWar, p. 32, "There Was an Old Soldier" (1 text, 1 tune)
Beck 91, "The Old Geezers" (1 text)
Silber-FSWB, p. 242, "There Was An Old Soldier" (1 text)
Darling-NAS, p. 258, "The Old Soldier" (1 text)
Pankake-PHCFSB, p. ,143 "The Was an Old Geezer" (1 text, tune referenced; this is a partial parody but consists mostly of traditional elements)
DT, (TURKST2)
Roud #3342
CROSS_REFERENCES:
cf. "Turkey in the Straw" (tune & meter) and references there
NOTES: This piece is often sung to the tune of Turkey in the Straw, and the lyrics often float back and forth, but also exists on its own with its own tune (as was vehemently pointed out by the Warners' informant, Tom P. Smith; Jerome S. Epstein calls it similar to "The Red Haired Boy," but it's Ionian).
It is often listed as a Civil War song, and probably is, but I have not been able to find any Civil War reference to this which clearly distinguishes it from "Turkey in the Straw."
On the other hand, the Civil War is one of the few wars in which a man with a wooden leg really could be on fairly active duty. As the war dragged on, and the number of crippled soldiers rose, the Union in 1863 decided to recruit an "Invalid Corps," later renamed the "Veteran Reserve Corps" (see Bruce Catton, _A Stillness at Appomattox_, Doubleday, 1953, pp. 143-144). The men were classified as "first battalion" men, considered to be fit for garrison duty away from the front lines, and "second battalion" men, who were no longer fit enough even to carry a musket (they were supposed to serve in hospitals as nurses and cooks, according to Mark M. Boatner, _The Civil War Dictionary_, McKay, 1959, article on the "Veteran Reserve Corps").
Yet Catton, pp. 144-146, tells how 166  of these poor second battalion men were once sent out to march and fight at Belle Plain. They naturally had to travel without knapsacks (more than half the men in their unit had been unable to march at all), so it would have been perfectly reasonable, on that occasion, for a soldier with a wooden leg to be in the front lines and begging for tobacco. I doubt that explains the origin of the song -- but it *could* have happened.
(We might note that there were also a fair number of officers with wooden legs, the most senior being Confederate Lieutenant General Richard Ewell and full General John Bell Hood. As officers, however, they were permitted to ride rather than march -- Hood, in fact, had to be strapped to his horse, though Ewell was able to mount and dismount on his own. We might also add that, though both had been fine division commanders before being wounded, neither performed very well following amputation and promotion. Ewell's hesitation at Gettysburg may have cost the Confederates that battle; Hood's performance in the Atlanta and Nashville campaigns finally doomed the Confederacy.)
The versions called "The Soldier's Song" should not be confused with the song of that name which is the national anthem of Ireland. - RBW
File: FSC143
===
NAME: Old Tom Bolen (Tom Boleyn II)
DESCRIPTION: "Old Tom Bolen, his horse Beaver, Forked Deer and Hatchee River, My wife's dead and I'm a widower, And I'll go back to Rollin' River."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: animal death
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 425, "Old Tom Boleyn" (1 fragment, 1 tune)
Roud #7632
NOTES: Randolph tentatively links this song to the minstrel piece "Way Down South in Alabama," containing the lines "My wife's dead and I'm a widder, All de way from Roarin' Ribber." Since we're speculating, is there any possibility that these are the fiddler's mnemonic for "Forked Deer"? (I concede the tunes are not the same.) - RBW
File: R425
===
NAME: Old Tom Cat, The
DESCRIPTION: "An old lady sat by the fire, An she thought no one was nigh her... And she pulled up her petticoat higher." "The old tom cat saw something naked, an for a rat or a mouse did take it," and attacks, with raucous results
AUTHOR: unknown
EARLIEST_DATE: before 1976 (collected by Logsdon from Riley Neal)
KEYWORDS: bawdy animal fight humorous
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Logsdon 46, pp. 228-229, "The Old Tom Cat" (1 text, 1 tune)
Roud #10102
File: Logs046
===
NAME: Old Tommy Kendal: see This Old Man (File: FSWB390C)
===
NAME: Old Travelling Man, The: see Traveling Man (Traveling Coon) (File: RcTMTC)
===
NAME: Old Turkey Hen, The
DESCRIPTION: "Seven years a-boiling, Ho-ma-hala-way, Seven years a-baking, Ho-ma-hala-way." "They blowed the horn for dinner... The people could not eat her." "They carried her to the old field... The buzzards could not eat her...."
AUTHOR: unknown
EARLIEST_DATE: 1924 (Brown)
KEYWORDS: bird food humorous
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 203, "The Old Turkey Hen" (1 text)
CROSS_REFERENCES:
cf. "The Old Gray Goose (I) (Lookit Yonder)"
NOTES: Paul Stamler suggests that this is a version of "The Old Gray Goose (I) (Lookit Yonder)." There are similarities of both plot and lyrics; he may well be right. In fact, I think it more likely than not that he's right. But just enough doubts remain that I'm tentatively keeping them separate. - RBW
File: Br3203
===
NAME: Old Tyler
DESCRIPTION: "Old (Tyler/Napper) was a good old dog, We thought he'd treed a coon, But when we come to find it out Old Tyler was barking at the moon...." The song tells of Tyler's eccentricities and how Allegheny finally shot the animal
AUTHOR: unknown
EARLIEST_DATE: 1936 (Hudson)
KEYWORDS: dog death animal
FOUND_IN: US(Ap,So)
REFERENCES: (3 citations)
Hudson 76, p. 203, "Old Napper" (1short  text, mostly floating verses)
Ritchie-SingFam, pp. 69-70, "[Old Tyler]" (1 text, 1 tune)
Silber-FSWB, p. 395, "Old Rattler" (1 text, evidently this song from the verses, though it has the chorus from "Old Rattler")
Roud #5712
CROSS_REFERENCES:
cf. "Napper"
NOTES: This is a bit of a conundrum. The Ritchie family's "Old Tyler" is a coherent song, but its first verse floats, and the other songs here are all mixed up. And, of course, the name of the dog varies, e.g. Hudson's text seems to call him "Napper."
Then there is the Brown collection, which has a pair of fragments about "Napper" or "Old Napper." It's clearly not the same as Old Tyler; Napper is a human who fools around with the singer's wife. But the form hints that there is continuous variation between the two. - RBW
File: JRSF069
===
NAME: Old Uncle Noah
DESCRIPTION: "Old Uncle Noah built him an ark / He built it out of hemlock bark... The animals went in two by two / The elephant and the kangaroo... Mrs. Noah she got drunk / She kicked old Noah out of his bunk..."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: Bible humorous nonballad flood
FOUND_IN: US(MW,SE)
REFERENCES: (4 citations)
Scarborough-NegroFS, p. 181, (no title) (1 text)
BrownIII 544, "Noah's Ark" (2 short texts, both of the "Gideon's Band" type)
Eddy 75, "Old Uncle Noah" (1 text)
Courlander-NFM, pp. 44-45, (no title) (partial text, which may go here or elsewhere); pp. 246-247, "Noah, Noah" (1 tune, partial text, same as the reference on p. 44)
ST E075 (Partial)
Roud #5355
RECORDINGS:
Al Hopkins & His Buckle Busters, "Gideon's Band" (Brunswick 295, 1929; rec. 1928)
CROSS_REFERENCES:
cf. "One More River" (lyrics)
cf. "Who Built the Ark?" (subject)
cf. "Old Noah Built an Ark" (subject)
cf. "Noah Built the Ark" (subject)
cf. "In Frisco Bay (A Long Time Ago; Noah's Ark Shanty)" (subject)
NOTES: The account of Noah and the ark occupies Genesis 6-8. One should perhaps note that, while Genesis 6:20 records that Noah took two of every animal, 7:2 tells Noah to take SEVEN pairs of all clean animals.
The Bible also records that Noah "was the first to plant a vineyard" (Gen. 9:20 -- after the flood, one might note). 9:21 records his first episode of drunkenness -- but there is no record of his wife ever drinking; indeed, she is never mentioned in the Bible except in references to Noah's whole family.
The "Gideon's Band" subfamily (marked by the chorus "Do you belong to Gideon's Band, Here's my heart and here's my hand") is quite distinct and may contain verses not about Noah (as, e.g., in the Buckle Busters recording), but since it seems always to include the Noah's Ark verses also, it can't really be split off. - RBW
File: E075
===
NAME: Old Virginny Never Tire
DESCRIPTION: Floating verses: "There is a gal in our town... The hollow of her foot makes a hole in the ground." "As I was walking... I met a terrapin and a toad." Chorus: "Old folks, young folks, clear the kitchen (x2), Old Virginny never tire."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal floatingverses nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 413, "Clare de Kitchen" (1 text)
Scarborough-NegroFS, p. 109, "Ol' Virginny Never Tire" (1 text, 1 tune); also some fragments (of this or something) on p. 110; also pp. 110-112 (no title) (1 unusually long text, attributed to T. Rice; curiously, this appears to be identical except for orthography to the version in Hazel Felleman, _The Best Loved Poems of the American People_, pp. 466-467)
Roud #751
CROSS_REFERENCES:
cf. "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)"
cf. "Charleston Gals" (style)
cf. "Poor Old Man (Poor Old Horse; The Dead Horse)" (floating lyrics)
cf. "Turkey in the Straw" (floating lyrics)
NOTES: This, like "Charleston Gals," is one of those hard-to-assess songs, since nearly ever word floats. Roud lumps it with the even more amorphous "The Old Gray Mare (I) (The Old Gray Horse; The Little Black Bull)" family. It appears to me, though, that the chorus is distinct enough and widespread enough that the two should be kept separate. - RBW
File: ScaNF109
===
NAME: Old Wether's Skin, The: see The Wife Wrapt in Wether's Skin [Child 277] (File: C277)
===
NAME: Old Widow's Broom, The: see Courting the Widow's Daughter (Hard Times) [Laws H25] (File: LH25)
===
NAME: Old Wife of Slapsadam, The (The Wily Auld Carle; The Old Woman in Dover; etc.): see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Wife, The: see Auld Wife beyont the Fire, The (File: CW128)
===
NAME: Old Woman: see Crockery Ware (File: Pea257)
===
NAME: Old Woman All Skin and Bones, The: see Skin and Bones (The Skin and Bones Lady) (File: R069)
===
NAME: Old Woman and Her Pig, The: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Old Woman and the Devil, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Old Woman and the Little Pig, The: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Old Woman and the Little Pigee, The: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Old Woman and the Pig, The: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Old Woman from Boston, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Woman in Dover, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Woman of Blighter Town, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Woman Who Went to Market, The (The Old Woman and the Pedlar)
DESCRIPTION: "There was a little woman, as I've heard tell, Fol loll, diddle diddle dol, She went to market her eggs for to sell." She falls asleep along the road. A peddlar cuts off her skirts at the knee. Panic ensues when she awakens
AUTHOR: unknown
EARLIEST_DATE: 1784 (Wallis, according to Opie-Oxford2)
KEYWORDS: humorous drink theft thief disguise
FOUND_IN: US(NE)
REFERENCES: (3 citations)
Linscott, pp. 258-259, "The Old Woman Who Went to Market" (1 text, 1 tune)
Opie-Oxford2 534, "There was a little woman" (2 texts)
Baring-Gould-MotherGoose #257, p. 159, "(There was an old woman, as I've heard tell)"
Roud #3740
BROADSIDES:
Bodleian, Harding B 28(253), "The Little Woman and Her Eggs," J.Crome (Sheffield), c.1817
CROSS_REFERENCES:
cf. "The Wee Wifikie" (theme, lyrics)
NOTES: This has to be related somehow to "The Wee Wifikie." But the nature and direction of the dependence is unclear. If I had to guess, I'd say this came first, because the idea of a peddlar cutting off the woman's *skirt* (which obviously has sexual implications) might be softened by having him cut off her hair. - RBW
File: Lins258
===
NAME: Old Woman, Old Woman: see The Deaf Woman's Courtship (File: R353)
===
NAME: Old Woman, Old Woman, Shall We Go A-Shearing?: see The Deaf Woman's Courtship (File: R353)
===
NAME: Old Woman, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Woman's Blind Husband, The: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Woman's Story, An: see Marrowbones [Laws Q2] (File: LQ02)
===
NAME: Old Yellow's Dead
DESCRIPTION: "Allen says, 'Ma, bring here a pry, I think Old Yellow's a-going to die.' Louis says, 'What'll I eat with bread, For they tell me that Old Yellow is dead.'" The crew sets out to skin the animal; Allen blisters his hands tanning it; they haul the hide away
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: animal death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, pp. 102-103, "Old Yellow's Dead" (1 text)
ST Fus102 (Partial)
Roud #4285
CROSS_REFERENCES:
cf. "The Jawbone Song" (chorus form)
NOTES: I have a strange feeling that this is somehow related to a historical event -- perhaps a political piece. But the references are too local for me even to hazard a guess as to what. It's one of those pieces that makes nonsense out of context.
If it is a political piece, it was probably built around "The Jawbone Song." - RBW
File: Fus102
===
NAME: Old Zip Coon
DESCRIPTION: "Ole Zip Coon he is a larned scholar (x3), Sings possum up a gum tree an coony in a holler." Chorus: "O Zip a duden duden duden zip a duden day (x4)." The remaining verses are quatrains about the people and animals of the south
AUTHOR: unknown
EARLIEST_DATE: 1834 (five different sheet music editions)
KEYWORDS: animal humorous nonballad
HISTORICAL_REFERENCES: Jan 8, 1815 - Battle of New Orleans. Americans under Andrew Jackson defeat British troops under Pakenham (the event is referred to obliquely in stanza 6 of the sheet music)
FOUND_IN: US(NE,SE,So)
REFERENCES: (7 citations)
RJackson-19CPop, pp. 258-260, "Zip Coon" (1 text, 1 tune)
Linscott, pp. 101-103, "Old Zip Coon" (1 tune plus dance instructions)
BrownIII 418, "Old Zip Coon" (1 text plus mention of 1 more)
Belden, pp. 505-506, "Zip Coon" (1 text, minus the chorus but with the other characteristics of the piece) 
Lomax-FSNA 49, "Turkey in the Straw" (2 text, 1 tune, the second being "Zip Coon")
Spaeth-ReadWeep, pp. 17-19, "Zip Coon" (1 text, 1 tune)
Fuld-WFM, pp. 591-592, "Turkey in the Straw (Zip Coon)"
ST RJ19258 (Full)
Roud #4358
RECORDINGS:
Arkansas Charlie [pseud. for Charlie Craver], "Old Zip Coon (Vocalion 5384, c. 1930)
Hindermyer & Tuckerman [Goldy & Dusty], "Zip Coon" (Edison 51830, 1926)
CROSS_REFERENCES:
cf. "Turkey in the Straw" (tune & meter) and references there
cf. "The Old Tobacco Box (There Was an Old Soldier)" (tune, floating lyrics)
cf. "The Ould Bog Hole" (tune)
NOTES: Generally regarded as a the forerunner of "Turkey in the Straw." And its lyrics are absurd enough to make "Turkey" seem eminently sensible.
At least three people have claimed authorship of the song: George Washington Dixon (mentioned but not credited on the earliest sheet music), George Nichols, and Bob Farrell. All three were early blackface performers of the piece (Farrell was actually called "Zip Coon," and is reported to have sung the song in 1834). The dispute over authorship probably cannot be settled at this time. - RBW
File: RJ19258
===
NAME: Old Zip Coon (II)
DESCRIPTION: "White man in his cotton field, doin' pretty well; Nigger in his melon patch, givin' his melons -- Hallelujah, Old Zip Coon, keep singin'...." "Lord made Adam and Eve, An' they done pretty well, Soon as he turned his back on Eve, she gave them apples --"
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: nonballad animal religious wordplay
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 293, "Old Zip Coon" (1 text, 1 tune)
Roud #4358
CROSS_REFERENCES:
cf. "Hallelujah" (technique)
File: R293
===
NAME: Old-Time Cowboy: see Old Time Cowboy (Melancholy Cowboy) (File: TF19)
===
NAME: Old-Time Sealing Fleet, The
DESCRIPTION: "Newfoundland has many stories that can make a heart beat fast." The singer recalls how the sealing fleet excited him as a boy. He tells how seeing seals inspired them, and of past disasters. He says that Newfoundlanders can still dream of heroic deeds
AUTHOR: A. R. Scammell
EARLIEST_DATE: 1945 (Scammell, Songs of a Newfoundlander)
KEYWORDS: hunting ship disaster
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, pp. 140-141, "The Old-Time Sealing Fleet" (1 text, 1 tune)
File: RySm140
===
NAME: Olden Days
DESCRIPTION: Kate is married in "1602." There's a dance followed by drink, partying, and a friendly fight.
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: wedding fight dancing drink music party humorous
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 79-80, "Olden Days" (1 text, 1 tune)
Roud #9951
NOTES: Peacock writes "Chris Cobb is, of course, kidding about the date '1602.'  The wedding party actually took place in Barred Islands, and Cris composed this song to commemorate the event and to entertain the people who had been there." - BS
File: Pea079
===
NAME: Olden Memories
DESCRIPTION: The singer recalls "thrilling stories of the past." "Round the cairns where great ones lie, Their bold requiem, 'No Surrender' lives while soulless slanderers die" Past heroic deeds are like seedlets that may flower in the present.
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 1, "Olden Memories" (1 text)
NOTES: OrangeLark: "As the original air was unknown this song has been set to the Hornpipe, 'The Humours of Enniskean.'" OrangeLark does not cite sources. It may not have been sung.
For the reference to "No Surrender," see "No Surrender (I)." - BS
(See also "The Siege of Derry," about the event which inspired the slogan. - RBW)
File: OrLa001
===
NAME: Ole Aunt Kate: see Old Aunt Kate (File: ScaNF099)
===
NAME: Ole Banghum: see Sir Lionel [Child 18] (File: C018)
===
NAME: Ole from Norway
DESCRIPTION: Dialect song in which Ole describes coming to the north woods and gives a few details of how he works driving logs down the river. "Ay yus come down from Minnesota/Ay been in this part 'bout three year" but protests that Ole is not his name.
AUTHOR: unknown
EARLIEST_DATE: 1926 (Rickaby)
KEYWORDS: lumbering work humorous
FOUND_IN: US(MW,Ro)
REFERENCES: (2 citations)
Rickaby 36, "Ole from Norway" (1 text)
Beck 8, "Ole from Norway" (1 text)
ST Be008 (Partial)
Roud #8867
CROSS_REFERENCES:
cf. "The Swede from North Dakota" (theme)
NOTES: Without a tune it's impossible to be sure, but the verses suggest that this is a variant of "The Swede from North Dakota" with an added chorus. - PJS
I thought the same thing upon seeing it, but the version in Rickaby doesn't quite fit the tune of "The Swede." It may also be older; Rickaby's informant claimed to have learned it c. 1895. If anything, I suspect the dependence goes the other way. - RBW
File: Be008
===
NAME: Ole Lady: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Ole Mars'r Had a Yaller Gal: see Don't Get Weary Children (Massa Had a Yellow Gal) (File: BAF904)
===
NAME: Ole Marse John: see Mourner, You Shall Be Free (Moanish Lady) (File: San011)
===
NAME: Ole Massa's Going Away
DESCRIPTION: "Ole Massa's goin' away, boys, He's goin' to see his brother. We'll wait till he gets out of sight, Then we'll throw down the hoe and shovel."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: work slave brother
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 215, "Ole Massa's Going Away" (1 fragment)
NOTES: Despite the fact that this seems to be spoken by slaves, I suspect this is a minstrel tune. Most slaves on a plantation large enough to have multiple field workers would be bossed by overseers, not the master. - RBW
File: Br215
===
NAME: Ole Mister Rabbit (I'll Get You Rabbit)
DESCRIPTION: "Ole Mister Rabbit, You're in a mighty habit, Gwine in mah garden, Cuttin' down mah cabbage. Um-hum -- um-hum." "Ole Mister Rabbit, Your hair look brown, You'se gwine so fas', You'se hittin' de groun'." The singer tries to get back at the rabbit
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal food nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 174-175, "Ole Mister Rabbit" (2 short texts, 1 tune)
ST ScaNF174 (Full)
Roud #10058
NOTES: Roud links together several rabbit songs under one number: "Mister Rabbit," "Ole Mister Rabbit (I'll Get You Rabbit)," even "Rabbit Hash." All are about rabbits raiding gardens (something they certainly do) and the attempts to punish them for it (rarely successful, even with modern technology). But the forms are quite distinct, so I split them. - RBW
File: ScaNF174
===
NAME: Oleana: see Oleanna (File: LoF042)
===
NAME: Oleanna
DESCRIPTION: The singer sings the praises of "Ole, Oleanna," where "land is free," the crops grow themselves, the livestock cooks itself, and "the poorest wretch... becomes a king in a year or so."
AUTHOR: Norwegian Words: Ditmar Meidell (English words by Pete Seeger and others)
EARLIEST_DATE: 1853 (Krydseren, March 5 issue)
KEYWORDS: emigration farming money talltale nonballad
FOUND_IN: US
REFERENCES: (5 citations)
Lomax-FSNA 42, "Oleanna" (1 text, 1 tune)
Silber-FSWB, p. 47, "Oleanna" (1 text)
DT, OLEOLEAN*
ADDITIONAL:Theodore Blegen and Martin B. Ruud, editors & Translators, _Norwegian Emigrant Songs and Ballads_, University of Minnesota press, 1936/Arno Press, 1979, pp, 187-197, "Oleana" (1 Norwegian text with literal English translation, 1 tune)
Rochelle Wright and Robert L. Wright, _Danish Emigrant Ballads and Songs_, Southern Illinois University Press, 1983, #105, pp. 222-223, 274-275, "I Oleana Der Er Det Godt at Vaere" (1 Danish text with literal English translation, 1 tune)
RECORDINGS:
Pete Seeger, "Oleanna" (on PeteSeeger10) (on PeteSeeger12)
CROSS_REFERENCES:
cf. "Darling Neddeen" (absurdist sorts of claims for the town)
NOTES: Ole Bull was a Norwegian fiddler who tried to found a colony in Pennsylvania. Despite his extravagant hopes for the settlement (satirized in this song), it was too poor and too far from transportation arteries, and eventually failed.
Bull, incidentally, was quite a character, playing both violin for classical pieces and hardanger fiddle for folk dances. He was a fervent Norwegian patriot, and Oleana (the usual spelling) was not his only attempt to help other Norwegians find a better life, though it was the most spectacular.
Bull inspired several books; the most recent, as far as I know, is Einar Haugen and Camilla Cai, _Ole Bull: Norway's Romantic Musician and Cosmopolitan Patriot_, University of Wisconsin Press, 1993. It devoted 22 pages to the short life of the Oleana colony, which theoretically was active from 1852 to 1857 but which really existed only for part of 1853.
The original tune to this was apparently called "Rio Janeiro" (so Wright/Wright), but there are several tunes -- e.g. the one you've probably heard from Pete Seeger or his imitators is not the same as the one in Blegen, though they started from the same roots. The Danish tune in Wright/Wright diverges even more, to my ears. - RBW
The town now calls itself "Oleona," and contains a museum celebrating the colony. - PJS
File: LoF042
===
NAME: Oliver's Advice (Barossa)
DESCRIPTION: As storm, night, and the enemy approach, the soldiers are advised, "Put your trust in God, my boys, and keep your powder dry." The soldiers are reminded of all God did for the Israelites. They should trust in God also
AUTHOR: Words: William Blacker ?
EARLIEST_DATE: 1834 (Duffy)
KEYWORDS: soldier religious nonballad Spain
HISTORICAL_REFERENCES: March 5, 1811 - Battle of Barrosa
FOUND_IN: Ireland
REFERENCES: (7 citations)
SHenry H98a, p. 64, "Barossa/Oliver's Advice" (1 text, 1 tune)
OLochlainn-More 72B, "Oliver's Advice" (1 text, 1 tune)
Moylan 134, "Oliver's Advice" (1 text, 1 tune)
OrangeLark 20, "Oliver's Advice" (1 text, 1 tune)
Healy-OISBv2, pp.35-38, "Oliver's Advice" (1 text; tune on p. 20)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 83-86, "Oliver's Advice"
H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 453-456, 495-496, "Oliver's Advice"
Roud #2182
CROSS_REFERENCES:
cf. "The Battle of Barossa" (subject)
cf. "Barrosa Plains" (subject)
cf. "The Maid of Castle Creagh" (tune, according to Moylan)
NOTES: The "battle" of Barrosa was more of a skirmish; the forces involved were small, though the British won a clear victory. Most short histories of the Napoleonic Wars don't seem even to mention it.
The 87th Royal Fusiliers (the regiment allegedly described in the song, though there isn't a single specific reference in the piece) was raised in 1793; its separate history ended when it was combined with the 89th foot in 1881 to form the Royal Irish Fusiliers. Barrosa was its second battle honor, and a tune called "Barossa" remains one of the Royal Irish Fusiliers' official quick marches.
The song is called "Oliver's Advice" because Oliver Cromwell is reported to have said, "Put your trust in God, but mind to keep your powder dry."
The song contains assorted Biblical references to God going before the Israelites as a "pillar of cloud... by day... and a pillar of fire... by night"; see, e.g., Exodus 13:41. For parting the Red Sea, see Exodus 14:21-29. - RBW
Nobody seems to attribute this to anyone except Colonel Blacker (1777-1855). Duffy and, probably as a result, Sparling date this "Orange Ballad" 1834. - BS
File: HHH098a
===
NAME: Oma Wise: see Poor Omie (John Lewis) (Little Omie Wise) [Laws F4] AND Naomi Wise [Laws F31] (File: LF04)
===
NAME: Omagh Town and the Bards of Clanabogan
DESCRIPTION: The singer "caroused and gambled" many places but his "heart was achin' for Omagh Town!" Even wined and dined in London and New York City he longs for Omagh Town. "When life is over ... I'll never grumble If Heaven's as charmin' as Omagh Town!"
AUTHOR: Michael Hurl (source: Tunney-SongsThunder)
EARLIEST_DATE: 1976 (OBoyle)
KEYWORDS: homesickness rambling drink nonballad rake
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 66-68, "Omagh Town and the Bards of Clanabogan" (1 text)
OBoyle, p. 26, "Sweet Omagh Town" (1 fragment)
Roud #3383
RECORDINGS:
Robert Cinnamond, "Sweet Omagh Town" (on IRRCinnamond03)
NOTES: Omagh is in County Tyrone. - BS
File: TST066
===
NAME: Omie Wise: see Poor Omie (John Lewis) (Little Omie Wise) [Laws F4] AND Naomi Wise [Laws F31] (File: LF04)
===
NAME: Ommie Wise: see Poor Omie (John Lewis) (Little Omie Wise) [Laws F4] AND Naomi Wise [Laws F31] (File: LF04)
===
NAME: On a Bright and Summer's Morning: see The Sally Buck (File: SKE70)
===
NAME: On a Cold Frosty Morning
DESCRIPTION: "On a cold frosty morning a nigger feels good; He shouldered up his axe and went off to the wood." He all but freezes in the cold. (Various other observations about his life.)
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: nonballad Black(s)
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 283, "On a Cold Frosty Morning" (2 texts, 1 tune)
BrownIII 474, "Cold Frosty Morning" (1 fragment)
Roud #3439
CROSS_REFERENCES:
cf. "Old Jesse" (lyrics)
File: R283
===
NAME: On a Cold Winter's Eve
DESCRIPTION: "On a cold winter's eve when the snow was fast falling, In a small humble cottage a poor mother lay, Although wracked with pain, she lay there well-contented, WIth Christ as her friend...." She bids farewell and says her family will meet again
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry)
KEYWORDS: death religious nonballad
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
Cambiaire, p. 33, "On a Cold WInter's Eve" (1 text)
MHenry-Appalachians, p. 203, "On a Cold Winter's Eve" (1 text, probably from the same source as Cambiaire's)
Roud #12637
ALTERNATE_TITLES:
One Cold Winter's Eve
File: Camb033
===
NAME: On a Dark and Doleful Night
DESCRIPTION: "'Twas on a dark and doleful night, When power of hell and earth arose... And friends betrayed him to his foes." "Before the mournful scheme began, He took the bread...." "This is my body broke[n] for sin." "[He] took the cup...."
AUTHOR: Isaac Watts?
EARLIEST_DATE: 1930 (Brown); fragment in the Missouri Harmony (1840)
KEYWORDS: religious Jesus Bible food drink
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 626, "On a Dark and Doleful Night" (1 text)
Roud #11927
NOTES: The story of the Last Supper is told in all four gospels, but the institution of the Eucharist is described only in Matthew, Mark, and Luke (with a partial parallel in 1Corinthians 11:23ff.)  with significant verbal variations, often with variations from what we read here.
In Matthew 26:26f., Jesus's words over the bread were simply, "Take, eat, this is my body." Of the cup, the King James version says, "Drink ye all of it; For this is my blood of the new testament" (i.e. "covenant," as the song renders is, but the best manuscripts omit "new") "which is shed for many, for the remission of sins."
Mark 14:22f. is closely parallel to Mark: "This is my body... This is my blood of the covenant [again, the KJV reads"new testament," based on late manuscripts] which is shed for many."
In Luke 22:19f, we find the phrasing "This is my body which is given for you." (Note that, even here, it's not given "for sin.") The cup is "the new covenant in my blood."
In the Missouri Harmony, the first verse of this appears with the tune "Bourbon. - RBW
File: Br3626
===
NAME: On a Monday: see Almost Done (File: LxU094)
===
NAME: On Board of a Man-of-War (Young Susan)
DESCRIPTION: The singer overhears "a maid complain for the losing of her dear," gone to sea aboard a man-of-war. She dresses as a sailor to follow him. After seven years they come home and live happily ever after
AUTHOR: unknown
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: sailor separation love cross-dressing disguise
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H556, p. 326, "On Board of a Man-of-War" (1 text, 1 tune)
Roud #1533
CROSS_REFERENCES:
cf. "The British Man-of-War" (theme, lyrics)
NOTES: This is closely related to the songs of the "British Man-of-War" family, and almost certainly derives from the same sources. But the two songs don't share many actual words, and this is one of several versions in which the girl dresses herself as a sailor to follow her love. I decided this was reason enough to split them. - RBW
File: HHH556
===
NAME: On Board of a Ninety-eight
DESCRIPTION: The singer was a rake at sixteen when his parents, afraid he would waste all their money, ship him on a man-of-war. When battle begins, he wishes he could run away but at Trafalgar he fights well. Now "I'm too old to sail, for I'm almost ninety-eight"
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(2843))
KEYWORDS: age battle navy war father mother rake sailor
HISTORICAL_REFERENCES: 1805 - Battle of Trafalgar ends Napoleon's hopes of invading Britain
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 1012-1013, "On Board of the Ninety-eight" (1 text, 1 tune)
Roud #1461
BROADSIDES:
Bodleian, Harding B 11(2843), "On Board of a Ninety-Eight," J. Catnach (London), 1813-1838; also Johnson Ballads 2728[a few words illegible], Firth c.12(398), "On Board of a Ninety-Eight"
NOTES: "Ninety-eight" refers to the number of guns carried by the ship.  For example, at Trafalgar, Nelson's flagship Victory, with 100 guns, led but with two ninety-eight gun ships, _Temeraire_ and _Neptune_, in close support. Source: _Horatio Nelson_ by Tom Pocock, quoted on The Nelson Society site. - BS
(We should note, incidentally, that the number of guns on a ship was somewhat nominal, with light guns, e.g., being under-counted; an official "98" might have in excess of 110 actual weapons. In addition, ships came in nominal rates -- 64 guns, 74 guns, 98 guns, etc. The 100 guns of _Victory_ made it a heavy man-of-war, but there were more heavily-armed ships. Though usually not very seaworthy ones....) - RBW
File: Pea1012
===
NAME: On Board of the Victory
DESCRIPTION: "I am a young girl whose fortune is great." Her father has her lover, "below my degree," impressed. After a fight with the press-gang he is shipped aboard the Victory. She dreams of being with him on board and prays for his return.
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Firth c.13(280))
KEYWORDS: courting war ship father mother sailor pressgang grief loneliness love navy separation sea lover nobility
HISTORICAL_REFERENCES: Oct 21, 1805 - Battle of Trafalgar, the greatest naval engagement of the Napoleonic Wars. H.M.S. _Victory_ is Nelson's flagship in that battle.
FOUND_IN: Canada(Mar,Newf) US(MW)
REFERENCES: (4 citations)
Peacock, pp. 484-485, "On Board of The Victory" (1 text, 1 tune)
Leach-Labrador 41, "Victory" (1 text, 1 tune)
Creighton-Maritime, p. 42, "On Board of the Victory" (1 text, 1 tune)
Dean, pp. 95-96, "On Board the Victory" (1 text)
Roud #2278
RECORDINGS:
Grace Clergy, "On Board of the Victory" (on MRHCreighton)
BROADSIDES:
Bodleian, Firth c.13(280), "On Board the Victory," J. Catnach (London), 1813-1838; also Harding B 11(898), Firth c.12(220), Harding B 11(1911), Harding B 11(2901), Harding B 26(474), "On Board the Victory[!!]"; Harding B 25(1420), Harding B 11(2846), Firth c.12(222), "On Board of the Victory"; Harding B 20(178), "The Victory"
NOTES: Ironically, Mr. Clergy's family is of French descent. - PJS
HMS _Victory_ was launched in 1765, commissioned in 1778, and served in the wars with France associated with the American Revolutionar. She served in the Mediterranean during the early phases of the French revolution. She was withdrawn from sea service in 1812, and dry-docked in 1922. It will be evident that many young men served on her at battles other than Trafalgar -- but, as most Napoleonic songs mention Waterloo, so most naval songs of the era seem to assume a setting at Trafalgar. - RBW
[In] broadside Harding B 20(178), [the girl's]  sweetheart is killed with Nelson at Trafalgar. - BS
File: Peac484
===
NAME: On Board the Bugaboo
DESCRIPTION: Singer joins the Bugaboo at the James's Street canal. They "plow the raging surf ... to get a full load of turf." In a storm the captain, smoking in bed, starts a fire. The helmsman, asleep, lets the fire burn. The ship sinks with 1000 sods and 60000 men
AUTHOR: unknown
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: canal commerce ship fire storm wreck humorous talltale sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 17A, "On Board the Bugaboo" (1 text, 1 tune)
Roud #9775
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
File: OLcM017A
===
NAME: On Board the Gallee: see The Lover's Curse (Kellswater) (File: HHH442)
===
NAME: On Board the Kangaroo: see The Good Ship Kangaroo (File: MA060)
===
NAME: On Board the Victory: see On Board of The Victory (File: Peac484)
===
NAME: On Buena Vista's Battlefield
DESCRIPTION: "On Buena Vista's battlefield A dying soldier lay, His thoughts was on his mountain home Some thousand miles away." The wounded soldier bids farewell to (family and) sweetheart and prepares for the end
AUTHOR: Words: Colonel Henry Petriken/Music: Albert G. Emerick
EARLIEST_DATE: 1848 (Emrick's Songs for the People)
KEYWORDS: death war battle
HISTORICAL_REFERENCES: Feb 22-23, 1847 - Battle of Buena Vista. 5000 troops under Zachary Taylor defeat 15,000 Mexicans under Santa Anna
FOUND_IN: US(So)
REFERENCES: (2 citations)
Belden, pp. 340-341, "Buena Vista" (1 text, fragmentary)
Randolph 225, "The Battle of Vicksburg" (the second, fragmentary, text is "On Buena Vista's Battlefield")
Roud #2829
CROSS_REFERENCES:
cf. "The Battle of Vicksburg" (tune & meter, theme)
File: R225A
===
NAME: On Christmas Day It Happened So
DESCRIPTION: A farmer goes out to plow on Christmas day. Jesus meets him there and asks him what he is doing. The farmer nervously says that he needs to work. Obviously this is not acceptable; the farmer is swallowed up by the ground and his family dies
AUTHOR: unknown
EARLIEST_DATE: 1911 (Gillington, Songs of the Open Road)
KEYWORDS: religious work Jesus curse
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
PBB 6, "In Dessexshire As It Befel" (1 text)
ST PBB006 (Partial)
Roud #1078
NOTES: Yet another example of fine Christian charity. This one, fortunately, is apocryphal, with almost no parallel in scripture. There is one instance of the earth swallowing up people (Korah, Dathan, and Abiram, Numbers 16:28-32). The rest has no parallel at all, except a curious passage in the early but periphrastic Gospel manuscript Codex Bezae (D/05). After Luke 6:4 it adds, "That same day, seeing someone working on the Sabbath, [Jesus] said to him, 'Fellow, if you know what you are doing, you are blessed, but if you don't know, you are cursed and a transgressor of the law.'"
I wonder if this didn't somehow arise out of the Puritan movement. During the commonwealth era in England, it was declared that Christmas was a work day, and those NOT working on that day would be punished. This produced a great deal of resentment -- but the policy long continued; Dickens wrote "A Christmas Carol" partly in response to this.
Not all such stories are associated with Jesus himself. In Ireland, there is a field associated with the Irish St. Maeve. A ploughman once vowed he would plow the field despite its association with the saint. The ground is said to have swallowed horse, plough, and man, burying them in a depression still visible today. - RBW
File: PBB006
===
NAME: On Gravelly Bay
DESCRIPTION: "I was a handsome nice young man... And all day long I'd sport and play... Till I was sent to Gravelly Bay To work upon a dredge." He meets a girl. Her mother dislikes him. He concludes that the girl flirts to get gifts from many men
AUTHOR: unknown
EARLIEST_DATE: before 1952 (collected from E. J. Buzzard by Walton)
KEYWORDS: sailor love courting rejection gift mother
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp 109-110, "On Gravelly Bay" (1 text)
File: WGM109
===
NAME: On Ilkla Moor Bah T'at
DESCRIPTION: On the dangers of visiting the moor without a hat: One singer tells the other he has been (courting) on the moor without a hat. He is told he'll die of cold. They will bury him, and worms will eat him; ducks will eat them, people eat ducks, and so it goes
AUTHOR: unknown
EARLIEST_DATE: 1917
KEYWORDS: clothes courting disease death
FOUND_IN: Britain(England(North),Wales)
REFERENCES: (3 citations)
Kennedy 303, "On Ilkla Moor Bah T'at" (1 text, 1 tune)
Silber-FSWB, p. 26, "Ilkley Moor Baht 'At" (1 text)
DT, ILKLAMOR
Roud #2143
NOTES: Kennedy reports, "The author of this local dialect song is supposed to have been a Thomas Clark who wrote it in 1805 to the hymn tune Cranbrook. Who he was or how the song came to be are not known. Yorkshire men all the world over regard the song with ritualistic respect." - RBW
File: K303
===
NAME: On Jordan's Stormy Banks: see Bound for the Promised Land (File: LxU099)
===
NAME: On Lac San Pierre: see The Wreck of the Julie Plante (File: FJ174)
===
NAME: On Longside Road (Auld Lang Syne)
DESCRIPTION: "On Longside Road I've often trod... 'Twas there I spied another maid In the arms of my dear." The singer hisses her anger: "You think I that I could love you still?" She is resolved "to shun your company." But she would take old lovers into her home
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love betrayal
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 172, "On Longside Road; or The False Lover" (1 text)
Roud #5583
NOTES: In the course of the song, the girl says she would not forgive her false love were he "fair as Absalom." According to 2 Samuel 14:25, David's son Absalom was the most beautiful man in Israel. - RBW
File: Ord172
===
NAME: On Meesh-e-gan
DESCRIPTION: French-Canadian dialect song. Singer reports work in the Michigan lumber camps, but it's exhausting, the pay is irregular, there are diseases and snakes. Chorus: "Come all you great beeg Canada man/Who want fin' work on Meesh-e-gan...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
LONG_DESCRIPTION: French-Canadian dialect song. Singer tells fellow Frenchmen there's work in the Michigan lumber camps, but it includes the exhausting job of "sacking", the pay is irregular, there are diseases and snakes. Chorus: "Come all you great beeg Canada man/Who want fin' work on Meesh-e-gan/Dere's beeg log drive all troo our lan';/You sure fin' work on Meesh-e-gan."
KEYWORDS: lumbering work logger hardtimes
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Beck 72, "On Meesh-e-gan" (1 text)
Lomax-ABFS, pp. 334-335, "On Meesh-e-gan" (1 text, 1 tune)
Roud #8856
CROSS_REFERENCES:
cf. "Don't Come to Michigan" (theme)
File: Be072
===
NAME: On Monday Morning: see The Holly Twig [Laws Q6]; also The Wife Wrapped in Wether's Skin [Child 277] (File: LQ06)
===
NAME: On My Journey: see Don't You Weep After Me (File: R262)
===
NAME: On My Journey (II) [Mount Zion]
DESCRIPTION: Song of religious ecstasy. "On my journey now, Mount Zion/Well I wouldn't take nothing, Mount Zion/For my journey now." Singer is walking along, the "elements opened and the love come down"; he goes to the valley; "my soul got happy/And I stayed all day."
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Paul Robeson)
KEYWORDS: religious floatingverses
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Paul Robeson, "On Ma Journey" (Victor 20013, 1926; Victor 25547, 1937)
CROSS_REFERENCES:
cf. "Jesus Says 'You Goes and I Goes Wid You'" or "Jesus Says Go" (floating verse)
cf. "Hold the Wind" (floating verse)
NOTES: Just enough of a narrative that I didn't use "nonballad." - PJS
File: RcOMJMZ
===
NAME: On My Journey Home (I)
DESCRIPTION: Chorus: "I feel like, I feel like I'm on my journey home." Verses are floating: "When I can read my titles clear...." "Should earth against my soul engage...." "Let cares like a wild deluge come...."
AUTHOR: unknown
EARLIEST_DATE: 1938
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Lomax-FSNA 126, "On My Journey Home" (1 text, 1 tune)
Roud #6679
NOTES: This appears to be a different song from "I'm On My Journey Home," which appears in various editions of The Sacred Harp. - PJS
File: LoF126
===
NAME: On My Way to Mexico
DESCRIPTION: "Well I woke up early this mornin', I was a-feelin' mighty wrong... that black gal, she had done gone." "She's gone to her mama." 'I knocked on Mama's door." "She said, 'Get away you mistreater.'" "On my way to Mexico" "I got arrested."
AUTHOR: unknown
EARLIEST_DATE: 1964 (recorded from Jesse Lee Warren by Jackson)
KEYWORDS: separation abuse prison
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, pp. 302-303, "On My Way to Mexico" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Black Gal (I)" (lyrics)
NOTES: Like so many prison songs, this seems to have had very fluid lyrics; Jackson mentions that he often heard it mixed with "Stewball" (but does not print any variants). I suspect that the original plot may have run something like this: The man wakes up and finds his girl gone. He traces her to her mother's house. The mother tells him to leave. He tries to break in, then flees when the police are called. He tries to escape to Mexico, but is caught and sent to prison.
The versions in Jackson, however, have done enough lyric-swapping that it is hard to be sure. - RBW
File: JDM302
===
NAME: On Patrick's Day in the Morning
DESCRIPTION: The singer, 20, meets a spinster, 70. He says he's wealthy. She proposes, having money of her own. On the way to a dentist to fix her only tooth they stop for a drink, jump into the river, "and I lost her forever, On Patrick's day in the morning"
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: courting marriage drink humorous oldmaid youth age river
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 5, "On Patrick's Day in the Morning" (1 text, 1 tune)
Roud #2895
NOTES: May-December romances in which the man is the older (and usually incapable of performance) are common in folklore; (See, e.g., the various cross-references under "Maids When You're Young Never Wed an Old Man"). Old maid songs are also common. There aren't many where the old woman finds a young man, though.
Of course, he may have just been kidding her along. Or -- perhaps more likely -- going for her money. This phenomenon is relatively well-attested; an English example comes from the reign of Edward IV. According to Paul Murray Kendall, _Richard the Third_ (Norton, 1956), p. 61, "Sir John Woodville [the brother of Edward's wife Elizabeth] was given a marriage that even in that opportunistic age created a scandal: still in his teens, he wedded the Dowager Duchess of Norfolk, a lady venerable enough to be his grandmother, but very rich."
The details of this marriage are a little vague; Elizabeth Jenkins, _The Princes in the Tower_ (Coward, McCann & Geoghan, 1978), p. 31, says that Woodville was twenty and the Dowager Duchess between seventy and eighty. B. Wilkinson, _The Later Middle Ages in England, 1216-1484_, Longmans, 1969 (I use the 1980 paperback edition), p. 291 says that the groom was twenty and calls the bride "the octogenarisn duchess of Norfollk." Charles Ross, _The Wars of the Roses_, Thames and Hudson, 1976, p. 60, says that she was "well into her sixties" and was "compelled to accept in matrimony one of the queen's brothers, John Woodville, who was still in his teens."
It appears the confusion arises in the original source, a Latin miscellany sometimes attributed to William Worcester and known as the _Annales Rerum Anglicarum_. Keith Dockray, _Edward IV: A Source Book_, Sutton, 1999, p. 48, translates the passage as follows: "In the month of January [1465] Catherine, Duchess of Norfolk, a slip of a girl of about eighty years old, was married to John Woodville, the queen's brother, aged twenty years; a diabolical marriage." The _Annales_, however, is very loose with numbers; it seems clear that the author did not know the actual age of Katherine Neville.
Still, there is no doubt that she was too old to bear children; Michael Hicks, _Edward V: The Prince in the Tower_, Tempus, 2003, p. 129, says that Katherine Neville's first husband had died in 1432, more than thirty years before she married John Woodville; even their son and heir was dead by then. She had apparently been married twice since. Hence there can be little doubt that John Woodville was in it for the money. According to Jenkins, p. 53, Woodville eventually was executed for his behavior (by the Earl of Warwick, the nephew of the Dowager Duchess).
Thus, ironically, the Dowager Duchess outlived her strapping young husband. By more than half a decade, in fact; in the late 1470s, she was negotiating to marry her granddaughter Anne Mowbray (the heir to the Norfolk dukedom) to Richard of York, the younger son of Edward IV (Jenkins, p. 113). Which implies that the Dowager Duchess was still of sound mind. (Which makes me wonder if she might not have been a little younger than everyone thinks -- indeed, Dockray, p. 42, says only that she was "at least 65." There can be no question, however, that she was old enough to be her husband's grandmother.)  - RBW
File: MorU005
===
NAME: On Saturday Night Shall Be My Care: see Next Monday Morning (File: ShH38)
===
NAME: On Some Foggy Mountain Top: see Foggy Mountain Top (File: CSW042)
===
NAME: On Springfield Mountain: see Springfield Mountain [Laws G16] (File: LG16)
===
NAME: On That Other Bright Shore: see The Other Bright Shore (File: R611)
===
NAME: On the 16th o' October: see On the Sixteenth o' October (File: GrD3383)
===
NAME: On the Banks of Allan Water: see The Banks of Allan Water (File: DTalanwa)
===
NAME: On the Banks of Sweet Dundee: see The Banks of Dundee (Undaunted Mary) [Laws M25] (File: LM25)
===
NAME: On the Banks of the Murray
DESCRIPTION: "In a neat little cot on the banks of the Murray Lived a wife of a family with children so poor." One lad is sent to the Dardanelles and fatally wounded. He makes his will and dies; his little daughter and the entire family grieve
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: Australia war death lastwill
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 258-259, "On the Banks of the Murray" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 267-268, "The Banks of the Murray" (1 text, 1 tune)
Roud #5476
File: MA258
===
NAME: On the Banks of the Ohio: see Banks of the Ohio [Laws F5] (File: LF05)
===
NAME: On the Banks of the Old Omaha
DESCRIPTION: "I will sing you a song of sweet Julia... I never shall forget the first time we met On the banks of the old Omaha...." One day she heard a knocking at the door, and died that night. The singer's heart is still by her grave in that far-off valley
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: death separation love burial
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 260-261, "On the Banks of the Old Omaha" (1 text, 1 tune)
File: MA261
===
NAME: On the Banks of the Old Pedee: see Banks of the Ohio [Laws F5]
 (File: LF05)
===
NAME: On the Banks of the Old Tennessee
DESCRIPTION: If the singer were a bird, he would fly to his love; if a fish, he would take her hook. But now she is dead and buried, and he is no longer willing to stay "on the banks of the old Tennessee."
AUTHOR: unknown
EARLIEST_DATE: 1928 (Randolph)
KEYWORDS: love courting animal death burial separation family
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 700, "On the Banks of the Old Tennessee" (4 texts, 1 tune)
Randolph/Cohen, pp. 515-516, "On the Banks of the Old Tennessee" (1 text, 1 tune -- Randolph's 700A)
MWheeler, p. 117, "On the Bank uv the Old Tennessee" (1 text, 1 tune)
Roud #7374
RECORDINGS:
[G. B.] Grayson & [Henry] Whitter, "On the Banks of Old Tennessee" (Victor V-40235/Bluebird 7072/Zonophone 4329, 1929; on GraysonWhitter01)
NOTES: Randolph's four texts are rather confused, and not one tells the full story. The only common element is the line "on the banks of the old Tennessee." The chorus varies (one even borrows lines from "My Sweet Sunny South"!), as do the presence of the floating-verse-like stanzas about being beast or bird. Cohen thinks the "A" and "D' texts are one song, and "B" and "C" another, probably related to "Free Little Bird."
The Grayson & Whitter recording doesn't help much; the verses are stereotyped: "I have no (brother/sister/true lover/mother) in this world (x2), (He's) sleeping tonight where the moon shines so bright, On the banks of old Tennesee (x3), He's sleeping tonight... On the banks..."
Wheeler's version is just a fragment, and adds nothing to the discussion.
In other words, it's possible that this is more than one song. But I think it all goes back to one piece, with a lot of importation and forgetfulness along the way. - RBW
File: R700
===
NAME: On the Banks of the Pamanaw [Laws H11]
DESCRIPTION: The singer sees an Indian girl sitting alone but unafraid. She explains that her family is dead and her lover has abandoned her. He offers to take her "to a better land, to a pale-face countree." She will not come; she has vowed to stay there
AUTHOR: unknown
EARLIEST_DATE: 1931
KEYWORDS: Indians(Am.) promise abandonment home family grief seduction lie lover
FOUND_IN: US(MW) Canada(Newf)
REFERENCES: (6 citations)
Laws H11, "On the Banks of the Pamanaw"
Lomax-ABFS, pp. 451-452, "The Banks of the Pamanaw" (1 text)
Beck 46, "On the Banks of the Pamanaw" (1 text, 1 tune)
Peacock, pp. 424-426, "The Banks of Penmanah" (1 text, 2 tunes)
Leach-Labrador 95, "Banks of Panama" (1 text, 1 tune)
DT 792, PAMANAW
Roud #2196
ALTERNATE_TITLES:
The Banks of Pondamah
NOTES: Just to prevent mistakes: Yes, that is "Pamanaw," not "Panama." - RBW
Labrador-Leach is indeed "Panama," not my typo.
The "Baltic Line" may refer to Admiral Charles Napier's Baltic excursion against the Russians in the Crimean War [cf. broadside Bodleian, Harding B 13(181), "Bold Napier," E.M.A. Hodges (London), 1855-1861; tune: "Low-Back'd Car"] - BS
File: LH11
===
NAME: On the Banks of the Sacramento: see Ho for California (Banks of Sacramento) (File: E125)
===
NAME: On the Banks of the Wabash, Far Away
DESCRIPTION: "'Round my Indiana homestead wave the cornfields... But one thing there is missing from the picture, Without her face it seems so incomplete." The singer misses his mother and his sweetheart Mary, left in the graveyards of his home on the Wabash
AUTHOR: Paul Dresser (1857-1906)
EARLIEST_DATE: 1899 (sheet music)
KEYWORDS: death mother love separation home rambling
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Dean, p. 117, "Banks of the Wabash" (1 text)
Silber-FSWB, p. 45, "On the Banks of the Wabash" (1 text)
Geller-Famous, pp. 166-169, "On the Banks of the Wabash, Far Away" (1 text, 1 tune)
Roud #9595
NOTES: This piece is now Indiana's state song. Dresser (originally Dreisser; he was Theodore Dreisser's brother), who ran away to join a medicine show rather than enter the priesthood, was also the author of "The Letter That Never Came" and "The Pardon Came Too Late."
According to Sigmund Spaeth, _A History of Popular Music in America_, pp. 276-277, Dresser was "widely remembered as one of the most lovable characters in the history of Tin Pan Alley. A huge mountain of a man, with a heart as big as his body, his generosity was notorious. Whatever he had he shared with others, and most of his debtors never paid him back.... Like most of the songwriters of his day, Paul Dresser had a throroughly naive outlook on life.... He believes the sentimentalities he put into his songs."
Spaeth considers 1895 to be the peak of his career; in that year he produced "Just Tell Them That You Saw Me," described as "enormously popular" though it has had little impact on tradition.
It was Theodore Dreisser who suggested to his brother that he write a river song about Indiana, and this was the result.
Spaeth, p. 281, says that "by 1903 the Dresser gift had definitely declined," and he started to try to work the business end of the music trade. But Dresser, no businessman, managed to die in poverty in 1906 despite many hits. Spaeth, p. 282, cleaims that he died "at the home of his sister in Brooklyn, where he had been living for some time in obscurity. Regardless of any physician's diagnosis, hismalady was a broken heart." - RBW
File: FSWB045
===
NAME: On the Bluff (Alligator Song)
DESCRIPTION: "'Twas on the bluff In the state of Indiana, Dat's where I useter lib." The singer is a good fisherman, but partial to drink; he fights with an alligator, only to find it is a log. He hides from a white man by playing a mile-post. At last he buries master
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: river fishing drink slave humorous burial
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 72, "'Twas on de Bluff" (1 text)
ST ScaNF072 (Partial)
Roud #7493
NOTES: There is a song in the Edith Fowke collection which appears to be a version of this, so it appears to have been known in Canada as well as wherever it was that Scarborough located it. But I can't absolutely prove it at this time.
It might be objected that Indiana is not a slave state, and this is true -- but it was also quite anti-Negro, and locals might have looked the other way at a slaveholder. Or, of course, the actual location of the song might have been Kentucky, across the river from Indiana. Though it's hard to imagine alligators on the Ohio River.
In any case, this looks more like a minstrel piece than a real folk song. - RBW
File: ScaNF072
===
NAME: On the Charlie So Long: see Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16] (File: LI16)
===
NAME: On the Dummy Line: see The Dummy Line (II) (File: LSRai485)
===
NAME: On the Eighth Day of November: see Saint Clair's Defeat (File: E116)
===
NAME: On the First Day of Christmas: see The Twelve Days of Christmas (File: FO213)
===
NAME: On the Green Carpet: see Green Carpet; also Oats and Beans (File: Lins46)
===
NAME: On the Lake of the Poncho Plains: see The Lake of Ponchartrain [Laws H9] (File: LH09)
===
NAME: On the Lakes of Ponchartrain: see The Lake of Ponchartrain [Laws H9] (File: LH09)
===
NAME: On the Plains of Manassas: see The Red, White, and Red (File: Wa022)
===
NAME: On the Plains of Mexico: see Santy Anno (File: Doe078)
===
NAME: On the Road Again
DESCRIPTION: Singer comes home, finds the window propped, the door locked, and another man in his bed. He fires a shotgun; the man runs off. Another man arrives. Chorus: "(S)he's on the road again (just as sure as you're born)/Nat'chl born easeman on the road again"
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Memphis Jug Band)
LONG_DESCRIPTION: Singer says his woman's evil. He comes home, finds the window propped, the door locked, and another man in his folding bed. He fires a shotgun through the glass, and the man takes off running. Another man comes to call, the wife tells him her husband's on the way to the pen. Chorus: "(S)he's on the road again (just as sure as you're born)/Nat'chl born easeman on the road again"
KEYWORDS: jealousy adultery infidelity sex violence prison wife
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Memphis Jug Band "On the Road Again" (Victor V-38015, 1929; rec. 1928; on TimesAint01)
CROSS_REFERENCES:
cf. "Joseph Mica (Mikel) (The Wreck of the Six-Wheel Driver) (Been on the Choly So Long) [Laws I16]," especially the "Kassie Jones" text (floating verses)
cf. "Skinner's Song" (form)
File: RcOtRAg
===
NAME: On the Road to Bethlehem
DESCRIPTION: A "merry company" comes to Bethlehem to obey the decree of "the governor." Mary and Joseph seek the inn, but there is no room. They go to a stable, where the baby Jesus is born. Eastern kings and shepherds come to visit
AUTHOR: Words: Robert Hugh Benson / Music: Sir R. R. Terry
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: religious Bible childbirth
FOUND_IN: 
REFERENCES: (1 citation)
SHenry H59, p. 76, "On the Road to Bethlehem" (1 text, 1 tune)
Roud #9052
NOTES: With the sole exception of the reference to "Eastern kings," every item mentioned in this song comes from the Gospel of Luke (chapter 2).
The form of this song, and the first couple of verses, don't seem quite suitable for the content; I wonder if the author didn't fix up a non-religious poem. - RBW
File: HHH059
===
NAME: On the Road to Gundagai: see Lazy Harry's (Five Miles from Gundagai) (File: DTgundag)
===
NAME: On the Road to Mandalay: see Mandalay (File: Fuld415)
===
NAME: On the Schooner Africa
DESCRIPTION: "We wallowed Lake Superior through, And then we reached Marquette, Where Billy Clark, our singing friend, By Charlie Turpin was shot." With Clark in the hospital and two other sailors ashore, the captain has to use the cook as a sailor and hire a woman
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected from J. Sylvester Ray by Walton)
KEYWORDS: sailor ship cook injury
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, p. 111, "On the Schooner Africa" (1 fragment)
File: WGM111
===
NAME: On the Schooner Hercules
DESCRIPTION: "On the eighth day of November In the year of ninety-one, The schooler Hercules set sail For the port of Parry Sound." The ship leaves Sarnia. The song describes the voyage and a storm. He names the sailors and bids good luck to captain Glass and crew
AUTHOR: probably Jimmie McQuarie
EARLIEST_DATE: 1949 (collected from John McDonald and Joseph Glass by Walton)
KEYWORDS: ship travel cook storm
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 142-143, "On the Schooner Hercules" (1 text)
File: WGM142
===
NAME: On the Schooner John Joe
DESCRIPTION: "Beware of George Farrin his schooner John Joe." Breakfast and dinner is fish soup. Supper is "thin hard bread." The singer had to fight George to get a decent meal from the cook. But, when he gets home it's back to "hard bread."
AUTHOR: Tom Evans (ca 1890 per Peacock)
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fight fishing sea ship food ordeal hardtimes
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 140-141, "On the Schooner John Joe" (1 text, 1 tune)
Roud #9966
File: Pea140
===
NAME: On the Shores of Havana
DESCRIPTION: "Many hearts were filled with sorrow and with sadness, Many hearts were torn with anguish and pain... for the heroes of our battleship, the 'Maine.'" A brief account of the destruction of the Maine, with comments about the lives of the sailors killed
AUTHOR: Andrew B. Sterling
EARLIEST_DATE: 1898 (broadsides & songbooks)
KEYWORDS: sea disaster ship
HISTORICAL_REFERENCES: 1895 - Cubans rebel against Spain
Feb 15, 1898 - Explosion of the battleship "Maine" in Havana harbor
April 25, 1898 - Congress declares war on Spain
FOUND_IN: US(MA,MW,SE)
REFERENCES: (2 citations)
FSCatskills 21, "On the Shores of Havana" (1 text, 1 tune)
BrownII 235, "The Battleship Maine (I)" (1 text)
ST FSC021 (Partial)
Roud #4615
CROSS_REFERENCES:
cf. "On the Banks of the Wabash Far Away" (tune & meter)
cf. "My Sweetheart Went Down with the Maine" (subject) and references there
NOTES: When the Cubans rose in revolt against inept Spanish rule, the U.S. government -- spurred on by William Randolph Hearst's newspapers -- took a keen interest. Eventually the U.S.S. _Maine_, a rather rickety coastal defense vessel, was sent to apply pressure to the Spanish. (The _Maine_, it should be noted, was not a battleship; originally designed as an armored cruiser, it lacked the coal capacity for that role and wound up as an unsatisfactory battleship/cruiser hybrid.)
When the _Maine_ blew up with a large loss of life, Hearst and his minions pounced quickly. Never mind that the Spanish had nothing to gain from destroying the ship. Never mind that the most likely cause of the disaster was an internal explosion. Spain had to be punished!
The Spanish did all they could to avoid war; after brief delays to save face, they gave in to every American demand. The Americans would have none of it. On April 11, President McKinley asked for a declaration of war; on April 25, he received it. Americans set out to "free" Cuba and the Philippines. (The Philippines, in particular, were so thoroughly "freed" that they did not achieve independence until 1947.) "Remember the Maine" went the battle cry.
The U.S. army was pitifully small and ill-organized; the vast majority of its losses in the war were caused by disease and supply problems -- but so bad were the Spanish forces that by the end of the summer both the Philippines and Cuba were under U.S. control. In December the humiliated Spanish were forced to accept the equally humiliating Treaty of Paris, and the war ended. The U.S. was now an imperialist power -- and all because of songs like this one and Hearst's headlines. - RBW
File: FSC021
===
NAME: On the Sixteenth o' October
DESCRIPTION: A day of work: plowing in the morning, bundling straw, eating, then cleaning the horses and plowing again in the rain. "Noo my day's wark is finisht, and I'll hae a smoke, An' I'm boun' for my bed, for it's past nine o'clock"
AUTHOR: unknown
EARLIEST_DATE: 1910 (GreigDuncan3)
KEYWORDS: farming work horse
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #153, p. 2, ("On the 16th October in the year 58") (1 text) 
GreigDuncan3 383, "On the 16th o' October" (2 texts)
Roud #5920
NOTES: Greig: "The Rev. Dr Forrest, Lonmay, sends me a copy of some lines that were found written on the walls of the men's chaumer at Crichnalade in the parish of Fyvie, more than 50 years ago" [1910]. - BS
File: GrD3383
===
NAME: On the Steps of the Dole Office Door
DESCRIPTION: "The songs that we sang were about old Jack Lang On the steps of the Dole Office door. He closed up the banks, it was one of his pranks, And he sent us to the Dole Office door. We molested the police till they gave us relief..."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: unemployment hardtimes
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, p. 225, "On the Steps of the Dole Office Door" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 138-139, "Clem Murphy's Door" (1 text, 1 tune)
NOTES: On the face of it, it is hard to equate the two Meredith versions of this song; all they have in common is a Depression setting. But Meredith, who has direct experience of the songs, thinks them one. Both fragments describe how people survived the depression and attempted to get by on the dole. - RBW
File: MA225
===
NAME: On the Trail to Mexico: see Boggy Creek or The Hills of Mexico [Laws B10b] (File: LB10B)
===
NAME: On the Twenty-First of May: see The Bold Pirate [Laws K30] (File: LK30)
===
NAME: On the Wallaby Track: see The Springtime It Brings on the Shearing (On the Wallaby Track) (File: MA186)
===
NAME: On This Hill: see The Rattling Bog (File: ShH98)
===
NAME: On to Glory
DESCRIPTION: "Oh come my brethren and sisters too, We're going to join the heavenly crew, To Christ our savior let us sing And make our loud hosannas ring. O, hallelujah...." "Oh, there's (Bill Thomas), I know him well...." (The singer lists sinners and their sins)
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 66, "On to Glory" (1 text, 1 tune)
Roud #12022
NOTES: The notes to this song in Allen/Ware/Garrison question whether this is of Negro origin but say that it "illustrat[es] the pressure brought to bear upon the wavering." I don't know about you, but if a preacher started picking on *me* that way, I'd walk out of the congregation. So I have to suspect the audience was, in some sense or other, captive. - RBW
File: AWG066
===
NAME: On to Richmond (II): see We Have the Navy (File: R212)
===
NAME: On to the Morgue
DESCRIPTION: "On to the morgue, that's the only place for me (x2). Take it from the head one, he sure is a dead one. On to the morgue...." "Where will we all be one hundred years from now? (x2) Pushing up the daisies (x2), That's where we'll all be...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: death parody
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Sandburg, p. 199, "On to the Morgue" (1 short text, 1 tune)
Roud #13614
NOTES: Sandburg calls this a "travesty on the Chopin funeral march." - RBW
File: San199
===
NAME: On Tom Big Bee River: see The Gum Tree Canoe (File: R787)
===
NAME: On Top of Old Smokey
DESCRIPTION: "On top of old Smokey, All covered with snow, I lost my true lover, From courting too slow." The singer laments (her) lover's infidelity, saying that a "false-hearted lover is worse than a thief." (She) claims one cannot trust one in a thousand
AUTHOR: unknown
EARLIEST_DATE: 1911 (Belden)
KEYWORDS: courting love rejection lyric warning floatingverses
FOUND_IN: US(Ap,So)
REFERENCES: (22 citations)
Belden, pp. 473-476, "The Unconstant Lover" (3 texts, 1 tune, none of which mention Old Smokey; the second mixed with "The Cuckoo" and the third short enough that it might be any of the "never place your affection on a green willow tree" songs)
BrownIII 253, "Old Smoky" (2 texts plus 3 excerpts and mention of 3 more); also 248, "The Inconstant Lover" (5 texts plus a fragment, admitted by the editors to be distinct songs but with many floating items; "A,"  "B," and "C" are more "On Top of Old Smokey" than anything else, though without that phrase; "D" is primarily "The Broken Engagement (II -- We Have Met and We Have Parted)," "E" is a mix of "Old Smokey" and "The Cuckoo," and the "F" fragment may also be "Old Smokey")
Hudson 50, p. 166, "Jimmy" (1 text, more this than anything else but starting with "A-walking, a-talking, a-walking foes I, To meet pretty Jimmy, he'll be here by and by" and continuing with many floating verses, e.g. "The cuckoo is a pretty bird," "If I am forsaken, I am not foresworn, And he is mistaken who thinks I will mourn")
Randolph 49, "The Cuckoo" (4 texts, of which "A" is about half "Inconstant Lover/Old Smokey" verses and "B" never mentions the cuckoo and appears to be mostly floating verses; 1 tune)
Randolph/Cohen, pp. 117-118, "The Cuckoo" (1 text, 1 tune -- Randolph's 49A)
Cambiaire, p. 38, "Sweet Willie" (1 text, six verses derived from at least two and probably three or four songs; the largest portion is "On Top of Old Smokey" but there is a bit of "Farewell Ballymoney (Loving Hannah; Lovely Molly)" and something from one of amorphous the "courting is a pleasure" group)
MHenry-Appalachians, pp. 2-3, "Old Smoky" (1 text, starting with a full "On Top of Old Smokey" text and then including a long set of verses from "The Roving Gambler" or perhaps "The Wagoner's Lad"); pp. 18-19, "Pretty Polly, Pretty Polly, I'm Going Away" (with five verses of "Old Smokey" preceded by two "Roving Gambler"-type floaters); p. 33, "Advice to Girls" (a pure "Old Smokey" version)
Scarborough-SongCatcher, pp. 272-282, "The Waggoner's Lad" (9 texts, 6 tunes on pp. 428-431, but the entry combines many songs; A (no title), B ("My Fortune's Been Bad"), and E ("My Horses Ain't Hungry") are extended versions of "The Wagoner's Lad"; C ("The Last Farewell") is a short text probably of "The Wagoner's Lad"; D ("Old Smokie") combined one "Smokey" verse with three "Wagoner's Lad" verses; "F" ("Old Smoky") is a very long "Old Smokey" text which seems to have gained parts of other songs; G ("A False Lying True Love") is "Old Smokey" minus the first verse; H ("I'll Build My Cabin on a Mountain So High" is "Old Smokey" with a first verse from a drunkard song and a final floating verse supplying the title; I (no title) is a fragment probably of "Old Smokey")
SharpAp 78, "I'm Going to Georgia" (2 texts, 2 tunes; as with many pieces listed above, I've filed the SharpAp "I'm Going to Georgia" songs here for want of a better place for them, using the "never place your affections" line as the delineator. - PJS)
Brewster 89, "The Unconstant Lover" (1 text, with no mention of Old Smokey and many floating verses)
Leach, pp.738-740, "The Wagoner's Lad" (2 texts, with the "B" text being a composite of "Wagoner's Lad" and "Old Smokey" verses)
Wyman-Brockway II, p. 1, "An Inconstant Lover" (1 text, 1 tune)
Fuson, pp. 119-120, "Old Smoky" (1 text)
Lomax-FSUSA 18, "Old Smoky" (1 text, 1 tune)
Lomax-FSNA 112, "Old Smokey" (1 text, 1 tune)
PSeeger-AFB, p. 60, "On Top Of Old Smoky" (1 text, 2 tunes)
Silber-FSWB, p. 165, "On Top Of Old Smoky" (1 text)
JHCox 143, "A Forsaken Lover" (1 text, which appears to be a compound: Three verses of a forseken lover song, followed by an Old Smokey text less the first verse)
JHCoxIIB, #13, pp. 151-152, "Old Smoky" (1 text, 1 tune)
Opie-Oxford2 121, "The cuckoo is a merry bird" (text 2 is "The Forsaken Lover" which omits the "Old Smokey" lines; dated c.1780 (The Merry Gentleman's Companion, according to Opie-Oxford2))
Fuld-WFM, p. 416, "On Top of Old Smokey"
DT, OLDSMOKY
Roud #414
RECORDINGS:
Bob Atcher, "Old Smokey" (Columbia 20484, 1948; rec. 1947)
Cramer Brothers, [pseud. for Vernon Dalhart and -- probably -- Carson Robison] "On Top of Old Smokey" (Broadway 8071, c. 1930)
Gerald Duncan et al, "On Top of Old Smokey" (on MusOzarks01)
I. G. Greer, "Old Smoky" (AFS; on LC14)
Roscoe Holcomb, "Old Smoky" (on Holcomb-Ward1, HolcombCD1)
Buell Kazee, "On Top of Old Smoky" [fragment] (on Kazee01)
Bradley Kincaid, "On Top of Old Smokey" (Supertone 9566, 1929)
George Reneau, "On Top of Old Smokey" (Vocalion 15366, 1926)
Pete Seeger, "On Top of Old Smoky" (on PeteSeeger17) (on PeteSeeger23)
CROSS_REFERENCES:
cf. "The Wagoner's Lad"
cf. "The Little Mohee" [Laws H8] (tune)
cf. "Lee's Hoochie" (tune)
cf. "I'm Sad and I'm Lonely" (floating lyrics)
cf. "The Blackbird and Thrush" (floating lyrics)
cf. "I Shot My Poor Teacher (With a Big Rubber Band)" (tune)
cf. "Sailing Out on the Ocean" (floating lyrics)
cf. "A Warning to Girls" (floating lyrics)
cf. "Once I Loved a Bonny Boy" (floating lyrics)
SAME_TUNE:
Up in Old Loray (by Odell Corley; Greenway-AFP, pp. 135-136)
I Shot My Poor Teacher (With a Big Rubber Band) (File: PHCFS093)
The Little Mohee (File: LH08)
Lee's Hoochie (File: EM407)
On Top of Old Smoky (Davy Crockett) (Pankake-PHCFSB, p. 111)
On Top of Old Smokey (All Covered with Blood) (Pankake-PHCFSB, p. 126)
On Top of My Headache (Pankake-PHCFSB, p. 111)
On Top of Old Baldy (Pankake-PHCFSB, p. 144)
On Top of Spaghetti (by Tom Glazer) (DT, OLDSMOK2 -- but if this is the Tom Glazer version, I've actually heard a folk-processed form -- RBW)
NOTES: The relationship between this song and "The Wagoner's Lad" is problematic. The two are occasionally listed as one song (e.g. by Leach, Scarborough, and implicitly by Shellans; also, at least in part, by Roud); indeed, this was done in early versions of this Index. This was done under the influence of the Lomaxes, who classify the songs together.
Further study, however, seems to show that almost all versions which have common material are derived from the Lomaxes, and the minor exceptions are usually fragments of floating verses. The plots of the two songs are different, their tunes are distinct, and there does not seem to have been any overlap in ordinary versions. It would appear that the identification of the two is purely the result of the sort of editorial work the Lomaxes so often committed.
Due to this inconsistency, it is suggested that the reader check all versions of both songs, as well as both sets of cross-references, to find all related materials.
It also appears that certain key lines, beginning "A meeting's a pleasure, a parting's a grief, And an (unconstant young man) is worse than a thief," predate this song, as they appear in several British texts which otherwise bear little resemblance to "Old Smokey." For the moment, these British Isles variations are filed under "The Blackbird and Thrush," at least until I find a more authoritative source.
Another interesting question: Does this song refer to the Great Smoky Mountains, which run along the North Carolina/Tennessee border? This seems reasonable based on the geographical distribution. The flip side is, the highest peak in the Great Smoky Mountains is Clingmans Dome, 6643 feet/2025 meters, the highest point in Tennessee. My information is that it is not snow-covered in summer; it is low enough and far enough south that the snow melts every year. Hardly anyone lives near Clingman's Dome, but if it's the highest point in the Smokys, what are the odds of year-round snow on some other peak in the range? Of course, the song could have taken place in winter, when there is snow in the Smokys, but it seems an odd way of identifying the place. - RBW
File: BSoF740
===
NAME: On Top of Old Smokey (II): see The Wagoner's Lad (File: R740)
===
NAME: On Yonder Hill There Sits A Hare
DESCRIPTION: A worried hare sits "o'er her lodgings." A huntsman sets his dogs on the hare. She escapes from the best dog. "Merrily as she trips the plain, And may she live to run again."
AUTHOR: unknown
EARLIEST_DATE: 1977 (recording, Geordie Hanna)
KEYWORDS: escape hunting animal dog
FOUND_IN: Ireland
REFERENCES: ()

Roud #5173
RECORDINGS:
Geordie Hanna, "On Yonder Hill There Sits A Hare" (on Voice18)
File: RcOYHTSH
===
NAME: Once I Had a Daughter
DESCRIPTION: Father has a daughter who leaves for Germany and returns and says "I have my sweetheart here." Father replies "I have no time to chat And I have no time to talk And I do not like the vagabond Who by your side does walk."
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: love war soldier cross-dressing separation Germany
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 106, "Once I Had a Daughter" (1 text fragment, 1 tune)
Roud #2778
NOTES: The current description is based on the Creighton-SNewBrunswick fragment. - BS
File: CrSNB106
===
NAME: Once I Had a Sweetheart (I)
DESCRIPTION: "Once I had a sweetheart, A sweetheart brave and true, His hair was dark and curly, His cunning eyes were blue." But her sweetheart wanted to roam; he gave her a ring and departed (to become a soldier). He is killed far from home
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love separation mourning soldier battle death war
FOUND_IN: US(Ap,SE,So)
REFERENCES: (3 citations)
BrownII 140, "Once I Had a Sweetheart" (1 text)
[Randolph 796, "Once I Had a Sweetheart" -- deleted in the second printing]
Randolph/Cohen, pp. 527-528, "Once I Had a Sweetheart" (1 text, 1 tune -- Randolph's 796A)
Roud #4477
RECORDINGS:
Jimmie Rodgers, "The Soldier's Sweetheart" (Victor V-20864, 1927 -- a World War I adaption)
NOTES: A generic plot, and floating lyrics too! But it seems to be a separate song -- though it's hard to believe it originated in the U. S., as the notes in Brown imply.  - RBW
File: BrII140
===
NAME: Once I Had a Sweetheart (II): see As Sylvie Was Walking (File: VWL014)
===
NAME: Once I Had Plenty of Thyme: see In My Garden Grew Plenty of Thyme (File: R090)
===
NAME: Once I Loved a Bonny Boy
DESCRIPTION: The singer and her lover vowed to marry but "all vows and protestations between us he broke." He's on the ocean and, though some say he'll not prosper, she wishes him "safe sailing and a fair wind to blow." Meeting is pleasure, parting grief, and so on.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond03)
KEYWORDS: courting love parting warning floatingverses
FOUND_IN: Ireland
REFERENCES: ()

Roud #6998
RECORDINGS:
Robert Cinnamond, "Once I Loved a Bonny Boy" (on IRRCinnamond03)
CROSS_REFERENCES:
cf. "On Top of Old Smoky" (floating verses)
File: RcOILaBB
===
NAME: Once I Was Happy: see The Flying Trapeze (File: RJ19069)
===
NAME: Once More a-Lumb'ring Go: see Once More A-Lumbering Go (File: Wa031)
===
NAME: Once More A-Lumbering Go
DESCRIPTION: The singer calls on "all you sons of freedom" to "range the wild woods over and once more a-lumbering go." He briefly describes the work of cutting the trees, the sleighing and hunting, and the joyful return to their families
AUTHOR: unknown
EARLIEST_DATE: 1925 (R. P. Gray, "Songs and Ballads of the Maine Lumberjacks")
KEYWORDS: logger work lumbering
FOUND_IN: US(MA,MW,NE) Canada(West)
REFERENCES: (5 citations)
Warner 31, "Once More A-Lumbering Go" (1 text, 1 tune)
Lomax-FSUSA 48, "Once More a-Lumb'ring Go" (1 text, 1 tune)
Beck 4, "Once More a-Lumbering Go" (1 text, 1 tune)
Fowke-Lumbering #4, "A-Lumbering We Go" (1 text, 1 tune, a mixed text starting with two stanzas of "Once More A-Lumbering Go" and continuing with a version of "Bung Yer Eye" minus the chorus)
DT, LUMBERN* LUMBRIN2*
Roud #591
RECORDINGS:
Carl Lathrop, "Once More A-Lumbering Go" (AFS, 1938; on LC56)
Lawrence Older,  "Once More A-Lumbering Go" (on LOlder01)
Pete Seeger, "Once More A-Lumbering Go" (on PeteSeeger29)
File: Wa031
===
NAME: Once There Lived a Captain
DESCRIPTION: A sea captain sails before he can marry. He returns and finds the girl has left her father's house for a nunnery. There he finds she has gone to an asylum. At the asylum he finds she died the previous night. At her side he kills himself with his sword.
AUTHOR: unknown
EARLIEST_DATE: 1967 (recording, John Reilly)
KEYWORDS: courting return separation death suicide father sailor
FOUND_IN: Ireland
REFERENCES: ()

Roud #3376
RECORDINGS:
Jean "Sauce" Driscoll, "The Sea Captain" (on IRTravellers01)
John Reilly, "Once There Lived a Captain" (on Voice17)
File: RcOTLACa
===
NAME: Once There Were Three Fishermen (The Three Jews)
DESCRIPTION: "Once there were three fishermen (x2), Fisher fisher men men men (x3) Once there were three fishermen." The three fishermen are named, and their voyages described
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: fishing nonsense
FOUND_IN: US(MW) Canada(Mar,Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 176, "The Three Old Jews" (1 text, 1 tune)
Gardner/Chickering 185, "The Three Jews" (1 text)
Pankake-PHCFSB, p. 85, "Three Jolly Fishermen" (1 text, tune referenced)
Silber-FSWB, p. 240, "Once There Were Three Fishermen" (1 text)
Roud #3708 and 12776
NOTES: This is rather confusing, because the change of one word significantly changes the song. In several texts (Gardner and Chickering, Greenleaf and Mansfield), the three heroes are Jews. But in Pankake, as well as the version printed by Silber, they are fishermen. The latter version is very much a children's song, I've only encountered only two versions of this, and they differ in most particulars: In the Silber version, the sailors are Abraham, Isaac, and Jacob, and they sail for Amsterdam (with resulting comments about naughty words); Ed McCurdy sings a version with different sailors, in which Halifax is the destination.
In this case, Roud splits the two versions. But the verse form, as well as the names of the characters, says they are the same. - RBW
File: FSWB240A
===
NAME: One and Twenty
DESCRIPTION: "My father was a farmer gay, With beef and corn in plenty, I hoed, I mowed, I held the plow, And I longed for one and twenty." Of age at last, the singer enlists. Army life makes him wish for home. He loses a leg, is captured, and goes home crippled
AUTHOR: unknown
EARLIEST_DATE: 1935 (Gardner/Chickering)
KEYWORDS: farming youth soldier battle injury home disability
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 96, "One and Twenty" (1 text, 1 tune)
ST GC096 (Partial)
Roud #3367
File: GC096
===
NAME: One Bottle More
DESCRIPTION: "Assist me, ye lads... To sing the praise of old Ireland's isle." England taunts our simplicity but we would share our last bottle. At Candy's six Irishmen had four bottles each, a fight brought a fifth and a resolve to have 12 bottles more the next night
AUTHOR: unknown
EARLIEST_DATE: 1815 (broadside, Bodleian Harding B 10(10))
KEYWORDS: virtue drink Ireland
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 23, "One Bottle More" (1 text)
BROADSIDES:
Bodleian, Harding B 10(10), "Irish Hospitality", J. Whittle and R. H. Laurie (London), 1815 
LOCSinging, sb40474a, "One Bottle More", Louis Bonsal (Baltimore), 19C 
SAME_TUNE:
Town and Country (broadside Bodleian Harding B 10(10))
File: OCon023
===
NAME: One Bottle of Pop
DESCRIPTION: "One bottle (of) pop, Two bottles (of) pop, Three bottles (of) pop...." "Don't throw your junk in my back yard... my back yard's full." "Fish and chips and vinegar...." Composite children's round
AUTHOR: unknown
EARLIEST_DATE: 1988
KEYWORDS: nonballad food humorous
FOUND_IN: US
REFERENCES: (2 citations)
Pankake-PHCFSB, pp. 232-233, "One Bottle Pop" (1 text, 1 tune)
DT, POPBOTTL
NOTES: Obviously quite recent (at least with the current words), but it seems to qualify as a children's folksong. - RBW
File: DTpopbot
===
NAME: One Bottle Pop: see One Bottle of Pop (File: DTpopbot)
===
NAME: One Cold Winter's Morning
DESCRIPTION: Singer laments having to leave his love, perhaps never to return. (Friends try to persuade him to stay.) "When I lie down at night all for to take my rest/Trouble and sorrow still rolls across my breast." "O she is the only girl all in this world so wide"
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cecil Sharp collection)
LONG_DESCRIPTION: Singer laments that he must leave his love and travel far away, perhaps never to return. (Friends try to persuade him to stay.) "When I lie down at night all for to take my rest/Trouble and sorrow still rolls across my breast." "For the first time I saw her I gained her by my charm/The second time I saw her I rolled her in my arms/O she is the only girl all in this world so wide/She is the only girl can ever be my bride"
KEYWORDS: grief loneliness courting love marriage sex parting travel lover
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
SharpAp 146, (2 texts, 2 tunes)
Roud #3626
NOTES: Yes, the plot is well-worn and found in multiple other songs, but this one seems distinct; significantly, Sharp lists no relatives or antecedents, but he did find two versions, both in Kentucky. - PJS
File: ShAp2146
===
NAME: One Day More: see One More Day (File: FSWB086B)
===
NAME: One Day of Turkey and Six Days of Hash
DESCRIPTION: Philosophical; for every silver lining there's a dark cloud. "For one faithful friend there are dozens who sneer/For one happy laugh there is always a tear...For one gentle dog there are dozens that bite...For one day of turkey there's six days of hash."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: warning humorous nonballad food dog
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 92, "One Day of Turkey and Six Days of Hash" (1 text)
Roud #8848
NOTES: This cynical little masterpiece is worthy of Tom Lehrer. - PJS
File: Be092
===
NAME: One Dime Blues
DESCRIPTION: "I'm broke an' I ain't got a dime (x3) Ev'rybody gets in hard luck sometime." "You want your friend to be bad like Jesse James (x3) Git two six shooters, highway some passenger train." "One dime was all I had (x3) that was the meal before last."
AUTHOR: Blind Lemon Jefferson
EARLIEST_DATE: 1927 (recording, Blind Lemon Jefferson)
KEYWORDS: hardtimes poverty money
FOUND_IN: US
REFERENCES: (2 citations)
Lomax-FSNA 310, "One Dime Blues" (1 text, 1 tune)
DT, ONEDIME*
RECORDINGS:
Blind Lemon Jefferson, "One Dime Blues" (Paramount 12578, 1927)
File: LoF310
===
NAME: One Fine Day
DESCRIPTION: Floating verse song: "One fine day I went to mill, I got stuck on Badger's Hill; I hawed my horses... But to save my soul I couldn't get a start." "There was a frog lived in the spring." "The black cat spit in the white cat's eye."  Etc.
AUTHOR: unknown
EARLIEST_DATE: 1929 (Garnder/Chickering)
LONG_DESCRIPTION: Floating verse song: "One fine day I went to mill, I got stuck on Badger's Hill; I hawed my horses... But to save my soul I couldn't get a start." "There was a frog lived in the spring." "The black cat spit in the white cat's eye." "Now maybe you think there's another verse To this here song, but there ain't." Chorus: "Oh where you come from, knock a nigger down, A wagon full of bum shells, knock...."
KEYWORDS: nonballad floatingverses
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 201, "One Fine Day" (1 text, 1 tune)
Roud #3711
CROSS_REFERENCES:
cf. "Kemo Kimo" (floating lyrics)
cf. "Gray Cat on the Tennessee Farm" (floating lyrics)
NOTES: No, the tune is *not* "Turkey in the Straw." - RBW
File: GC201
===
NAME: One Fine Summer's Morning: see The Banks of the Clyde (File: HHH812)
===
NAME: One Fish Ball: see One Fish-Ball (One Meat Ball, The Lone Fish-Ball) (File: SRW074)
===
NAME: One Fish-Ball (One Meat Ball, The Lone Fish-Ball)
DESCRIPTION: A single man (who perhaps has abandoned his wife?) wanders into a restaurant, but finds he has only money for one (meat/fish) ball. Waiters and company abuse him, and he is told, "You get no bread with one fish ball"
AUTHOR: unknown
EARLIEST_DATE: 1862 (parodied; see notes)
KEYWORDS: food poverty
FOUND_IN: US
REFERENCES: (4 citations)
Spaeth-ReadWeep, pp. 74-75, "The Lone Fish-Ball" (1 text, 1 tune)
Botkin-NEFolklr, pp. 580-584, "The Lone Fish-Ball" (2 texts, 1 tune, plus assorted items on the same theme)
Pankake-PHCFSB, p. 22, "One Fish Ball" (1 text, tune referenced)
Silber-FSWB, p. 264, "One Fish Ball" (1 text)
NOTES: According to the Caxton Club (Chicago) edition of _Il Pescoballo_ (1899), the one-act opera buffa with Italian words by Francis James Child and English translation by James Russell Lowell was first performed in 1862 to raise money for the Civil War Sanitary Commission (precursor to the Red Cross).  The authors of the _jeu d'esprit,_ to quote Charles Eliot Norton's introduction, were originally given only as "Maestro Rossibello-Donimozarti."
"One Fish Ball," upon which the opera buffa was based, was written by a Harvard Latin professor, identified by Norton only as "Lane."  It was a "local ballad which had had great vogue, written not many years before."  Norton asserts Lane based the song on "an adventure of his own."
The Caxton Club edition prints a tune, crediting it as a "volkslied." - EC
Lewis Becker adds that Loesser's _Humor in American Song_ dates the song to about 1854 and claims it is "Founded on a Boston Fact."
Dick Greenhaus reports that the "One Meat Ball" version was popularized by Josh White in the 1940s. Popularized enough, in fact, that they taught it in my grade school! - RBW
File: SRW074
===
NAME: One for the Blackbird
DESCRIPTION: Folk wisdom: "One for the blackbird, Two for the crow, Three for the cutworm, An' the rest for to grow."
AUTHOR: unknown
EARLIEST_DATE: 1923
KEYWORDS: harvest bird nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 275, "The Crow Song" (with only the "E" fragment belonging here)
File: R275
===
NAME: One Forsaken, The: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: One Horse Open Sleigh, The: see Jingle Bells (File: RJ19093)
===
NAME: One Kind Favor: see See That My Grave Is Kept Clean (File: ADR92)
===
NAME: One Little Frog
DESCRIPTION: "One little frog a-settin' on a log, Waitin' for its brother, Its eyes were red from the tears it had shed, And it jumped right into the water." Repeat indefinitely: "Another little frog a-settin' on a log...." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: animal brother separation nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 581, "One Little Frog" (1 text)
Roud #7668
File: R581
===
NAME: One Man Shall Mow My Meadow
DESCRIPTION: Singer states that various numbers of men shall mow her meadow and gather it together, as well as shear her sheep. The song is cumulative, hypnotic, and loaded with symbolism.
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: cumulative nonballad
FOUND_IN: Britain(England(South)) Canada(Mar)
REFERENCES: (6 citations)
Sharp-100E 100, "One Man Shall Mow My Meadow" (1 text, 1 tune)
Kennedy 291, "The Counting Song" (1 text, 1 tune)
Creighton-NovaScotia 90, "Me One Man" (1 text, 1 tune)
DT, ONEMANMW
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928, notes to #218, ("One man shall mow my meadow") (1 text)
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 50, "One Man Shall Mow My Meadow" (1 text, 1 tune)
Roud #143
CROSS_REFERENCES:
cf. "The Mower" (imagery)
ALTERNATE_TITLES:
Me One Man
Mowing Down the Meadow
One Man Shall Shear My Wethers
NOTES: It's hard to decide whether there's a ritual element here, or whether the song itself is the ritual. -PJS
And here I thought it was just a dirty song covered with pastoral symbols.... - RBW
File: ShH100
===
NAME: One Man's Hands
DESCRIPTION: "One man's hands can't break a prison down, Two men's hands can't tear a prison down, But if two and two and fifty make a million, we'll see that day come 'round." Similarly, "One man's voice can't shout to make them hear," etc., with topical references
AUTHOR: Words: Alex Comfort / Music: Pete Seeger
EARLIEST_DATE: 1962
KEYWORDS: political nonballad
FOUND_IN: 
REFERENCES: (2 citations)
Scott-BoA, pp. 376-377, "One Man's Hands" (1 text, 1 tune)
DT, (MANSHAND)
File: SBoA376
===
NAME: One May Morning: see Tripping Over the Lea [Laws P19] (File: LP19)
===
NAME: One Meat Ball: see One Fish-Ball (One Meat Ball, The Lone Fish-Ball) (File: SRW074)
===
NAME: One Misty, Moisty Morning
DESCRIPTION: Daniel courts Dolly, a milk maid. Before she will marry he must have her father and mother's consent. "Her parents being willing, all Parties was agreed, Her Portion thirtie shilling, they marry'd were with Speed" and have a public celebration.
AUTHOR: unknown
EARLIEST_DATE: 1700 (Pills to Purge Melancholy, according to Opie-Oxford2)
KEYWORDS: courting dowry wedding father mother
FOUND_IN: 
REFERENCES: (3 citations)
Opie-Oxford2 359, "One misty, moisty, morning" (2 texts)
Baring-Gould-MotherGoose #140, p. 114, "(One Misty, Moisty Morning)"
DT, HOWDYEDO*
BROADSIDES:
Bodleian, Douce Ballads 2(256b), "The Wiltshire Wedding Between Daniel Do-well and Doll the Dairy-maid" ("All in a misty morning"), unknown, n.d.
NOTES: The description is from broadside Bodleian Douce Ballads 2(256b).
See "One Misty Moisty Morning" by Steeleye Span on "Parcel of Rogues." Chrysalis CHR 1046 (1973). - BS
The Digital Tradition notes that this tune is used in the Beggar's Opera. This appears to be a reference to Act II, Air 5, "Before the Barn Door Crowing," which has the tune "All in a misty morning" and ends with the lines
WIth how do you do, and how do you do,
And how do you do again. - RBW
File: OO2359
===
NAME: One More Chance
DESCRIPTION: "Late last night, When the moon shone bright," the singer visits his honey. She declares she has gone to bed. He points out that he paid her rent, begs for one more chance, offers to take her to a ball. He then pulls out a ten dollar bill, and is admitted
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: sex courting home rejection money whore nightvisit
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 274-275, (no title) (1 text)
File: ScNF274B
===
NAME: One More Day
DESCRIPTION: Shanty: "One more day, me johnnies, One more day, Come rock and row me over, Johnny, one more day." The voyage has been hard, the captain cruel, but the sailors are almost home and soon will be able to visit their girls
AUTHOR: unknown
EARLIEST_DATE: 1948 (Shay)
KEYWORDS: shanty sailor home hardtimes
FOUND_IN: US
REFERENCES: (8 citations)
Colcord, p. 115, "One More Day" (1 text, 1 tune)
Harlow, pp. 41-42, "One More Day" (1 text, 1 tune)
Hugill, pp. 489-491, "Only One More Day," "Rock 'n Row Me Over" (3 texts, 3 tunes) [AbEd, 362-365]
Sharp-EFC, XV, p. 18, "One More Day (1 text, 1 tune)
Shay-SeaSongs, p. 88, "One Day More" (1 text, 1 tune, which, despite Shay's title, has the usual chorus "One more day... only one more day")
Silber-FSWB, p. 86, "Rock 'N' Row Me Over " (1 text)
DT, ONEMRDAY*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919)."One More Day!" is in Part 3, 7/28/1917.
Roud #704
ALTERNATE_TITLES:
Charlie, One More Day
File: FSWB086B
===
NAME: One More Kiss Before I Go
DESCRIPTION: "Such a happy girl am I, And I'll tell you the reason why:" She has a love who is always courting her and asking for "One more kiss before I go." They will marry soon. She tells boys that girls expect "a loving kiss And a word or two like this..."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, from Mae Hardin)
KEYWORDS: love courting marriage
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 168-169, "One More Kiss Before I Go" (1 text)
Roud #6375?
File: MHAp168
===
NAME: One More River to Cross
DESCRIPTION: Counting up the contents of Noah's Ark: "The animals went in one by one... two by two... three by three...," often with odd groupings listed. Chorus: "One more river, and that is the river Jordan, One more river (for) to cross."
AUTHOR: unknown
EARLIEST_DATE: 1897
KEYWORDS: Bible animal nonballad
FOUND_IN: US(SE,So)
REFERENCES: (5 citations)
BrownIII 455, "One More River to Cross" (1 short text)
Randolph 294, "One More River" (2 texts, 1 tune)
Randolph/Cohen, pp. 250-252, "One More River" (1 text, 1 tune -- Randolph's 294A)
Silber-FSWB, p. 392, "One More River to Cross" (1 text)
DT, ONEMORER
Roud #4458
RECORDINGS:
Lt. Jim Europe's Four Harmony Kings, "One More Ribber to Cross" (Pathe 22187, 1919)
Uncle Dave Macon, "One More River to Cross" (Bluebird B-5842, 1935)
CROSS_REFERENCES:
cf. "Old Uncle Noah" (lyrics)
cf. "Who Built the Ark?" (floating lyrics)
NOTES: Cohen notes that a piece, "Dar's One More Ribber for to Cross" was composed in 1881, with words by James Husey and music by Thomas P. Westendorf. I am unable to verify that this is the same as this song. - RBW
File: R294
===
NAME: One Morning Clear: see Searching for Lambs (File: LO09A)
===
NAME: One Morning in May (II): see Bad Girl's Lament, The (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26] (File: LQ26)
===
NAME: One Morning in May (III): see The Rebel Soldier (File: R246)
===
NAME: One Morning in May (To Hear the Nightingale Sing) [Laws P14]
DESCRIPTION: A (soldier) and a pretty girl meet; they chat and he plays on the fiddle for her. When she asks him to play more, he says it is time to leave. She asks him to marry; he already has a wife and children
AUTHOR: unknown
EARLIEST_DATE: 1903 (Belden)
KEYWORDS: soldier courting separation marriage fiddle
FOUND_IN: US(Ap,MA,MW,NE,SE,So) Britain(Scotland,England(Lond,South)) Canada(Newf)
REFERENCES: (30 citations)
Laws P14, "The Nightingale (One Morning in May)"
Belden, pp. 239-244, "The Nightingale" (3 texts plus 2 excerpts and a reference to 1 more, 2 tunes)
Randolph 58, "One Morning in May" (3 texts plus 1 fragment and 1 excerpt, 1 tune plus a fragment)
BrownIII 13, "One Morning in May" (1 text plus a fragment and mention of 2 more)
Scarborough-SongCatcher, pp. 310-311, "One Morning in May" (2 texts, with local titles "See the Waters Gliding," "One Morning, One Morning, One Morning in May"; 2 tunes on pp. 438-439)
Eddy 103, "One Morning in May" (1 text, 1 tune)
Flanders/Olney, pp. 164-165, "The Banks of Low Lee" (1 text, 1 tune)
Peacock, pp. 594-595, "The Soldier and the Lady" (1 text, 1 tune)
Karpeles-Newfoundland 77, "The Nightingale" (1 text, 2 tunes)
Leach, pp. 744-745, "One Morning in May (The Nightingale)" (1 text)
Wyman-Brockway I, p. 68, "The Nightingale" (1 text, 1 tune)
Cambiaire, p. 92, "The Nightingale" (1 text)
JHCoxIIA, #24A-C, pp. 94-98, "The Nightingale," "One Morning in May" (3 texts, 2 tunes)
FSCatskills 130, "A Bold, Brave Bonair" (1 text, 1 tune)
SharpAp 145, "The Nightingale" (5 texts, 5 tunes)
Sharp/Karpeles-80E 47, "The Nightingale" (1 text, 1 tune -- a composite version)
Ritchie-Southern, pp. 40-41, "See the Waters A-Gliding" (1 text, 1 tune)
Sandburg, pp. 136-138, "One Morning in May" (2 texts, 1 tune, but only the "A" text is this piece; the "B" text is "The Rebel Soldier")
Kennedy 185, "The Nightingales Sing" (1 text, 1 tune)
Copper-SoBreeze, pp. 210-211, "To Hear the Nightingales Sing" (1 text, 1 tune)
Lomax-FSNA 198, "The Wild Rippling Water" (1 text, 1 tune)
Cohen/Seeger/Wood, pp. 52-53, "Fiddling Soldier" (1 text, 1 tune)
Fife-Cowboy/West 3, "The Wild Rippling Water" (1 text, 1 tune)
Hodgart, p. 237, "The Wild Rippling Water" (1 text)
MacSeegTrav 45, "The Lady and the Soldier" (3 texts, 2 tunes)
Darling-NAS, pp. 137-138, "One Morning in May" (1 text)
Silber-FSWB, p. 166, "One Morning In May (The Nightingale)" (1 text)
BBI, ZN277, "As I went forth one Sun-Shining day"
DT 340, NTNGALE NTNGALE2* NTNGALE3* NTNGALE4
ADDITIONAL: _Sing Out_ magazine, Volume 22, #2 (1973), p, 18, "The Brave Volunteer" (1 text, 1 tune, the Bob Beers version)
Roud #140
RECORDINGS:
Raymond & John Cantwell, "The Soldier and the Lady" (on FSB2, FSB2CD)
Liam Clancy, "The Nightingale" (on IRLClancy01)
Coon Creek Girls, "The Soldier and the Lady" (Vocalion 05404, 1940)
Bill Cox, "Fiddling Soldier" (Melotone 7-08-70, 1937)
Betty Garland, "One Morning in May" (on BGarland01)
Mrs. Jack [Vera] Keating, "The Weaver" (on Ontario1)
Neil Morris, "The Irish Soldier and the English Lady" (on LomaxCD1707)
New Lost City Ramblers, "Soldier and the Lady" (on NLCR13)
Shorty & Juanita Sheehan, "The Soldier and the Lady" (on FineTimes)
Marvin Thornton & Fort Thomas group, "The Soldier and the Lady" (AFS, 1938; on KMM)
Doug Wallin, "The Nightingale" (on Wallins1)
CROSS_REFERENCES:
cf. "The Gentleman Soldier" (plot)
cf. "Across the Blue Mountains" (theme)
cf. "The Crystal Spring" (plot)
cf. "1913 Massacre" (tune)
cf. "Harbour Le Cou" (theme)
ALTERNATE_TITLES:
The Bold Grenadier
The Nightingale's Song, or the Soldier's Rare Musick and Maid's Recreation
File: LP14
===
NAME: One Night As I Lay On My Bed
DESCRIPTION: Singer dreams of his love; the dreams torment him so much that he goes out and calls at her window, bidding her to let him in. She demurs, saying her parents will punish her. He says they're asleep and won't hear; she lets him in.
AUTHOR: unknown
EARLIEST_DATE: 1803 (Scots Musical Museum)
KEYWORDS: courting sex nightvisit
FOUND_IN: Britain(England(South),Scotland) Canada(Newf)
REFERENCES: (3 citations)
Vaughan Williams/Lloyd, p. 79,  "One Night as I Lay On My Bed" (1 text, 1 tune)
Karpeles-Newfoundland 81, "Go From My Window" (1 text, 1 tune)
DT, LAYBED*
Roud #672
RECORDINGS:
Ewan MacColl and Peggy Seeger, "One Night as I Lay On My Bed" (on ENMacCollSeeger02)
CROSS_REFERENCES:
cf. "The Drowsy Sleeper" [Laws M4]
cf. "Farewell to Bonny Galaway" (lyrics, theme).
cf. "Go From my Window, Go"
cf. "The Waters of Dee" (theme)
NOTES: [The earliest known version of this was a] fragment found by Burns [and] published in Johnson's "The Scots Musical Museum." - PJS
File: VWL079
===
NAME: One Night As I Lay on the Prairie: see The Cowboy's Dream (File: R185)
===
NAME: One Night Sad and Languid (Dream of Napoleon)
DESCRIPTION: "One night sad and languid I went to my bed... When a vision surprising came into my head... I beheld that rude rock... O'er the grave of the once-famed Napoleon." The singer recalls the deeds of Napoleon and how he was "sold... by treachery."
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: Napoleon dream death
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Huntington-Whalemen, pp. 215-216, "One Night Sad and Languid" (1 text)
Warner 143, "Boney on the Isle of Saint Helena" (one fragmentary text in the notes to the song)
ST SWMS215 (Full)
Roud #1538
BROADSIDES:
Murray, Mu23-y1:056, "Dream of Napoleon," James Lindsay (Glasgow), 19C
File: SWMS215
===
NAME: One of the Has-Beens
DESCRIPTION: "I'm one of the has-beens, a shearer I mean. I once was a ringer and I used to shear clean... But you may not believe me, for I can't do it now." The shearer recalls the greats he used to shear with, and remains determined to shear as long as he can
AUTHOR: unknown
EARLIEST_DATE: 1957 (Stewart/Keesing, _Old Bush Songs_)
KEYWORDS: sheep work age
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 156-157, "One of the Has-Beens" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 194-195, "One of the Has-Beens" (1 text)
ST FaE156 (Full)
RECORDINGS:
John Greenway, "One of the Has-Beens" (on JGreenway01)
File: FaE156
===
NAME: One of Tonight
DESCRIPTION: "One of tonight! We will all pray togeyther Like de one of tonight." "Moan, oh, moan, We will all moan together... Ninety and nine and de ninety-ninth...." "Shout, oh, shout." "Bow... Like de Israelites bow." "Pray... Like de Israelites." "Cry...."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 625, "One of Tonight" (1 text)
Roud #11926
File: Br3625
===
NAME: One Penny Portion: see The Constant Lovers [Laws O41] (File: LO41)
===
NAME: One Pound Two
DESCRIPTION: "Now, Maggy dear, it's I do hear you have been on the spree." Johnny asks his wife for an accounting of how she spends his salary of one pound two. She lists it all: meal, potatoes, sugar.... Nothing is wasted or unaccounted. He is satisfied.
AUTHOR: unknown
EARLIEST_DATE: before 1852 (broadside, NLScotland, LC.Fol.187.A.2(052))
KEYWORDS: virtue dialog wife money food
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 20, "One Pound Two" (1 text)
BROADSIDES:
Bodleian, Harding B 20(126), "One Pound Two", J. Harkness (Preston), 1840-1866 ; also Harding B 16(190a), Firth c.20(127), Firth c.20(128), Firth c.26(129), "One Pound Two"
Murray, Mu23-y1:093, "One Pound Two," James Lindsay (Glasgow), 19C
NLScotland, LC.Fol.187.A.2(052), "One Pound Two," James Lindsay (Glasgow), 1852-1859; also RB.m.169(058) [damaged copy of preceding], L.C.1270(007), "The One Pound Two," unknown, c. 1845
CROSS_REFERENCES:
cf. "The Contented Wife and Her Satisfied Husband" (broadside NLScotland, L.C.Fol.70(138a), "The Contented Wife and her Satisfied Husband" ("Ye married people high and low, come listen to my song, I'll show to you economy and not detain yu long"), Muir (unknown), c. 1850
File: OCon020
===
NAME: One Thing or the Other, The
DESCRIPTION: Singer's mother tells him, at 21, to choose a wife; he's always thinking on "the one thing or the other." He courts a girl and marries her; she gets pregnant. It's twins; he complains of the squalling of the one thing and the other
AUTHOR: unknown
EARLIEST_DATE: 1903 (Sharp mss)
LONG_DESCRIPTION: Singer's mother tells him, at 21, to choose a wife; he's always thinking on "the one thing or the other." He courts a girl and marries her; they're happy in their daily occupation "at the one thing or the other." After a year, she gets pregnant. "It's a son", cries the sister; "It's a daughter" cries the mother; singer says it's the one thing or the other. It's twins; he complains of the squalling of the one thing and the other
KEYWORDS: courting marriage pregnancy baby mother wife humorous twins
FOUND_IN: Ireland Britain(England(South)) Canada(Mar,Newf)
REFERENCES: (3 citations)
Kennedy 209, "The One Thing or the Other" (1 text, 1 tune)
Tunney-StoneFiddle, p. 94, "The Twins" (1 text)
Peacock, pp. 312-313, "The One Thing or the Other" (1 text, 1 tune)
Roud #2131
File: K209
===
NAME: One-Eyed Reilly: see O'Reilly's Daughter (File: EM101)
===
NAME: One-Eyed Riley: see O'Reilly's Daughter (File: EM101)
===
NAME: One-Hung Lo
DESCRIPTION: Recitation: Prostitute Hoo Flung Shit is masturbating when One-Hung Lo crawls in and insultingly asks her for sex. She tells him to "go fuck your hat"; he tries to have sex with his hat and mashes it;  he falls on the floor; she urinates down his throat
AUTHOR: unknown
EARLIEST_DATE: 1947 (referred to by Jarvis)
LONG_DESCRIPTION: Recitation: The prostitute Hoo Flung Shit is masturbating with a candle when the client One-Hung Lo crawls in and insultingly asks her to have sex with him. She tells him to "go fuck your hat"; he bangs his penis on the floor, tries to have sex with his hat and mashes it (the hat or the penis) in the door; finally he falls on his back on the floor, and she urinates down his throat
KEYWORDS: shrewishness sex request rejection bawdy recitation whore
FOUND_IN: US Britain(England)
REFERENCES: (0 citations)
RECORDINGS:
Unidentified reciter, "In Crawled One-Hung Lo" (on Unexp1)
NOTES: Whew. That this piece had entered oral tradition (if the phrase is appropriate) is shown by the memoirs of one William E. Jarvis, who recounts that when he served in the US navy at Shanghai, 1947, he had a friendship with a girl named Amy Lo, and his shipmates taunted him by referring to her as "One Hung." - PJS
File: RcOnHunL
===
NAME: One, Two, Buckle My Shoe
DESCRIPTION: "One, two, buckle my shoe; Three, four, (open/shut) the door; Five, six, pick up sticks; Seven, eight, lay them straight...." And so forth, to ten or twenty or even beyond; there is naturally increasing variation as the numbers grow larger
AUTHOR: unknown
EARLIEST_DATE: 1805 (Songs for the Nursery, according to Opie-Oxford2)
KEYWORDS: nonballad
FOUND_IN: 
REFERENCES: (3 citations)
Opie-Oxford2 385, "One, two, Buckle my shoe" (1 text)
Baring-Gould-MotherGoose #615, p. 246, "(One, two, buckly my shoe)"
MHenry-Appalachians, pp. 239-240, (no title) (1 text)
Roud #11284
File: BGMG615
===
NAME: One, Two, Three
DESCRIPTION: The singer teaches his girl to dance. "'Twas easy just as easy as A B C, She'd done it when I taught her like one two and three." In demand by the ladies at a ball he realizes that "without her for a partner I would never dance again"
AUTHOR: unknown
EARLIEST_DATE: 1928 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #2608)
KEYWORDS: courting love dancing
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Packy Dolan and The Melody Boys, "One, Two, Three" (on USBallinsloeFair)
File: RcOne23
===
NAME: Only a Brakeman
DESCRIPTION: "Far out in Texas... This boy fell a victim.... Only a brakeman, gone on before, Only a brakeman, we'll never see more." The accident that cost him his life is alluded to; his grieving family is mentioned
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: death railroading train family
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 679, "Only a Brakeman" (1 text, 1 tune)
Randolph/Cohen, pp. 445-447, "Only a Brakeman" (1 text, 1 tune -- Randolph's 679)
Cohen-LSRail, pp. 173-174, "(Only a Brakeman" (excerpts from 7 "Only a Brakeman" songs; the last is this piece)
Roud #4147
CROSS_REFERENCES:
cf. "Only a Miner" [Laws G33] (theme, meter, floating lyrics)
NOTES: This song is item dG49 in Laws's Appendix II. - RBW
File: R679
===
NAME: Only a Miner (The Hard-Working Miner) [Laws G33]
DESCRIPTION: A miner is trapped under a falling boulder; no one can help him. Most of the world doesn't care; he's "only a miner," though he leaves a wife and children
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Kentucky Thorobreds); John Garst has demonstrated that the "only a miner" verse goes back to at least 1902
KEYWORDS: mining family death
FOUND_IN: US(Ap,Ro,So)
REFERENCES: (7 citations)
Laws G33, "Only a Miner (The Hard-Working Miner)"
Randolph 680, "Only a Miner" (1 text, 1 tune)
Fuson, p. 141, "The Hard-Working Miner" (1 text)
Green-Miner, pp. 63-65, "Only a Miner" (5 texts, 1 tune)
Lomax-ABFS, pp. 437-438, "The Hard-Working Miner" (1 text, 1 tune)
Greenway-AFP, p. 263, "Poor Miner's Farewell" (1 text)
DT, ONLYMINR (ONLYMNR2?)
Roud #2197
RECORDINGS:
Ted Chesnut, "He's Only a Miner Killed in the Ground" (Gennett 6603/Champion 15587 [as Cal Turner]/Supertone 9180 [as Alvin Bunch], 1928; on KMM)
Kentucky Thorobreds "Only a Miner" (Paramount 3071, 1928; Broadway 8070 [as Old Smokey Twins], n.d.; rec. 1927)
CROSS_REFERENCES:
cf. "Only a Brakeman" (theme, meter, floating lyrics)
cf. "Just a Poor Lumberjack" (theme)
NOTES: Greenway credits this to Aunt Molly Jackson. This can hardly be accepted. The version Greenway prints is, however, noticeably different from from the other texts listed; the final verse is unique, and the others show variants. Presumably Jackson touched up the existing song. - RBW
As enumerated by Green, the song was collected many times by the Archive of Folk Song and others, with various informants placing the date they learned the song in the 19th century, the earliest being 1888. - PJS
File: LG33
===
NAME: Only a Soldier: see The Bold Soldier [Laws M27] (File: LM27)
===
NAME: Only Nineteen Years Old
DESCRIPTION: Singer fell in love with, and married, "a virgin only nineteen years old." Next morning she took off her paint and revealed her hump, wig, false leg and fingers. Before marrying, he says, examine your intended: she may be ninety.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Munnelly/Deasy-Lenihan)
KEYWORDS: age courting marriage beauty disguise money humorous
FOUND_IN: Ireland US(SW)
REFERENCES: (2 citations)
Munnelly/Deasy-Lenihan 15, "Only Nineteen Years Old" (1 text, 1 tune)
Logsdon 36, pp. 197-199, "Oh! My! You're a Dandy for Nineteen Years Old" (1 text, 1 tune)
Roud #4792
RECORDINGS:
Tom Lenihan, "Only Nineteen Years Old" (on IRTLenihan01)
CROSS_REFERENCES:
cf. "The Warranty Deed (The Wealthy Old Maid)" [Laws H24] and references there
NOTES: Munnelly/Deasy-Lenihan: "Tom's sister Margaret used to sing this when she was home on holidays from America." - BS 
File: RcOn19YO
===
NAME: Only Remembered
DESCRIPTION: "Up and away like the dews of the morning, Soaring from earth to its home in the sun, Thus would I pass from the earth and its toiling, Only remembered for what I have done." An exhortation to good works, with a promise of reward for those who do them
AUTHOR: Words: Dr. H. Bonar/Music: W. W. Bentley
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: religious nonballad
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 627, "Only Remembered" (1 text, 1 tune)
DT, ONLYRMBR*
Roud #7557
NOTES: Although this song has been fairly popular with folk revival singers, it bears noting that it does not conform with the theology of any major branch of Christianity. Catholics and Orthodox believe in the salvific power of the church, as do (for the most part) Anglicans. Lutherans believe in justification by faith alone; the Reformed churches (e.g. Presbyterians) believe in predestination to grace.
Indeed, as it says in Ephesians 2:8-9, "For by grace you are being saved through faith... not because of works, lest someone should boast...." - RBW
File: R627
===
NAME: Onward Christian Soldiers
DESCRIPTION: "Onward, Christian Soldier, Marching as to war, With the cross of Jesus Going on before." The Christian "army" is urged forward, bypassing temporary earthly structures for the eternal kingdom of God
AUTHOR: Words: Sabine Baring-Gould (1834-1924) / Music: Arthur Sullivan (1842-1900)
EARLIEST_DATE: 1864 (Church Times)
KEYWORDS: religious nonballad
FOUND_IN: 
REFERENCES: (4 citations)
Silber-FSWB, p. 352, "Onward Christian Soldiers" (1 text)
Fuld-WFM, pp. 416-417, "Onward, Christian Soldiers"
DT, ONCHRST*
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp. 80-81, "Onward, Christian Soldiers" (1 text, 1 tune)
RECORDINGS:
Haydn Quartet, "Onward Christian Soldiers" (Victor 521, 1901)
Old Southern Sacred Singers, "Onward Christian Soldiers" (Brunswick 166, 1927)
SAME_TUNE:
Onward, Christian Bedbugs (Pankake-PHCFSB, p. 105)
NOTES: Yes, the Sabine Baring-Gould who wrote this is the same fellow as collected English folksongs. And whose descendents are responsible for the Annotated Mother Goose cited frequently in this index. He was ordained in the Church of England in 1864, and produced quite a bit of Christian poetry and analysis, though this hymn is nearly the only part to have achieved any popularity. - RBW
File: FSWB352A
===
NAME: Onward, The
DESCRIPTION: The Onward and her crew from Troon to Larne was bound"; she tries to reach Lamlash for shelter in a storm. "Between Dromore and the Ailsa Craig The Onward she went down... unseen all from the shore; no rescue life could save."
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 90, "The Onward" (1 text)
NOTES: Ranson: "'The Onward' was wrecked off the Ayrshire coast of Scotland in 1881."
Troon is on the Ayrshire coast of Scotland; Larne is across the North Channel on the coast of County Antrim. - BS
File: Ran090
===
NAME: Oor Cat's Deid
DESCRIPTION: "Whirry, whirra, the cat she's deid, And whirry, whirra, there's a sod on her heid, And in a wee hole we'll bury them a', And for wee puss we'll sing for a'."
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: lullaby death burial animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H40b, p. 17, "A Child's Lullaby" (1 text, 1 tune)
Roud #13025
CROSS_REFERENCES:
cf. "Lingle Lingle Lang Tang (Our Cat's Dead)"
File: HHH040b
===
NAME: Oor Dochter Jean
DESCRIPTION: "Oor dochter Jean cam hame yestreen, Wi' rosy cheeks an' lauchin' e'en." Asked where she has been, she replies, "Wi' Fermer Joe o Auchinglen." There is a ring on her finger. Fermer Joe arrives to ask her hand; all happily agree
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting marriage farming
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, pp. 49-50, "Oor Dochter Jean" (1 text, 1 tune)
Roud #3789
File: Ord049
===
NAME: Oor Fairm Toon
DESCRIPTION: The singer describes the goings on "at oor fairm toon." The fee'd help are strange but the kitchie lass is a beauty. Work starts early and food is meager. There's a new "thrashin' mull." "We'll shortly hae the plooin' deen"
AUTHOR: Mr Laird (source: Greig)
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: farming work food nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #92, pp. 2-3, "Oor Fairm Toon" (1 text) 
GreigDuncan3 403, "Oor Fairm Toon" (2 texts)
Roud #5411
CROSS_REFERENCES:
cf. "Oor Kailyard" (tune, per Greig)
File: GrD3403
===
NAME: Open Book, The
DESCRIPTION: "You've been tamped full of shit about cowboys; they are known as a romantic breed...." The reciter proceeds to dispel these myths, talking about cowboys' sexual exploits, their local peculiarities, and their folly
AUTHOR: Curley Fletcher
EARLIEST_DATE: 1985 (Logson)
KEYWORDS: cowboy recitation nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Logsdon 16, pp. 108-117, "The Open Book" (2 very long texts, one Fletcher's original bad-language version, the other his later cleaned-up text)
Roud #10092
File: Logs016
===
NAME: Opeongo Line, The
DESCRIPTION: "On the Opeongo Line I drove a span of bays One summer once upon a time For Hoolihan and Hayes. Now that the bays are dead and gone And grim old age is mine... Ay, dreaming, dreaming, I go teaming On the Opeongo Line."
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: travel logger
FOUND_IN: Canada(Que)
REFERENCES: (1 citation)
Fowke-Lumbering #65, "The Opeongo Line," (1 fragment)
Roud #4565
File: FowL65
===
NAME: Opossum, The: see Kemo Kimo (File: R282)
===
NAME: Opsang for Jonas Anton Hjelm
DESCRIPTION: Norwegian shanty. "Hurrah for Jonas Aston Hjelm, He was for Norway, helmet and spear, till at last he celebrated peace." Other versions are general sailing rhymes with a choruses of "Sing salio!" or "Sing sailor-O!" or "Singsalli-joh!"
AUTHOR: Henrik Wergelands
EARLIEST_DATE: 1839
KEYWORDS: foreignlanguage shanty
FOUND_IN: Norway
REFERENCES: (1 citation)
Hugill, pp. 558-559, "Opsang for Jonas Anton Hjelm" (4 texts-Norwegian & English, 1 tune)
ALTERNATE_TITLES:
Sing Salio
Siste Reis
NOTES: Jonas Anton Hjelm was a Norwegian laywer who was instrumental in the fight for national control while Norway was under Swedish rule (1814-1905). In particular he argued in 1834 that the Act of Union provided that a Norwegian minister had to be present whenever the Swedish ministers discussed Norwegian affairs. Edvard Greig also wrote a piece called "Sailor's Song - Hurrah For Jonas Anton Hjelm," but the melody bears no resemblance to the tune given in Hugill.
Hugill speculated that Wergelands may have based his poem on an earlier shanty (though the poem predates any available shanty collection). The possible earlier version Hugill gave was spoken from the view of a ship -- "The Resolution was a demon, and the name I got at baptism...." - SL
File: Hugi558
===
NAME: Oran Do Cheap Breatainn (Cape Breton is the Land of My Love)
DESCRIPTION: Gaelic. Now I live in the mountains but I am singing about "the land of the glens": birds, cows, thoughts of winter "the time for weddings and milling frolics" and people I knew in my youth who have died.
AUTHOR: Dan Alex McDonald (per MRHCreighton)
EARLIEST_DATE: 1956 (Creighton-Maritime)
KEYWORDS: foreignlanguage lyric nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, pp. 184-185, "Oran Do Cheap Breatainn" (1 text, 1 tune)
RECORDINGS:
John Ranny McReigen, "Oran Do Cheap Breatainn" (on MRHCreighton)
NOTES: The description is based on the translation of Creighton/MacLeod 17 in _Gaelic Songs in Nova Scotia_. - BS
File: CrMa184
===
NAME: Oran Na Caillich (Our Auld Wife)
DESCRIPTION: Scottish Gaelic. My wife is dour, sour, and the devil's own. I must have been bewitched to be drawn to her. She's so ugly. I have to drink to stand it.
AUTHOR: Allan McDougall [Ailean Dall] (1750-1829)
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage drink humorous wife
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 793-794, "Oran Na Caillich" (1 text, 1 tune)
NOTES: Peacock notes that this "is called a milling song ... used to accompany the work of shrinking wool homespun. The wet cloth is alternately kneaded and pounded on a large table by several people either seated or standing. A leader sings the verses, and everyone comes in on the chorus." "Milling wool" and "waulking tweed" is the same process.  For a note on the process and the songs see "Waulking" by Craig Cockburn at the Silicon Glen site.
The description is based on a translation by Malcolm MacFarlane available in the hard-cover edition of _The Minstrelsy of the Scottish Highlands_ ed Alfred Moffat (Bayley & Ferguson, London & Glasgow, ca 1908), pp. 76-77. This song is not in the soft-cover edition issued ca. 1960. - BS
File: Pea793
===
NAME: Orange and Blue
DESCRIPTION: "When Brethren are met in orders so grand, What a beautiful sight for to view." Singer describes his induction, in code. But, "what a shameful disgrace on a lodge it doth bring To see Brethren each other subdue." Join "in defence of the Orange and Blue"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: ritual religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 34, "Orange and Blue" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Grand Templar's Song" (Masonic symbolism) and references there
NOTES: OrangeLark: "Another much used song which has the effect of stirring the blood of those who sing it." - BS
File: OrLa034
===
NAME: Orange and Blue, The: see Green Grows the Laurel (Green Grow the Lilacs) (File: R061)
===
NAME: Orange and Green
DESCRIPTION: "The night was falling dreary in merry Bandon town...." To an Orangeman's door comes a Green, pursued by an angry crowd. The Orangeman shelters him -- then learns he has killed his son. He still does not retaliate Years later, they meet in peace
AUTHOR: Gerald Griffin (1803-1840)
EARLIEST_DATE: 1850 (David Charles Bell, _The Modern Reader and Speaker_)
KEYWORDS: Ireland political murder promise reprieve reunion
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 41-43, "Orange and Green" (1 text)
Roud #9556
NOTES: Given that Dean's seems to be the only traditional text of this, and that I have found no sign of sheet music, I suspect this is actually a recitation rather than a song. I also suspect Dean took it from a literary source. Finally, I have to suspect its inclusion was inspired by the horrid Irish troubles that were taking place at the time Dean was assembling his book: The conflict of Orange and Green was at its worst, because by this time England would probably have walked away from Ireland -- except that the Orangement of Ulster wanted no part of an independent Ireland.
Gerald Griffin had an interesting career: Born in Ireland, the ninth son of a brewer, his family moved to America to escape poverty (so it's just possible that he would have heard the story of Duncan Campbell which this so resembles). He spent time as a journalist in Lonon, and finally ended up teaching in Ireland for the Society of Christian Brothers. His posthumous collected works occupied eight volumes, though most of his works have fallen into obscurity. (Benet's _Reader's Encyclopedia_, which is as close to comprehensive as any literary reference I've seen, doesn't even mention him.) He did produce a version of "Eileen Aroon," reportedly taken from the Gaelic (see the Notes to that song); also, his novel _The Collegians_ (1829) was made into a play, _Colleen Bawn_. Patrick C. Power _A Literary History of Ireland_, Mercier, 1969, calls it "a very good novel" but says that after that he "never again wrote anything as good." - RBW
File: Dean040
===
NAME: Orange Lark, The
DESCRIPTION: The lark "is true Orange bird" who cheered William on July first and "sang him an Orange hymn." The nightingale sings sweetly but the lark's song comes "from the soldier's drum." The eagle is too aristocratic; the lark's "is the song of the free"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: Ireland patriotic bird
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 40, "The Orange Lark" (1 text, 1 tune)
File: OrLa040
===
NAME: Orange Lily-o, The
DESCRIPTION: Did you go to the flower show? The prize is won by the Orange Lily. "The Viceroy there was so debonair ... And Lady Clarke" approached Ireland's Orange Lily.
AUTHOR: unknown
EARLIEST_DATE: c.1895 (Graham)
KEYWORDS: Ireland flowers political
FOUND_IN: Ireland
REFERENCES: (3 citations)
OLochlainn 70, "The Orange Lily-o" (1 text, 1 tune)
Hayward-Ulster, p. 116, "The Orange Lily-O" (1 text)
Graham, p. 7, "The Orange Lily,  O!" (1 text, 1 tune)
Roud #3003
NOTES: Georges Denis Zimmermann, _Songs of Irish Rebellion_ , 2nd ed. (2002), p. 303: "The great emblem of the [Orangemen], the Orange lily, is celebrated like the shamrock in nationalist songs. [Fn.45 'The Orange Lily O!' in _The Protestant or True Blue_, pp. 45-46, and in every Orange song book thereafter.]"
What message is hidden here?
OLochlainn: "I heard an older and more pungent ballad but could not find it printed. All I remember is 'D'ye think I would let, a -- Fenian -- Destroy one flower of the Lily O?"
The "Songs Collected by Donagh MacDonagh" site has two versions. The first version is, essentially, the same as OLochlainn 70. A long description of version 2, as far as I can state it is:
At the show Lady Clarke approaches the lily. The viceroy is reluctant to give it the prize. Sir Charley is also unhappy but "horse master Billy" laughs to think his ex should be bothered by the lily. "With moistened eyes" the Viceroy gives the prize to the lily. "Toast the health of Billy" who won "on Boyne's red shore The Royal Orange Lily O!"
Which Viceroy and Lady Clarke? Who are Sir Charley and horse master Billy? And what is the Royal Orange Lily? And do these versions all refer to the same "flower show?"
The following notes, quoted with permission, are from John Moulden, researcher at the "Centre for the Study of Human Settlement and Historical Change" at National University of Ireland, Galway whose subject is "the printed ballad in Ireland":
"I take it that it is a satire concerning the reluctance of one of the Lords Lieutenant of Ireland (aka the Viceroy) to award first prize at a flower show to an Orange Lily. The distaste of the Victorian establishment for the Orange Order was much the same as today.
"The Orange Lily was a symbol of the Royal House of Orange, official or not, but clearly adopted as such in Ireland.
"Specifics are a bit more difficult - the likelihood is that Lady Clarke was Olivia Owenson, sister of Lady Morgan; c. 1785-1845, and that therefore the Viceroy in question was one of: [See Wikipedia for the list of the 16 Viceroys from Philip Yorke, 3rd Earl of Hardwicke: 27 April 1801 to William Court, 1st Baron Heytesbury: 17 July 1844] but obviously after Lady Clarke's marriage and probably after 1819 when she had a very poor play acted in Dublin.
"Horse Master Billy may refer to the equestrian statue of William of Orange which stood in St. Stephen's Green in Dublin until being blown up in the (I THINK) 1830s.
"There is of course a possibility that the song refers to an event other than a flower show, such as a parade of ladies.
"The Chief Secretaries at the same times were: [a list of 22 between 1798 and 1845, including a number of "Sirs" and a number of "Charles"--Charles Abbot 1801-1802, Charles Long 1805-1806 and Charles Grant 1818-1821] but there are no Sir Charleys among them."
The last verse from Graham may refer to King William: "Then come, brave boys, and share her joys, and toast the health of Willy, O!  Who bravely wore, on Boyne's red shore, the Royal Orange Lily, O!"   That is reminiscent of the last verse sometimes sung to "The Aughalee Heroes": "And when that we landed in Aughalee, Our brandy in gallons did shine, The toast we often repeated Was to William that crossed the Boyne." - BS
File: OLoc070
===
NAME: Orange Maid of Sligo, The
DESCRIPTION: A tiny boat is driven by wind onto the shore of the Bay of Sligo. "At the bow there sat a girl... the 'Orange Maid of Sligo.'" An Orange youth sees an orange lily on the water and gives it to her. They marry. 
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: marriage sea ship shore flowers Ireland patriotic
FOUND_IN: Ireland
REFERENCES: (2 citations)
Morton-Ulster 34, "The Orange Maid of Sligo" (1 text, 1 tune)
DT, ORGSLIG*
Roud #2910
NOTES: The "aisling" is common on the Green side of the Irish conflict. Here the Orange Maid stands for Orange Ireland and the Orange Lily is its symbol. See the discussion of "aisling" in the notes to "Eileen McMahon." "The Orange Lily was a symbol of the Royal House of Orange, official or not, but clearly adopted as such in Ireland." (source: John Moulden; for the full note see "The Orange Lily-o"). - BS
File: MorU034
===
NAME: Orange Riots in Belfast, The
DESCRIPTION: "Emancipation first tortured them [Orangemen] sore But O'Connell's procession it grieved them far more," so they took it as an excuse to burn Dan's effigy and "to murder and tear Saint Malachy's Chapel." They should consider their own July 12 parading.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden); 19C (broadside, Bodleian 2806 b.9(270))
KEYWORDS: violence Ireland political
HISTORICAL_REFERENCES: Aug 8-23, 1864 - Belfast riots about Dublin Daniel O'Connell statue (source: Leyden).
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 42, "The Orange Riots in Belfast" (1 text)
BROADSIDES:
Bodleian, 2806 b.9(270), "The Orange Riots in Belfast" ("Rejoice sons of Erin all over the land"), unknown, n.d.
CROSS_REFERENCES:
cf. "The Battle of the Navvies" (subject)
NOTES: Leyden: "The protagonists in these disturbances were the Protestants of Sandy Row and the Catholics of the nearby Pound area (now the Divis Flats area)." The Catholic navvies were "engaged in the excavation of the New Docks." "Never before had there been rioting on such a scale with widespread shooting, intimidation and looting of gunsmiths, resulting in death, injury and destruction."
The conflict began when the foundation stone for a statue of Daniel O'Connell was laid in Dublin. That evening Sandy Row Protestants burned an effigy of O'Connell in Belfast. St Malachy's Chapel was the meeting place for Catholic navvies reacting to the effigy burning. Following an attack by the navvies on Brown Square School, Protestants "headed for St. Malachy's to seek revenge." (source: Leyden) For notes on Daniel O'Connell see "Erin's Green Shore [Laws Q27]."
See the notes to "The Boys of Sandy Row" for comments on sectarian riots earlier and later in the same Belfast area. - BS
File: Leyd042
===
NAME: Orange Yeomanry of '98, The
DESCRIPTION: The singer's father fought with the Orange Yeomanry in 1798. The Orange peasant and artisan imitate "the gallant Orange Yeomanry." The Orangeman "relies upon his Bible and his gun." Preferring peace, the Orangeman would fight if necessary
AUTHOR: unknown
EARLIEST_DATE: 1882 (_The History of Orangeism_, according to Moylan)
KEYWORDS: rebellion nonballad patriotic political derivative
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 137, "The Orange Yeomanry of '98" (1 text)
CROSS_REFERENCES:
cf. "The Memory of the Dead" (lyrics)
NOTES: One verse 
"Who fears to speak of Ninety-Eight?"
This was the silly note
Of one who was afraid to put
His name to what he wrote;
The reference is to John Kells Ingram's "The Memory of the Dead," which begins "Who fears to speak of Ninety-Eight?" The point is that Ingram's song was published anonymously. "The Orange Yeomanry of '98" was also published anonymously before Ingram openly acknowledged authorship of "Memory of the Dead." (source: Moylan) - BS
And, of course, this well sums up the attitude of groups such as the Orange Order, which eventually led to partition -- and the Troubles. - RBW
File: Moyl137
===
NAME: Orangeman's Apology, The
DESCRIPTION: "I am a loyal Orangeman, in this I take delight, Though long before I firmly swore to those who did unite." Green being out of date, the singer calls the Pope a hog and swears what he's told. "For it's my rule, and I'm no fool, who's miller, I'll be dog"
AUTHOR: unknown
EARLIEST_DATE: 1809 (Cox's _Irish Magazine_, according to Moylan)
KEYWORDS: Ireland humorous nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 49, "The Orangeman's Apology for Quitting the Croppies and Turning Loyalist" (1 text)
File: Moyl049
===
NAME: Oranges and Lemons
DESCRIPTION: "Oranges and lemons, Say the bells of St. Clement's. You owe me five farthings.... When will you pay me? Say the bells of Old Bailey...." "I'm sure I don't know, Says the great bell of Bow." A threat (to chop off a head) may follow
AUTHOR: unknown
EARLIEST_DATE: c.1744(Tom Thumb's Pretty Song Book, according to Opie-Oxford2)
KEYWORDS: money playparty
FOUND_IN: Britain(England(All)
REFERENCES: (3 citations)
Opie-Oxford2 392, "Oranges and lemons" (1 text)
Baring-Gould-MotherGoose #640, pp. 253-254, "(Gay go up and gay go down)" (a conflate version probably containing material not relevant to the song)
DT, ORANGLEM
Roud #13190
NOTES: Opie-Oxford2: "Whether or not the terminating lines ['... Here comes a chopper to chop off your head'] have special significance, they do not appear in the song's earliest recording (c.1744)" - BS
Whatever the significance of the song, it appears to have inspired a lot of descendants. Many folkies will know Idris Davies's "Bells of Rhymney," set to music by Pete Seeger. Eleanor Farjeon (of "Morning Has Broken") fame also used it as a starting point for a song about a memorial for World War I soldiers called "The Children's Bells": "Where are your Orangers? Where are your Lemons? What, are you silent now, Bells of St. Clement's?" For the full text, with background, see Walter de la Mare, _Come Hither_, revised edition, 1928; #184, "The Children's Bells." - RBW
File: BGMG640
===
NAME: Ordeal of Andrew Rose, The: see Andrew Rose (File: Pea825)
===
NAME: Ore Knob
DESCRIPTION: "Come, blooming youth in the midst of day And see how soon some pass away." Just before their shift ended, two miners, Sherley and Smith, die in a rockfall. The singer quotes the New Testament and says that it is all God's plan
AUTHOR: unknown
EARLIEST_DATE: 1936 (Brown)
KEYWORDS: mining disaster religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 211, "The Ore Knob" (1 text)
Roud #6556
NOTES: The editors of the Brown collection are unable to link this to any actual event, though it appears to be based on reality. The song probably would have been more successful if it weren't so sickeningly blatant. - RBW
File: BrII211
===
NAME: Organ Grinder, The
DESCRIPTION: The singer in successive stanzas has sex with his girl friend in various places, each more outlandish than the last.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy humorous sex
FOUND_IN: US(MA,So,SW)
REFERENCES: (2 citations)
Cray, pp. 341-344, "The Organ Grinder" (3 texts, 1 tune)
Randolph-Legman I, p. 369-370, "My Little Organ Grinder" (1 text, 1 tune); II, pp. 592-594, "My Little Organ Grinder" (2 texts)
CROSS_REFERENCES:
cf. "Old Horny Kebri-O" (form)
File: EM341
===
NAME: Orkney New Year's Eve Carol: see Queen Mary's Men (New Year's Eve Carol) (File: MSNR200)
===
NAME: Orkney Style of Courtship, The
DESCRIPTION: Recitation: Speaker says that the Orkney style of courship looks odd from outside, but "let them court the way they choose." Others may sit around to court; he prefers to court by jumping in bed with the girl; it saves time after a long day at work.
AUTHOR: unknown
EARLIEST_DATE: 
LONG_DESCRIPTION: Recitation: Speaker says that the Orkney style of courship looks odd from outside, but he says to "let them court the way they choose." He says that those who like to court in an armchair after the old folks have gone to sleep are free to do so, but he himself prefers to remove his boots and coat and jump into bed with the girl. He explains that this saves time after a long day at work.
KEYWORDS: courting sex family nonballad recitation
FOUND_IN: Britain(Scotland(Hebr))
REFERENCES: ()

Roud #3087
RECORDINGS:
John Findlater, "The Orkney Style of Courtship" (on FSB2, FSB2CD)
NOTES: And I'm sure it does. - PJS
File: RcTOSOC
===
NAME: Orphan Girl (II), The: see The Orphan (File: Beld278)
===
NAME: Orphan Girl (III), The
DESCRIPTION: The ship Orphan Girl, out of London for Liverpool "with her cargo of cement," is "stranded on a place called Sea-field shore...; four of her crew were saved." A heroic boy is lost, the captain is cowardly, "but we may blame the Coast-guards."
AUTHOR: unknown
EARLIEST_DATE: 1947 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
HISTORICAL_REFERENCES: Oct 22, 1881: "... schooner Orphan Girl ... wrecked at Ballymoney"; the crew were rescued. (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 45)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 64-65, "The Orphan Girl" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Alfred D. Snow" (tune)
NOTES:  Ranson: Tune is "Alfred D. Snow" on p. 116. - BS
File: Ran064
===
NAME: Orphan Girl, The (The Orphan Child)
DESCRIPTION: The orphan girl at the rich man's door cries, "No home." Ragged, hungry, and cold, she begs for help, but the rich man turns her away. In the night she freezes to death, "but her soul has gone to a home above where there's room and bread for the poor"
AUTHOR: unknown
EARLIEST_DATE: 1906 (Belden)
KEYWORDS: poverty orphan rejection death
FOUND_IN: US(Ap,MW,SE,So)
REFERENCES: (15 citations)
Belden, pp. 277-278, "The Orphan Girl" (1 text plus an excerpt from another, 1 tune)
Randolph 725, "The Orphan Child" (2 texts, 1 tune)
BrownII 148, "The Orphan Girl" (3 texts plus mention of 11 more)
Chappell-FSRA 117, "The Orphan Girl" (1 text)
Brewster 63, "The Orphan Girl" (3 texts plus an excerpt and mention of 1 more, 1 tune)
McNeil-SFB2, pp. 177-178, "Orphan Girl" (1 text, 1 tune)
Fuson, pp. 106-107, "The Little Orphan Girl" (1 text)
Cambiaire, pp. 26-27, "The Orphan Girl" (1 text)
MHenry-Appalachians, pp. 124-125, "The Orphan Girl" (1 text)
Scarborough-SongCatcher, pp. 364-366, "The Little Orphan Girl" (2 texts; 2 tunes on p. 454)
Sandburg, pp. 316-319, "Mag's Song" (2 text plus a fragment, 1 tune)
JHCox 153, "The Orphan Girl" (1 text)
Darling-NAS, p. 368, "The Coal Miner's Child" (1 text)
cf. Gardner/Chickering, p. 481, "The Orphan Girl" (source notes only)
ADDITIONAL: _Sing Out_ magazine, Volume 25, #5 (1977), pp, 26-27, "The Orphan Girl" (1 text, 1 tune, the Buell Kazee version)
ST R725 (Partial)
Roud #457
RECORDINGS:
Fiddlin' John Carson, "The Orphan Child" (OKeh 7006, 1924)
Buell Kazee, "The Orphan Girl" (Brunswick 211, 1928; Supertone S-2045, 1930; on KMM)
Lester McFarland & Robert Gardner, "The Orphan Girl" (Vocalion 5369, 1929)
Len Nash & his Country Boys, "The Orphan Girl" (Brunswick 387, 1929)
Riley Puckett, "The Orphan Girl" (Columbia 15050-D, 1926; rec. 1925)
Ernest Stoneman, "The Orphan Girl" (OKeh 45044, 1926) (Edison 52077/Edison [BA CYL] 5367, 1927)
NOTES: Stephen Foster wrote a piece, "No Home, No Home" (1862), but this song is much more detailed and does not resemble Foster's.
The Darling text, "The Coal Miner's Child," has been localized to mining conditions without in any way distancing it from the other versions of this song. This adapted version, however, bears a special resemblance to "The Miner's Doom" [Laws Q36]. - RBW
File: R725
===
NAME: Orphan Gypsy Girl, The: see The Gypsy Maid (The Gypsy's Wedding Day) [Laws O4] (File: LO04)
===
NAME: Orphan, The
DESCRIPTION: "Will you hear my mournful story? All my friends are dead and gone. Father is no more, nor mother; I'm an orphan left alone." The singer recalls mother's death, and her dying injunction to obey the Bible. She visits the graveyard, and hopes to join mother
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: orphan mother death burial mourning
FOUND_IN: US(Ap,SE,So)
REFERENCES: (3 citations)
Belden, pp. 278-279, "The Orphan" (2 texts)
BrownII 152, "The Orphan" (1 text plus mention of 1 more)
Fuson, p. 147, "The Orphan Girl" (1 text)
ST Beld278 (Partial)
Roud #4193
CROSS_REFERENCES:
cf. "The Fisherman's Girl" (theme)
ALTERNATE_TITLES:
The Orphan Girl
File: Beld278
===
NAME: Orphan's Lament (Two Little Children, Left Jim and I Alone)
DESCRIPTION: "Two little children, a boy and a girl, Sat by the old church door." The ragged, dirty children tell of their poverty: "Papa was lost out on sea long ago... Mama's in heaven, angels took her away." They are too young to work. They die before morning
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: orphan death
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
BrownII 150, "Two Little Children" (1 text plus mention of 3 more)
Cambiaire, p. 32, "Two Little Children" (1 text)
MHenry-Appalachians, pp. 126-127, "Two Little Orphans" (1 text)
DT, ORPHNLAM
Roud #458
RECORDINGS:
Betty Garland, "Two Little Orphans (or Left Jim and I Alone)" (on BGarland01)
Ernest V. Stoneman and the Dixie Mountaineers, "Two Little Orphans -- Our Mama's In Heaven" (Edison 51935, 1927) (CYL: Edison [BA] 5338, 1927); "Two Little Orphans" (OKeh, unissued, 1927); Ernest V. Stoneman and His Blue Ridge Cornshuckers, "The Two Little Orphans" (Victor 21648)
Arthur Tanner, "Two Little Children" (Columbia 15180-D, 1927)
CROSS_REFERENCES:
cf. "Row Us Over the Tide" (subject)
cf. "I Saw the Pale Moon Shining on Mother's White Tombstone" (subject)
File: BrII150
===
NAME: Ot Azoy Neyt A Shnayder (Weary Days Are a Tailor's)
DESCRIPTION: Yiddish: The immigrant singer tells of the hard work and long hours in a sweatshop: "From dawn till dusk he sews away." "Hunger and pain are all he knows." He thanks the union for better conditions
AUTHOR: unknown
EARLIEST_DATE: 1950
KEYWORDS: work hardtimes foreigner labor-movement nonballad foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 286-287, "Ot Azoy Neyt A Shnayder (Weary Days Are a Tailor's)" (2 texts (English & Yiddish), 1 tune)
File: SBoA286
===
NAME: Ot Kraya i Do Kraya (From Frontier to Frontier)
DESCRIPTION: Russian: The listeners across the land are called upon to take up rifles to defend their homeland. They are urged to fight "for country and for freedom." They are warned to be ready for danger and sorrow, and are asked to fight to the end.
AUTHOR: unknown
EARLIEST_DATE: 1940s (recording, Paul Robeson)
KEYWORDS: war political nonballad patriotic foreignlanguage
HISTORICAL_REFERENCES: June 22, 1941 - German troops invade the Soviet Union without warning
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 356-357, "Ot Kraya i Do Kraya (From Frontier to Frontier)" (1 text, 1 tune)
ALTERNATE_TITLES:
From Border To Border
NOTES: When the Germans first invaded the Soviet Union in 1941, Stalin appealed to the people to save the Communist state. As propaganda, it failed miserably.
Eventually the Soviets started appealing to the people to save Holy Mother Russia. Songs like this were emblems of that appeal. Combined with widespread (and true) reports of Nazi atrocities against Slavs (whom Hitler regarded as only marginally human), Stalin eventually built up enough patriotic fervor to allow the nation to survive. - RBW
File: SBoA356
===
NAME: Other Bright Shore, The
DESCRIPTION: "I have a mother gone to glory (or: ...mother over yonder) (x3), On (that) other (bright) shore." Similarly with father, sister, etc. "Some bright day we'll go and meet them...." "Won't that be a happy meeting..." etc.
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: religious death reunion family
FOUND_IN: US(Ap,SE,So)
REFERENCES: (7 citations)
BrownIII 539, "John Saw de Hundred and Forty-Four Thousand" (1 text, perhaps not this song but too close to separate (it starts "John saw the Hundred and Forty-Four Thousand" and has the chorus "I can't stay away," but the rest appears to be this); also 576, "Gwine Down Jordan" (1 text, also possibly separate as it has the chorus, "I'me gwine down Jordan, hallelo," but the verses seem to belong here); also 648, "We Have Loved Ones Over Yonder" (1 text, which appears to be exactly this song except that it uses the phrase "over yonders ocean" rather than "on the other bright shore")
Chappell-FSRA 90, "Over Yonders Ocean" (1 text, 1 tune)
Randolph 611, "On That Other Bright Shore" (1 text, 1 tune)
Ritchie-Southern, p. 47, "I've Got a Mother Gone to Glory" (1 text, 1 tune)
Thomas-Makin', pp. 217-218, "Oh, Brother Will You Meet Me?" (1 text, 1 tune, in which all meet "On Canaan's happy shores.")
Lomax-ABFS, p. 572, "The Other Shore" (1 text, 1 tune)
Chase, p. 170, "Over Yonders Ocean" (1 text, 1 tune)
Roud #4213
RECORDINGS:
Rev. Howard Finster, "Some Have Fathers Over Yonder" (on FolkVisions2)
CROSS_REFERENCES:
cf. "Hear the Lambs a-Cryin'" (words)
cf. "Departed Loved Ones" (theme)
cf. "I Have a Father Gone to Glory (I Am Alone in this World)" (lyrics)
NOTES: Roud lumps this with "Where Is Old Elijah? (The Hebrew Children, The Promised Land)," which seems a bit strong. But there is no denying that this is a song with a great willingness to transfer verses; it's possible that some of the items listed here actually derived from other songs. - RBW
File: R611
===
NAME: Other Shore, The: see The Other Bright Shore (File: R611)
===
NAME: Other Side of Jordan: see Jordan Is a Hard Road to Travel (II) (File: CSW188)
===
NAME: Other Side of Jordan, The: see Jordan Am a Hard Road to Travel (File: R305)
===
NAME: Otto Wood the Bandit
DESCRIPTION: Otto Wood has a quarrel with and kills a pawnshop clerk. Sheriff arrests him; he's imprisoned. He breaks out but is recaptured (and shot). In another break, he's shot dead. Chorus: "Otto Wood why didn't you run/When the sheriff pulled out that 44 gun?"
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Slim Smith)
LONG_DESCRIPTION: Otto Wood has a quarrel with a pawnshop clerk and pistol-whips (shoots?) him to death. Sheriff arrests him; he's sentenced to the penitentiary. He breaks out but is recaptured (and shot in the process). In another break, he's shot dead. "He loved the women and he hated the law/Just wouldn't take nobody's jaw." Chorus: "Otto Wood why didn't you run/When the sheriff pulled out that 44 gun?"
KEYWORDS: captivity crime murder law manhunt prison punishment trial escape death police prisoner 
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, OTTOWOOD*
Roud #11543
RECORDINGS:
[Walter "Kid" Smith & the] Carolina Buddies, "Otto Wood the Bandit" (Columbia 15652-D, 1931; on RoughWays2)
Slim Smith [pseud. for Bernard Smith], "Otto Wood the Bandit" (Victor 23526, 1931)
NOTES: Otto Wood was a local boy in the same area of North Carolina as Charlie Poole's band; the song tells his story pretty accurately.
Pity there isn't a keyword "ineptitude." - PJS
File: DTottowo
===
NAME: Ou Som Souroucou
DESCRIPTION: Creole French. "Ou Som Souroucou, qui ca ou gagnien, gagnien pou' bpi' do l'eau?"  Ou Som Souroucou, asked why he drinks so much water, replies that he has eaten corn and has to drink.
AUTHOR: unknown
EARLIEST_DATE: 1909 (Peterson, "Creole Songs from New Orleans")
KEYWORDS: drink foreignlanguage nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Lomax-ABFS, p. 222, " Ou Som Souroucou" (1 text, 1 tune)
File: LxA222
===
NAME: Oughta Come on the River
DESCRIPTION: "Oughta come on the river Long time ago, I don't know partner, Say, you oughta know, You'd catch plenty trouble Everywhere you go." The Captain threatens the members of the gang. The singer dreams of freedom
AUTHOR: unknown
EARLIEST_DATE: 1963
KEYWORDS: work chaingang freedom
FOUND_IN: US
REFERENCES: (1 citation)
Courlander-NFM, p. 103, (no title) (1 text)
CROSS_REFERENCES:
cf. "Ain't No More Cane on this Brazos"
NOTES: There are many, many elements of "Ain't No More Cane on this Brazos/Go Down, Old Hannah" in this piece -- but it appears to be different. Assuming Courlander didn't cut something essential, anyway. - RBW
File: CNFM103
===
NAME: Oul Bog Hole, The: see The Ould Bog Hole (File: FVS290)
===
NAME: Oul' Dunloy
DESCRIPTION: The singer reports being sick of the city, and wishes he were back in Dunloy. The city is loud and strange, and the people look unhealthy.  He misses his neighbors, who made life a joy. The corncrake cries, "Come back, come back to Dunloy."
AUTHOR: Andrew Doey
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: homesickness
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H498, pp. 211-212, "Oul' Dunloy" (1 text, 1 tune)
File: HHH498
===
NAME: Oul' Rigadoo, The: see The Little Beggerman (Johnny Dhu) (File: K345)
===
NAME: Ould Bog Hole, The
DESCRIPTION: "O, the pigs are in the mire and the cow is at the grass And a man without a woman is no better than an ass." The singer courts Judy; she calls him a rake; he says he will be reform and hopes for as many children as there are "days in Lent." She consents
AUTHOR: unknown
EARLIEST_DATE: 1904 (Ford); broadside Harding B 20(293) appears to be nineteenth century
KEYWORDS: love courting humorous
FOUND_IN: Britain(Scotland) Ireland
REFERENCES: (3 citations)
Ford-Vagabond, pp. 290-292, "The Ould Bog Hole" (1 text)
O'Conor, p. 65, "The Old Bog Hole" (1 text)
Hayward-Ulster, pp. 36-37, "The Ould Bog Hole" (1 text)
Roud #6128
BROADSIDES:
Bodleian, Harding B 20(293), "Old Bog Hole", T. Taylor (London), 1859-1899; also Harding B 26(489), "Ould Bog Hole"; Harding B 17(228b), "Oul' Bog Hole"
Murray, Mu23-y1:013, "The Oul Bog Hole", J Bristow (Glasgow), 19C; also Mu23-y1:036, Mu23-y1:037, "The Oul' Bog Hole," James Lindsay, 19C  [not the same as the preceding]
NLScotland, LC.Fol.187.A.2(067), "The Oul' Bog Hole," unknown, c. 1860
CROSS_REFERENCES:
cf. "Old Zip Coon" (tune)
File: FVS290
===
NAME: Ould Father Dan
DESCRIPTION: "I once knew a dodger, whose name was Father Dan ... to purgatory he's gone long ago." "The Repealers of their cash were shorn And Repeal with Dan sent below." "There is no more rent for ould Father Dan, He is gone where the rest all will go"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: death Ireland humorous political
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 28, "Ould Father Dan" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Grand Conversation on O'Connell Arose" (subject) and references there
NOTES: OrangeLark: "The song celebrates the death of Daniel O'Connell, leader of the mid-19th century movement aimed at breaking Ireland's integral union with Britain. The Repeal movement was financed with money raised from the Roman Catholic masses. The song points to the irony of a popular leader whose income derived from these collections and from the rents of his tenants." - BS
By the looks of it, this is a parody of "Uncle Ned." A vicious one, obviously. But probably produced almost the moment Stephen Foster's song came out; Daniel O'Connell died in 1847, and "Uncle Ned" was copyrighted 1848.
Incidentally, this is an illustration of how violently biased Irish Protestantism could be. I am not Catholic, and I find very many Irish nationalists to be utterly ridiculous -- but O'Connell sought only civil rights for the people, and did not believe in violence, and did not want separation from the British crown. It's hard to see how anyone even vaguely rational could condemn him. - RBW
File: OrLa028
===
NAME: Ould Heelball You're Boozing Again
DESCRIPTION: The singer, McShaw, is "a decent shoemaker ... but I've lately took on to the booze," as his friends comment at every chance. He was once well-to-do but now his wagon wheel is broken, his horses sold, and his wife has taken his watch and chain.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: drink hardtimes nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 48, "Ould Heelball You're Boozing Again" (1 text, 1 tune)
Roud #2915
File: MorU048
===
NAME: Ould Ireland, You're My Darlin'
DESCRIPTION: "Ould Ireland, you're my jewel sure." The singer blesses "each manly son... But hang the knave and dastard slave So base as to deny thee." He pledges "a love that ne'er can perish."
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, Bodleian Harding B 18(388))
KEYWORDS: Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 126, "Ould Ireland, You're My Darlin'" (1 text)
BROADSIDES:
Bodleian, Harding B 18(388), "Ould Ireland You're My Darlin'", H. De Marsan (New York), 1861-1864 
NOTES: Broadside Bodleian Harding B 18(388): 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: OCon126
===
NAME: Ould Lammas Fair, The
DESCRIPTION: "At the Ould Lammas Fair in Ballycastle long ago, I met a little colleen who set my heart aglow." He recalls the girl even while looking at the lasses of Flanders. Now he is glad to be at home with her, playing the fiddle and recalling the fair
AUTHOR: John Henry Macaulay
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: love courting fiddle reunion
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H101, pp. 275-276, "The Ould Lammas Fair" (1 text, 1 tune)
Roud #9051
NOTES: The reference to courting Flemish girls could date this to several wars, but the reference to "resting from the war," and the fact that the soldiers spent much time there, clearly implies a World War I date. As one would expect of a song composed during Sam Henry's collecting days. - RBW
File: HHH101
===
NAME: Ould Leather Breeches, The: see The Old Leather Breeches (File: MCB232)
===
NAME: Ould Man of Killyburn Brae, The: see The Farmer's Curst Wife [Child 278] (File: C278)
===
NAME: Ould Orange Flute, The: see The Old Orange Flute (File: Hodg216)
===
NAME: Ould Piper, The
DESCRIPTION: An old Irish piper, who played before Moses, can only play one tune. He dies and goes to Hell The devil puts him in the frying pan; "This is another ould piper I've found/Put him down with the rest for to play." (For a chorus, the singer imitates pipes.)
AUTHOR: Carl Hardebeck
EARLIEST_DATE: c.1912 (OLochlainn-More learned from the author)
KEYWORDS: death music Hell Devil
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 70, "The Piper Who Played Before Moses" (1 text, 1 tune)
Roud #3091
RECORDINGS:
Frank McPeake, "The Ould Piper" (on FSB3)
File: RcTOlPi
===
NAME: Ould Plaid Shawl, The
DESCRIPTION: "Not far from old Kinvara in the merry month of May ... came ... a little Irish cailin in an ould plaid shawl" A man "enchanted with her beauty" greets her. She "shyly passed me by" He can't forget her. "I'll seek her all through Galway and ... Clare"
AUTHOR: Francis A. Fahy
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: love separation beauty courting
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Greenleaf/Mansfield 106, "The Ould Plaid Shawl" (1 text)
Roud #6351
NOTES: According to the Princess Grace Irish Library (Monaco) site, an arrangement by W.B. Haynes was published in London in 1896 - BS 
File: GrMa106
===
NAME: Our Brave Scotch Lads
DESCRIPTION: "Scotch soldiers true, wi' bonnets blue ... They made the Russians rue, man, The bold attack which they did make On Balaklava's plain." Many died in the Crimea "the Sultan for to save." "They made the heart o' Menschikoff To sink on Alma's heights"
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan1)
KEYWORDS: war death Russia
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 157, "Menschikoff" (1 fragment, 1 tune)
Roud #5827
BROADSIDES:
Bodleian, 2806 c.14(41), "Our Brave Scotch Lads" ("Scotch soldiers true, wi' bonnets blue"), J. Lindsay (Glasgow), 1851-1910
CROSS_REFERENCES:
cf. "Scots Soldiers True" (shares first verse lines)
NOTES: GreigDuncan1: "The fragment relates to the Crimean War. Prince Menshikov was the Russian Commander-in-Chief."
GreigDuncan1 is a fragment; broadside Bodleian 2806 c.14(41) is the basis for the description. - BS
For background on Menshikov/Menschikov/Menschikoff, and the Battle of Alma, see the notes to "The Heights of Alma (I)" [Laws J10].
This sounds to me as if it is built on the framework of "Tranent Muir." But that's just a feeling. - RBW
File: GrD1157
===
NAME: Our British Troops: see The Dying British Sergeant (File: Wa010)
===
NAME: Our Captain Calls All Hands (Fighting for Strangers)
DESCRIPTION: "Our Captain called all hands and away tomorrow, Leaving those girls behind." She says "What makes you go abroad fighting for strangers?" Stay here "free from all danger." He leaves. In grief "she fell like one a-dying."
AUTHOR: unknown
EARLIEST_DATE: 1832 (Journal of the Bengal)
KEYWORDS: grief love request rejection war parting death family lover separation
FOUND_IN: Britain(England(Lond)) Canada(Newf)
REFERENCES: (2 citations)
Peacock, pp. 416-417, "All Hands Away Tomorrow" (1 text, 1 tune)
Huntington-Whalemen, pp. 99-100, "The Captain Calls All Hands" (1 text, 1 tune)
Roud #602
RECORDINGS:
Pop Maynard, "Our Captain Calls All Hands" (on Voice01)
BROADSIDES:
Bodleian, Harding B 11(636), "The Distressed Maid" ("Our captain calls all hands away to morrow"), J. Pitts (London), 1819-1844; also 2806 c.18(93)[a few illegible lines], Firth c.12(210), Harding B 25(525), "The Distressed Maid"; Firth c.12(208)[illegible lines], "The Distress'd Maid"
NOTES: This is not "The Bold Privateer." [I agree, and so does Roud, though Huntington implies that they are the same. - RBW]
Vaughan Williams used the tune to set the words of John Bunyan's hymn starting "He who would valiant be 'gainst all disaster" (see Southern Life(UK) Sussex villages site for Monk's Gate). - BS
The title "Fighting for Stranger" is not, to my knowledge, found in tradition, but since that is the title Steeleye Span used, in what is probably the best-known recording, I've listed it here. - RBW
File: Pea416
===
NAME: Our Cheerful Voices (Separation)
DESCRIPTION: "Our cheerful voices let us raise, And sing a parting song, Although, dear friends, I'm with you now. I can't be with you long."  The singer hopes to meet friends again, wishes the Lord would come, and hopes to be taken away by the last Trump
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Granville Gadsey)
KEYWORDS: religious death
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 204-205, "Our Cheerful Voice" (1 text)
Roud #13951
NOTES: This piece is titles "Parting Friends" in the Sacred Harp, but is not to be confused with "Farewell My Friends (Parting Friends; I'm Bound for Canaan)." - RBW
File: MHAp204
===
NAME: Our Cherries
DESCRIPTION: An allegory. The fine cherries [of true religion] are guarded from birds and infidels by a finely woven net. Some would propose to loosen the net. The result would be that birds, Methodists, and Baptists would get the fruit -- an unacceptable result
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: religious political
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 141, "Our Cherries" (1 text)
ST E141 (Full)
Roud #4449
NOTES: Eddy, following Tolman, regards this as a bit of theological satire. I wonder if it's not a bit more complicated -- "Testy" is presumably the Test Act -- a law passed in Britain in 1673, requiring public officeholders to demonstrate a commitment to Anglicanism. The Act was repealed in 1829. The reference to Methodists implies a date not much before that. Perhaps this piece was involved (as a broadside?) in the efforts to repeal the Acts.
The reference to "Arian's flock" is, I presume, an error, referring to the Arian heresy (which held that God the Son was inferior to God the Father). The founder of this group was, however, Arius, not Arian. - RBW
File: E141
===
NAME: Our Father's Gone to View That Land: see My Father's Gone to View That Land (File: Fus209)
===
NAME: Our Fathers They'll Be There
DESCRIPTION: "Our fathers, our fathers they'll be there, Yes, our fathers they'll be there, When we all meet around God's bright throne. What a meeting, what a meeting that will be... When we all meet...." Similarly with mothers, brothers, sisters
AUTHOR: unknown
EARLIEST_DATE: 1924 (Brown)
KEYWORDS: religious nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 627, "Our Fathers They'll Be There" (1 text)
Roud #11928
File: Br3627
===
NAME: Our Feet's Cauld
DESCRIPTION: "Our feet's cauld, our sheen's thin, Gie's a piece [of food] an' lat's rin"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: request food begging nonballad clothes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 640, "Our Feet's Cauld" (1 short text)
Roud #5886
NOTES: The current description is all of the GreigDuncan3 entry. - BS
I have the feeling, though, that this is a begging rhyme related to a particular holiday, similar to "Christmas is Coming" or the "Souling Song." - RBW
File: GrD3640
===
NAME: Our Fifer Boy: see The Dying Fifer (File: BrII227)
===
NAME: Our Fleet: see The Dying British Sergeant (File: Wa010)
===
NAME: Our Goodman: see Four Nights Drunk [Child 274] (File: C274)
===
NAME: Our Island Home
DESCRIPTION: "Then here's to ... Prince Edward Island, Sweet garden of sunshine, ... our beautiful Isle in the sea." The singer has "roamed far and wide over mountains and prairies" but prefers the people, the land and the beauty of "our Island"
AUTHOR: Father Mathias Smith
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: home lyric nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 117-118, "Our Island Home" (1 text, 1 tune)
Roud #12461
File: Dib117
===
NAME: Our Island Is Covered with Fog
DESCRIPTION: Spring. Snow melts. Frantic activities start now "our island is covered with fog": trouting, gunning, chopping; people and animals are rushing around
AUTHOR: Chris Cobb
EARLIEST_DATE: 1952 (Peacock)
KEYWORDS: fishing hunting humorous nonballad animal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 89-90, "Our Island Is Covered with Fog" (1 text, 1 tune)
NOTES: Peacock: "The island referred to in the song is Fogo Island off Newfoundland's northeast coast." - BS
File: Pea089
===
NAME: Our Jack's Come Home Today
DESCRIPTION: Jack, (after many years at sea), is coming home (in some versions, "blind drunk"). Everyone rejoices at the sailor's return. His sweetheart, it is reported, "ne'er despaired, Though all hope within her died," but now the two will be married
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: sailor separation return reunion marriage
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Doerflinger, pp. 169-170, "Our Jack's Come Home Today" (1 text, 1 tune)
Roud #1983
File: Doe169
===
NAME: Our Lady of Knock
DESCRIPTION: An apparition in the church of Knock in County Mayo: Saint Joseph, Mary, and Saint John appear to a few. Now "hundreds come from far and near Our Lady's help to seek ... deaf and dumb ... born blind" and are cured. The three are asked to intercede
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: healing Bible religious
HISTORICAL_REFERENCES: Aug 21, 1879 - "15 people, from the village of Knock, witnessed an apparition of Our Lady, St Joseph and St John the Evangelist at the South gable of Knock Parish Church." (source: Museums of Mayo site, Knock Folk Museum)
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn-More 11, "Our Lady of Knock" (1 text, 1 tune)
O'Conor, p. 78, "The Lady of Knock" (1 text)
Roud #9759
NOTES: For more information see _The Apparition at Knock 1879_ at Museums of Mayo site, Knock Folk Museum.
Apparently broadside Bodleian, Harding B 26(692), "A new song on the wonderful apparitions, of the Blessed Virgin, St. Joseph, and St. John, in Knock Chapel County Mayo" ("Attend you faithful christians give ear to what I say," J.F. Nugent and Co. (Dublin), n.d.) is this song but I could not download and verify it. - BS
File: OLcM011
===
NAME: Our Orange Flags May Gang to Rags
DESCRIPTION: The singer overhears two Orangemen. One would rather die than surrender. He fears emancipation since "popish Dan ... Again has won the Clare election" and Peel and Wellington have joined O'Connell. Their Orange flags and drums must be put away.
AUTHOR: unknown
EARLIEST_DATE: 1917 (GreigDuncan3)
KEYWORDS: Ireland political
HISTORICAL_REFERENCES: 1829 - Irish Catholic Emancipation Act passes supported by Daniel O'Connell and the Catholic Association
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 691, "Our Orange Flags May Gang to Rags" (1 text)
Roud #6113
CROSS_REFERENCES:
cf. "Not a Word of 'No Surrender'" (subject and some lines) and references there
NOTES: For a reference to the Orange Drum see "You Ribbonmen of Ireland." 
The speaker is talking to "dear Billy lad." GreigDuncan3  notes comments in the text that would make "Billy lad" be William the 4th [reigned 1830-1837]. - BS
Daniel O'Connell (for whom see, e.g., "Daniel O'Connell (I)" and the myriad cross-references there) had obtained Catholic Emancipation in 1829, in the reign of George IV. But William IV succeeded soon after, and in effect had the task of implementing it. It was hardly to his liking; he was an old man when he came to the throne (born 1765), and -- like most of the Hannoverians -- stubborn without being very bright.
According to Philip Ziegler, _King William IV_, Cassell, 1971, p. 241, William was hardly happy at his role in the reorganization of Ireland. He rejoiced when O'Connell was arrested in 1831, and was unhappy when O'Connell was acquitted. In 1833, when the Whigs in parliament proposed to reform the official Church of Ireland (to which tithes were paid by the people even though the vast majority were Catholics rather than Anglicans), William was again unhappy (Zieger, p. 242). It was a period of much trouble between a King with conservative inclinations and a series of parliaments with many Whigs and few MPs who were entirely in support of the government. As a result, Williams tossed out most of the cabinet in 1834, but found he could not govern with Tories alone. It was a difficult time in Westminster -- which was, indirectly, good for the Irish and O'Connell, because the English couldn't come up with a concerted plan for halting O'Connell's plans for liberalization.
Of course, that which was good for the Irish as a whole was bad, or at least was seen as bad, for the Orangemen. - RBW
File: GrD3691
===
NAME: Our Ship Sails Ready to Bear Away
DESCRIPTION: The singer's ship prepares to sail. He bids Nora farewell and hopes to meet again. He thinks of all the places in Ireland he will miss: Dublin's hills, Killiney's mount, Wicklow, Avoca's Vale, Delgany, Bray,... and knows he'll remember Ireland.
AUTHOR: unknown
EARLIEST_DATE: 1955 (IRRCinnamond03); 19C (broadside, Bodleian Harding B 26(164))
KEYWORDS: love emigration farewell sea ship Ireland nonballad home
FOUND_IN: Ireland
REFERENCES: ()

Roud #2995
RECORDINGS:
Robert Cinnamond, "Our Ship Sails Ready to Bear Away" (on IRRCinnamond03)
BROADSIDES:
Bodleian, Harding B 26(567), "The Emigrants Farewell to his Country" ("Our ship is ready to beare away"), P. Brereton (Dublin), c.1867
CROSS_REFERENCES:
cf. "Remember Me" (shares opening verses)
NOTES: Wright-Irish (_Irish Emigrant Ballads and Songs_) pp. 111, 170-173, has two versions of "Our Ship Sails Ready to Sail Away" and one of "Remember Me" and considers them to be variants of the same song. His longest version of "Our Ship ..." and his "Remember Me" share three verses almost exactly; "Our Ship ..." adds six 4-line verses and "Remember Me" adds five 4-line verses and, in these lines, the songs share no lines. "Our Ship ..." is a farewell to Nora, and besides to Dublin, Delgany and Wicklow; "Remember Me" is a farewell to old Ireland boys, and besides to Killarney. My inclination is to keep them as two separate songs. - BS
File: RcOSSRBA
===
NAME: Our Ship She Is Lying in Harbour
DESCRIPTION: The impressed singer, his ship ready to sail, hopes his girl will be safe. The girl laments the departed youth; the father is glad her is gone. Her love returns after seven years. The father offers her money not to marry him, but they are married anyway
AUTHOR: unknown
EARLIEST_DATE: 1847 (Journal of William Histed of the Cortes)
KEYWORDS: sailor love separation pressgang father
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 124-125, "Our Ship She Is Lying in Harbour" ( text)
Roud #1011
CROSS_REFERENCES:
cf. "The Lowlands of Holland" (lyrics)
NOTES: There are several songs on this theme, but this doesn't quite seem to match any of them. Several early verses are found, almost verbatim, near the END of some texts of "The Lowlands of Holland." It's almost as if someone took the end of that song as the starting-off point for this. - RBW
File: SWMS124
===
NAME: Our Street Car
DESCRIPTION: In abysmal verse, the singer points out, "Let moderns preach, 'We need more street' With themes and schemes -- ah! scorner." The singer would rather praise "Our street car! Ours to honor." The singer describes its virtues and mourns its passing
AUTHOR: Lucie Mullan
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: technology nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 248-249, "Our Street Car" (1 text)
NOTES: Thomas implies that the author sang this piece, but I find it hard to believe this mess could fit a regular tune. - RBW
File: ThBa248
===
NAME: Our Wedding Day: see She Moved Through the Fair (Our Wedding Day) (File: K165)
===
NAME: Out In the Moonlight (I Will Love Thee Always)
DESCRIPTION: The young man bids the girl goodbye in the moonlight, promising, "I will love you always... Through life and death I'm faithful to thee." Returning home (a year) later, he finds her married to another. He leaves a note and shoots himself
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Rutherford & Burnett)
KEYWORDS: love courting marriage separation betrayal suicide
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 803, "Out in the Moonlight" (2 texts, 1 tune)
Roud #3445
RECORDINGS:
Burnett & Rutherford, "Under the Pale Moonlight" (Challenge 420, 1928; on BurnRuth01)
CROSS_REFERENCES:
cf. "Skon Jungfrun Hon Gangar Sig Till Sogsta Berg (The Pretty Maid Climbs the Highest Mountain)" (plot)
ALTERNATE_TITLES:
Forsaken Love
NOTES: The Burnett & Rutherford version of this differs so strongly from the versions in Randolph (lacking, e.g., the suicide ending; also, the the girl is not yet married when he returns home) that I was sorely tempted to classify it as a separate song. The essential plot is the same, however, and some of the words, and I know of no other versions of the recorded song. So they stay together. - RBW
File: R803
===
NAME: Out of the Wilderness: see The Old Gray Mare (The Old Gray Horse; The Little Black Bull) (File: R271)
===
NAME: Out of the Window: see She Moved Through the Fair (Our Wedding Day) (File: K165)
===
NAME: Out on the Lone Star Cow Trail
DESCRIPTION: Singer, a cowboy, meets a comrade and kills him although "he was dear to me." The judge sends him to prison. He asks listener to tell mother and sweetheart that he's in the "dark city jail";  his sweeheart should bail him out. Chorus: "Hoo-hoo-hooo-oo-oo"
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Dick Devall)
KEYWORDS: captivity violence crime murder prison punishment trial friend lover cowboy judge
FOUND_IN: US(So)
REFERENCES: (0 citations)
RECORDINGS:
Dick Devall, "Out on the Lone Star Cow Trail" (Timely Tunes [Victor] C-1563, 1931; on MakeMe, WhenIWas1)
NOTES: This should not be confused with "Lone Star Trail." - PJS
File: RcOotLSC
===
NAME: Out on the Silvery Tide: see The Silvery Tide [Laws O37] (File: LO37)
===
NAME: Out to Dark Harbour
DESCRIPTION: "Now boys I'll tell you it's a wonderful time Out to Dark Harbour in the old summer time." The singer picks dulse and sells it at Eastport.
AUTHOR: John Guptill (of Grand Manan)
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: sea commerce nonballad food
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 117, "Out to Dark Harbour" (1 short text, 1 tune)
ST CrSNB117 (Partial)
Roud #2785
NOTES: Creighton-SNewBrunswick: "Dulse is an edible seaweed that grows in profusion on Grand Manan, and it is of such a high quality that it is shipped to world markets." 
Grand Manan is an island at the southernmost end of New Brunswick, south east of Eastport, Maine. - BS
File: CrSNB117
===
NAME: Outharbour Planter, The
DESCRIPTION: The narrator lights his pipe and extols the virtues of the "outharbour planter." This apparently dead breed of men was not well refined but had many virtues of industry and honesty.
AUTHOR: M. A. Devine
EARLIEST_DATE: 1933 (Greenleaf/Mansfield)
KEYWORDS: recitation virtue
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 136, "The Outharbor Planter" (1 text)
Doyle2, p. 78, "The Outharbour Planter" (1 text)
Roud #6354
NOTES: A typical song about the archetypal hardy Newfoundlander. The dictionary defines a "planter" as a person who settles or colonizes a new area. I believe that this is the closest definition here because the "outharbour" is probably synonymous with "outport" which is a very small settlement far away from cities. They are probably leaders of a kind because there are some references in the song being made to his selling and providing people with food and clothes and using his house as a meeting hall. - SH
File: Doy78
===
NAME: Outlandish Knight, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Outlaw Dunny
DESCRIPTION: The cook's rattling arouses Dunny, and he and the rest of the herd take off. By the time the poet catches them, breakfast is cold. The boss then orders the poet to ride Dunny. He makes the attempt, but naturally is thrown. He quits on the spot
AUTHOR: Jim McElroy
EARLIEST_DATE: 1973
KEYWORDS: horse cowboy recitation work
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 75, "Outlaw Dunny" (1 text)
File: Ohr075
===
NAME: Outlaw Murray, The [Child 305]
DESCRIPTION: The King of Scotland demands that the outlaw pay him homage for his holdings in Ettrick Forest. Murray refuses; he won the land by his own valor. The King calls up his forces to attack Murray. A compromise is reached; Murray becomes sheriff of Ettrick
AUTHOR: unknown
EARLIEST_DATE: 1791 (Glenriddell mss.)
KEYWORDS: outlaw royalty bargaining reprieve
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Child 305, "The Outlaw Murray" (3 texts)
OBB 84, "The Outlaw Murray" (1 text)
Roud #3296
CROSS_REFERENCES:
cf. "Captain Ward and the Rainbow" [Child 287] (theme)
File: C305
===
NAME: Outlaw of Loch Lene, The
DESCRIPTION: The outlaw lives in the wood. "All the wealth that I sought, one fair kind glance from my love." His lover lives down by the lake. He remembers when his lover swam Loch Lene to find him. He imagines them alone, "far off on the deep"
AUTHOR: unknown (translated by J. J. Callanan)
EARLIEST_DATE: 1888 (Sparling)
KEYWORDS: love nonballad lover outlaw separation
FOUND_IN: Ireland
REFERENCES: (4 citations)
OLochlainn-More 55, "The Outlaw of Loch Lene" (1 text, 1 tune)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 228, 496, "Outlaw of Loch Lene"
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), p. 42, "The Outlaw of Loch Lene" (1 text)
Walter de la Mare, _Come Hither_, revised edition, 1928; #365, "The Outlaw of Loch Lene" (1 text)
NOTES: OLochlainn-More: "One of J.J.[Jeremiah Joseph] Callanan's [1795-1839] best translations of Gaelic songs." - BS
There is a certain amount of confusion about this author. Most sources list his name as James Joseph Callanan, but he is also sometimes listed under the name "Jeremiah" (and, yes, it is known that it is the same guy). Most sources agree that he was born in 1795, but his death date seemingly varies; Hoagland and MacDonagh/Robinson give 1829. He wrote some poetry of his own, but is probably best known for his translations from Gaelic. Works of his found in this index include "The Convict of Clonmel," "The Outlaw of Loch Lene," "Sweet Avondu," "The Virgin Mary's Bank," "Gougane Barra," and a translation of "Drimindown." - RBW
File: OLcM055
===
NAME: Outward and Homeward Bound
DESCRIPTION: Shanty. Verses enumerate the ports to be visited and the girls being left behind. The singer says the purser will supply their needs, and looks forward to returning home after (three) years. Chorus: "We're outward bound, Hurrah, we're outward bound."
AUTHOR: unknown
EARLIEST_DATE: 1888 (L.A. Smith, _Music of the Waters_)
KEYWORDS: shanty farewell travel
FOUND_IN: Britain US
REFERENCES: (3 citations)
Harlow, pp. 136-139, "Outward Bound" (1 text, 1 tune)
Hugill, pp. 541-543, "Outward and Homeward Bound" (2 texts, 2 tunes) [AbEd, pp. 387-389]
Shay-SeaSongs, pp. 147-148, "Homeward Bound" (1 text, 1 tune)
Roud #927
CROSS_REFERENCES:
cf. "Get Up, Jack! John, Sit Down!" (lyrics)
ALTERNATE_TITLES:
Homeward Bound
NOTES: Most if not all versions of this share a verse with "Get Up, Jack! John, Sit Down!Ó; at one time I lumped Shay's version with that song. We've now split them, but it seems clear there is some sort of borrowing going on. Given that "Get Up, Jack! John, Sit Down!" is apparently a composed song, the best bet may be that that is a rewrite of this. - RBW
File: Hugi541
===
NAME: Ouzel, The
DESCRIPTION: Ouzel sails from Dublin for Tripoli. "Somewhere down by Algiers, on the coast of Barbary, The Ringsend sailors fought and failed against black piracy." Years later they escape, take over Ouzel again, and return to Ireland with pirate gold.
AUTHOR: unknown
EARLIEST_DATE: 1948 (Ranson)
KEYWORDS: sea ship captivity slavery pirate escape
HISTORICAL_REFERENCES: 1695 - Ouzel sails from Dublin for Smyrna but is not heard from until she returns five years later (see Notes)
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 113-114, "The Ouzel" (1 text)
NOTES: "The crew said the ship had been captured by Algerian pirates who used it to terrorise the Mediterranean seas, although it was rumored in some quarters that Captain Massey might have been indulging in a spot of piracy himself!! The offic[i]al story went on to relate how the Irish crew, who had been spared, managed to escape from captivity and regained control of the ship and the pirate's booty" (source: site of The Ouzel Galley Society on IrishShips)
Irish Architecture Online site: "Ringsend is named from the Gaelic Roinn Aun, meaning Sea Point. In the 17th century it took over from Dalkey as Dublin's main port." - BS
File: Ran113
===
NAME: Ovaltine: see Uncle Joe and Aunty Mabel (File: EM374)
===
NAME: Over the Garden Wall
DESCRIPTION: The young couple court "over the garden wall": "Over the garden wall, The sweetest girl of all, I'll never forget those eyes of jet, You may bet I'll never forget, Over the garden wall."
AUTHOR: unknown
EARLIEST_DATE: c. 1937 (recording, Carter Family)
KEYWORDS: courting
FOUND_IN: US(MW,So) Britain(England)
REFERENCES: (1 citation)
Randolph 867, "Over the Garden Wall" (1 text)
Roud #3765
RECORDINGS:
Carter Family, "Over the Garden Wall" (Montgomery Ward M-7354. c. 1937)
NOTES: A piece by this name was published by G. Fox-Hunter in 1879. - RBW
File: R867
===
NAME: Over the Hills at the Poorhouse
DESCRIPTION: "Over the hills at the poorhouse In the twilight so dim and so gray, A woman is quiely lying, Breathing her life away." She "blesses" her children while whining that they never listen; when she is buried, the children find excuses not to attend
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden)
KEYWORDS: mother death burial hardheartedness children rejection
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 280-281, "Over the Hills at the Poorhouse" (1 text)
Roud #5496
NOTES: Belden notes that there is a poem by Will Carleton with a similar title and theme, but regards them as separate (the Carleton piece, which is 22 stanzas long, begins "Over the hill to the poor-house I'm trudgin' my weary way -- I, a woman of seventy, and only a trifle gray..."), and also (correctly) treats a piece in Brown and Dean (given here as "Over the Hills to the Poor-House") as separate. One rather hopes so; this strikes me as just another "young folks these days are so..." potboiler. - RBW
File: Beld280
===
NAME: Over the Hills So Far Away
DESCRIPTION: "Possum ran from under the barn, Fiddle bow under his arm, The only tune that be could play Was Over the hills so far away." (x3) "The old cow died in the forks of the branch, Over the hills so far away; Possum had a regular dance, Over the hills...."
AUTHOR: unknown
EARLIEST_DATE: 1913 (Brown)
KEYWORDS: animal music dancing
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 165, "Over the Hills So Far Away" (1 text)
CROSS_REFERENCES:
cf. "O'er the Hills and Far Away (I)" (lyrics)
NOTES: Almost certainly derived as some degree from "O'er the Hills and Far Away (I)," but since the outcome is an animal song, I classify this separately. - RBW
File: Br3165
===
NAME: Over the Hills to the Poor-House
DESCRIPTION: "Oh, yes, it is true they have driven Their father so helpless and old; Oh, God! may their crime be forgiven For driving him out in the cold." The father, "helpless and feeble," recalls his love for wife and children, and sadly sets out for the poorhouse
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: home betrayal children father poverty age
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownII 171, "Over the Hills to the Poor-House" (1 text)
Dean, pp. 121-122, "Over the Hills to the Poorhouse" (1 text)
Roud #5496
RECORDINGS:
Bert Peck, "Over the Hills to the Poor House" (Brunswick 522, c. 1930)
Peg Moreland, "Over the Hills to the Poorhouse" (Victor 21548, 1928)
NOTES: Belden notes that there is a poem by Will Carleton with a similar title and theme, but regards them as separate, and also (correctly) treats this piece as different the Missouri text ("Over the Hills at the Poorhouse") he himself printed. - RBW
File: BrII171
===
NAME: Over the Hills to the Poorhouse: see Over the Hills to the Poor-House (File: BrII171)
===
NAME: Over the Mountain (I) (Allanah Is Waiting for Me)
DESCRIPTION: "I'm always light-hearted and easy, Not a care in this world have I." The singer is joyful because he is so close to his love, even though she is over the (mountain/ocean). He is preparing for a reunion
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean); Caleb Johnson Burton apparently had a version in 1908
KEYWORDS: love home nonballad reunion
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 75, "Allanah Is Waiting For Me" (1 text)
Roud #7450
ALTERNATE_TITLES:
Ila, My Darling
NOTES: This is an extremely mysterious song, because the versions are so diverse. The earliest version I've found was in an online manuscript of songs sung by Agnes Amelia Ransom Burton in 1957; the document claims she learned it in 1908 from her husband Caleb Johnson Burton. In that version, it's "Ila, My Darling," and it looks like an Irish emigration song, with the guy leaving the girl behind. Then comes Dean's text, in which the girl is "Eileen" (yes, the girl is "Allanah" in the title, but she's "Eileen" in the text. Wilgus thought the title an error); it's interesting to note that Dean knew many Irish and stage-Irish songs. Then Uncle Dave Macon had at it, and you can imagine the shape it was in after that!
Roud lumps this with Randolph's text "My Little One's Waiting for Me." There are a few similar words, but I don't see it. - RBW
File: R850A
===
NAME: Over the Mountain (II): see When the Boys Go A-Courting (Over the Mountain, Poll and Sal) (File: SWMS312)
===
NAME: Over the River and Through the Woods
DESCRIPTION: "Over the river and through the woods To Grandmother's house we go." The family travels (by horse) to Grandmother's (for Thanksgiving)
AUTHOR: Words: Lydia Marie Child
EARLIEST_DATE: 1978
KEYWORDS: nonballad food family
FOUND_IN: US
REFERENCES: (1 citation)
Pankake-PHCFSB, p. 278, "Over the River and Through the Woods" (1 text,)
NOTES: Obviously primarily a popular song, sustained by recordings and print versions, and with no relevance outside the U.S. But the fact that it has been sung by so many families in cars implies that it is at least a marginal folk song. - RBW
File: PHCFS278
===
NAME: Over the River Charlie: see Weevily Wheat (File: R520)
===
NAME: Over the River to Charlie: see Weevily Wheat (File: R520)
===
NAME: Over the River to Feed My Sheep: see Weevily Wheat (File: R520)
===
NAME: Over the Road I'm Bound: see Down the Road (I) (File: CSW208)
===
NAME: Over the Sea to Skye: see Skye Boat Song (Over the Sea to Skye) (File: Brew79)
===
NAME: Over The Water and Over the Lea: see Weevily Wheat (File: R520)
===
NAME: Over the Water to Charlie
DESCRIPTION: "Come boat me o'er, come row me o'er, Come boat me o'er to Charlie." "We'll o'er the water, we'll o'er the sea, We'll o'er the water to Charlie." The singer tells her love for Charlie, laments his exile, says she would bear her sons again to die for him
AUTHOR: Robert Burns?
EARLIEST_DATE: 1788 (Scots Musical Museum #187)
KEYWORDS: love Jacobites separation exile ship
HISTORICAL_REFERENCES: 1720-1788 - Life of Charles Edward Stuart, "Bonnie Prince Charlie"
1745-1746 - '45 Jacobite rebellion led by Bonnie Prince Charlie
Apr 16, 1746 - Battle of Culloden. The Jacobite rebellion is crushed, most of the Highlanders slain, and Charlie forced to flee for his life.
Jun 28-29, 1746 - Aided by Flora MacDonald, and dressed as her maidservant, Charles flees from North Uist to Skye in the Hebrides.
Sep 20, 1746 - Charles finally escapes to France
FOUND_IN: US(NE) Britain(Scotland)
REFERENCES: (5 citations)
Hogg2 38, "O'er the Water to Charlie" (1 text, 1 tune)
GreigDuncan1 135, "O'er the Water to Charlie" (2 texts, 2 tunes)
Linscott, pp. 262-263, "Over the Water to Charlie" (1 short text, 1 tune, with one verse of this and two of the "Charlie" verses of "Weevily Wheat")
DT CHARLOVER* CHARLOV2*
ADDITIONAL: James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #211,, pp. 319-320, "O'er the Water to Charlie" (1 text, from 1788)
Roud #729
BROADSIDES:
Bodleian, Johnson Ballads fol. 26, "O'er the Water to Charlie" ("Come boat me o'er, come row me o'er"), J. Catnach (London), 1813-1838
NOTES: Roud lumps this (and several other Bonnie Prince Charlie songs) with the "Weevily Wheat" family. Certainly Linscott's version is really just a "Weevily Wheat" variant which has swallowed a fragment of this song. But "Weevily Wheat" is a dancetune that mentions "Charlie" (not necessarily Charles Edward Stuart) incidentally, while this is a sure Jacobite song. As such, I separate them.
Just how much this piece owes to Burns is unknown to me; he surely had a hand in it, but it's interesting to note that there is a verse out there which he did not publish. - RBW
Hogg2: "I do not know if the last two stanzas have ever before been printed, though they have often been sung." His final verse, "I ance had sons, but now hae nane; I bred them toiling sairly; And I wad bear them a' again, And lose them a' for Charlie," is not in the Burns version. - BS
File: Lins262
===
NAME: Over There (I - The Praties They Grow Small)
DESCRIPTION: "Oh, the praties they grow small, Over there... Oh the praties they grow small, But we eat them tops and all...." Stories of the Irish potato famine. Localized versions preserve the theme of poverty but apply it to local conditions and places
AUTHOR: A. P. Graves?
EARLIEST_DATE: 1895 ("In Old New England"); tune registered 1844
KEYWORDS: hardtimes farming food poverty starvation
HISTORICAL_REFERENCES: 1847/8 - Greatest of several Irish potato famines
FOUND_IN: US(Ap,SE,So)
REFERENCES: (9 citations)
Hudson 90, pp. 216-217, "Over There" (1 short text, with one humorous and one straight verse)
Shellans, pp. 14-15, "Romance" (1 text, 1 tune -- a strange piece with two verses of this song and three of some sort of courting song; there is probably a separate song mixed in there somewhere)
Scott-BoA, pp. 148-149, "The Praties They Grow Small" (1 text, 1 tune)
Botkin-NEFolklr, pp. 532-533, "Over There" (1 text, 1 tune)
Spaeth-ReadWeep, pp. 30-31, "Over There" (1 text, 1 tune)
PGalvin, p. 44, "The Famine Song" (1 text, 1 tune)
Pankake-PHCFSB, p. 24, "Over There" (1 text, 1 tune, with ordinary and parody verses)
Silber-FSWB, p. 119, "The Praties" (1 text)
DT, OVRTHERE* PRATSMALL*
Roud #4455
CROSS_REFERENCES:
cf. "The Emigrant's Farewell to Donegal" (subject: The potato famines)
cf. "Skibereen" (subject: The potato famines)
cf. "The Rotten Potatoes" (subject: The potato famines)
cf. "Did You Ever See the Divil?" (subject: The potato famines)
cf. "In Kansas" (tune & meter, floating lyrics)
cf. "Down on the Pichelo Farm" (floating lyrics)
NOTES: Zimmermann p. 16, fn. 7, writing in 1966: "Many recent anthologies quote wrongly as a song of the famine period 'Over Here' ('Oh, the praties they are small...'). The air was learnt in South America and does not sound Irish; the words were written by A.P. Graves, (see Miss H. Galwey _Old Irish Croonauns_, p. 16). It was first printed in 1897, in Graves _Irish Folk Songs_, pp. 76-77." - BS
I would note that, though it was not written during the blight, it is certainly about the Irish dependence on the potato.
There is no clear dividing line between this and "In Kansas"; there are versions of this piece that are short enough and vile enough to belong with either. But, as often happens, we must classify them separately because the extremes are so distinct.
It is rather shocking to observe that Spaeth (who prints a rather corrupt version and remarks that "[t]he original words are silly enough to suit the most up-to-date interpreter") did not realize that this song connects with the poverty of the potato blight era.
The first of the blights occurred in 1845; the blight continued to strike for the next three years; not until 1849 was there a decent crop, by which time Ireland's population, which exceeded eight million before the blight (twice the current total!), had fallen to about six million; in very round numbers, a million had died and a million had emigrated.
The blight was a fungus, arrived from America, which caused potatoes to wither almost instantly.
To make matters worse, potatoes were the chief crop of Ireland. There were many reasons for this, including the fact that potatoes were easy to grow. But the basic reason was British rules. The Irish had been forced almost entirely onto small holdings, usually of five acres or less (according to Ruth Dudley Edwards, _An Atlas of Irish History_, second edition, p. 182, in 1841, over 80% of Irish farm families had property of 15 acres or less; 45% had five acres or less). Few families could feed themselves on such small fields using other crops. And if they had enough property to improve things, the British landlords took the excess in rent. So the Irish grew potatoes, and when the crop failed, they starved.
It didn't help that Ireland was among the most overpopulated countries in Europe. I read somewhere that there were over 300 people per arable acre *even in the countryside*. I wish I'd noted the source -- but if we divide the number of acres of land devoted to agriculture in the late twentieth century by the 1845 population, we still get about eight people per arable acre. Edwards, p. 179, notes that, in County Mayo in 1841, there were 475 people per square mile, and only 36% of the land was arable, meaning that in that county, there were 1300 people per square mile of arable land! If British pressure forced the Irish into smallholdings, it was overpopulation which made them microscopic.
And the Irish were true peasants -- among the last in western Europe. Where English tenants by now were growing food for market, the Irish were growing for subsistence, paying their rent with labor and eating every morsel they could scrape from the soil. It wasn't even a money economy. (According to Peter and Fiona Somerst Fry, _A History of Ireland_, p. 228, "by the 1840s, [the potato] had become the sole diet for three million....") When the crop failed, they starved. No other outcome was possible. It was a Malthusian result, pure and simple.
The failure of 1845 did not bring utter destruction because the British government of Sir Robert Peel sprang into action to relieve the distress. By 1846, however, Peel's government had fallen, and his successors let the Irish starve. It may have been "laissez faire" (though we note that, while the government didn't send food, it did pass coercive acts to repress riots; as usual "laissez faire" really meant "help the rich and stick the poor"); it may have been deliberate genocide -- whatever it was, it resulted in permanent alienation of the Irish.
It will tell you something about the landlords of the time that Ireland was exporting food all through the blight -- Daniel O'Connell pointed out to the English Parliament that exports of many agricultural commodities from Ireland to Britain actually *increased* in 1845 (see Robert Kee, _The Most Distressful Country_, being volume I of _The Green Flag_, p. 247). Ireland at this time had, in effect, two economies, the Landlord class (not all of them Protestant, though a lot were) and the Tenants (all Catholic). The landlords had not interest in feeding the tenants; that, after all, didn't bring in any cash. - RBW
File: SBoA148
===
NAME: Over Yonder's A Park: see The Corpus Christi Carol (File: L691)
===
NAME: Over Yonders Ocean: see The Other Bright Shore (File: R611)
===
NAME: Overgate, The
DESCRIPTION: Singer meets a lass at the Overgate; she eats as much as an elephant, then invites him to her bed. A policeman pushes him downstairs. He complains that he's lost his valuables; she retorts that she's lost her maidenhead "and that's a damn sight worse."
AUTHOR: unknown
EARLIEST_DATE: 1954 (recording, Belle Stewart)
LONG_DESCRIPTION: Singer meets a lass at the Overgate (Dundee market) and takes her to a restaurant, where she eats as much as an elephant, then invites him to her house for the night. When he arrives, a policeman gives him a "whirly-jig" and pushes him downstairs. He complains that he's lost his waistcoat, watch and purse; she retorts that she's lost her maidenhead "and that's a damn sight worse." He envisions going home to Auchtermuchty and vows he'll never forget Dundee
KEYWORDS: sex robbery food humorous police warning money drink
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Kennedy 187, "The Overgate" (1 text plus another in the appendix, 1 tune)
MacSeegTrav 47, "The Overgate" (1 text, 1 tune)
DT, OVERGATE* OVERGAT2*
Roud #866
RECORDINGS:
Belle Stewart, "The Overgate" (on Voice20)
Belle Stewart & Hamish Henderson, "The Overgate" (on FSB2CD)
CROSS_REFERENCES:
cf. "Seventeen Come Sunday" (tune, plot), plus all the other "seduced and robbed" songs
cf. "The Shift and the Apron"
NOTES: Kennedy says that this may be based on "As I Roved Out" (his version of "Seventeen Come Sunday"). This is a bit strong; Kennedy has lumped obvious "Seventeen Come Sunday" variants under "The Overgate." But cross-fertilization certainly took place; the two share tunes, choruses, and theme. There are hints of elements from other songs of this type as well. - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 20" - 15.1.04: "The song 'A Waukrife Minnie,' which Burns sent to the Scots Musical Museum (1790) would seem to be an antecedent of the song." That may be true of "Seventeen Come Sunday" [Laws O17], but I think that's as close as it comes. - BS
I've lumped two versions together here; in one (Belle Stewart's) the young man is chased out by a policeman, while in the other (Jeannie Robertson's) he hides his money but  awakens in an alley. Still essentially the same story. - PJS
File: K187
===
NAME: Overlanders, The: see Queensland Overlanders (File: FaE164)
===
NAME: Overtures from Richmond
DESCRIPTION: "'Well, Uncle Sam,' says Jefferson D., Lilliburlero, old Uncle Sam, You'll have to join my Confed'racy...." The Confederates make demands for money, recognition, slavery, absolute power, and rewritten histories. Uncle Sam rejects the terms
AUTHOR: Words: Francis J. Child
EARLIEST_DATE: 
KEYWORDS: Civilwar political parody nonballad derivative
FOUND_IN: 
REFERENCES: (1 citation)
Silber-CivWar, pp. 46-47, "Overtures from Richmond" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Lilliburlero" (structure, tune)
File: SCW46
===
NAME: Oville
DESCRIPTION: The singer's heart returns constantly to "Altmover's Fairy Glen and the cot where I was born." He recalls all the sights near Oville. Though others would differ, he will prefer visiting the Doo-an Rocks and other sites near home.
AUTHOR: unknown
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: home nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H666, p. 170, "Oville" (1 text, 1 tune)
Roud #13485
File: J666
===
NAME: Owen Rooney's Lamentation
DESCRIPTION: Rooney of Innismore, Fermanagh near Lough Erne, joins a fight and stands with the Catholics. Six of the opponents fall. Rooney is taken prisoner, tried and convicted; "my wife and children it grieved ... To see me transported at the age of fifty-three"
AUTHOR: unknown
EARLIEST_DATE: c.1830 (Zimmermann)
KEYWORDS: violence transportation trial death Ireland political lament
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 34, "Owen Rooney's Lamentation" (1 text)
CROSS_REFERENCES:
cf. "The Battle That Was Fought in the North" (subject: "party fights")
cf. "The Lamentation of James O'Sullivan" (subject: "party fights")
cf. "The Noble Blue Ribbon Boys" (subject: Ulster quarrels)
NOTES: Zimmermann: "This ballad is probably connected with the 'party fights' in County Fermanagh in July 1829." Zimmermann cites a report describing the "battle of Mackeen," July 13, 1829, following an Orange celebration of the Battle of the Boyne. "Several Orangemen were killed. A Rooney was among the nineteen Catholics deported after the trial." - BS
File: Zimm034
===
NAME: Owen Trainor
DESCRIPTION: Owen Trainor and two friends hire a boat that capsizes in a gale. Trainor dies after telling his friends to tell his sweetheart and comrades his dying thoughts. An Indian in a canoe rescues his friends.
AUTHOR: unknown
EARLIEST_DATE: 1973 (Dibblee/Dibblee)
KEYWORDS: drowning sea ship storm wreck farewell rescue Indians(Am.)
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Dibblee/Dibblee, pp. 65-68, "Owen Trainor" (1 text, 1 tune)
Roud #12465
NOTES: Dibblee/Dibblee: "Owen Trainor worked in the Post Office in Charlottetown. The drowning occurred before 1900." - BS
File: Dib065
===
NAME: Owenreagh
DESCRIPTION: The singer, wandering by Owenreagh, recalls all the "comrades long absent from home." He admits that the land is barren and money hard to come by. He wishes them back; he stayed, and the land is beautiful, and money is fleeting. Perhaps they will return
AUTHOR: George Barnett
EARLIEST_DATE: 1934 (Sam Henry collection)
KEYWORDS: emigration home
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H542, p. 217, "Owenreagh" (1 text, 1 tune)
File: HHH542
===
NAME: Owenreigh's Banks
DESCRIPTION: The singer, bound for America, bids farewell to Glenrannel, his friends, and his sweetheart most of all. His one true fear is leaving her, and having "the ties of love... rend in twain." He bids his friends drink, and promises to remain affectionate
AUTHOR: unknown
EARLIEST_DATE: 1925 (Sam Henry collection)
KEYWORDS: emigration farewell
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H100b, p. 193, "Glenrannel's Plains" (1 text); H225, pp. 196-197, "Owenreagh's Banks"
Roud #13550
NOTES: The editors of the Henry collection do not seem to have noticed that these two texts are the same song. But they have the same plot, and very many of the same lyrics; only the place has changed. I chose the "Owenreagh" title because it is the version with a tune. - RBW
File: HHH100b
===
NAME: Owl and the Mice, The
DESCRIPTION: "The owl and the mice lived up in the barn, A dinky dinky doo dum dow; The owl eat(s) mice and the mice eat corn." The song of the owl causes the mice to come out and listen; the owl swoops down and eats them
AUTHOR: unknown
EARLIEST_DATE: 1958 (collected by John Daniel Vass)
KEYWORDS: animal bird trick music food
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Shellans, pp. 78-79, The Owl and the Mice"" (1 text, 1 tune)
Roud #7339
NOTES: One of the few folk song I've heard with an almost "ecological" theme. Sadly, it is very rare; Shellans claims to have found another version, but I have been unable to verify this.
It is ironic to note that, of the two creatures in the song, it is not owls but mice that 'sing" (at an inaudibly high pitch, to be sure). Owl calls are in general quite unmusical. And, according to several bird guides (Peterson, National Geographic), the only American owl even faintly likely to roost in a barn is (logically enough) the Barn Owl, found throughout the southern United States. Roger Tory Peterson (_Brids of Eastern and Central North America_, fifth edition, 2002, p. 204) describes its voice as a "shrill rasping hiss or snore, kschhh or shiiish." Not the sort of thing that would lure *me* out of my nice safe hole. - RBW
File: Shel078
===
NAME: Ox Driving Song
DESCRIPTION: The singer tells of the hardships of ox-driving in the winter -- an occupation he intends to quit. "It would make any tender-hearted person weep To see my oxen pull and slip." "When I get home I'll have my revenge, I'll land my family among my friends."
AUTHOR: unknown
EARLIEST_DATE: 1953
KEYWORDS: work cowboy animal
FOUND_IN: US
REFERENCES: (3 citations)
Fife-Cowboy/West 13, "Ox Driving Song" (1 text, 1 tune)
Silber-FSWB, p. 125, "The Ox-Driver" (1 text)
DT, OXDRIVE
Roud #3584
RECORDINGS:
Pete Seeger, "Ox Driver's Song" (on PeteSeeger07, PeteSeeger07a)
CROSS_REFERENCES:
cf. "I Whipped My Horse" (floating lyrics)
NOTES: Perhaps it's hearing the Burl Ives version too many times, but this sounds recently composed to me. - PJS
Every version I've seen seems to go back to the same Lomax field recording. Possibly the informant had worked on it?
Roud for some reason lumps this with Belden's piece "The Waggoners." The only thing they have in common that I can see is that both involve travel. - RBW
File: FCW013
===
NAME: Ox-Driver, The: see Ox Driving Song (File: FCW013)
===
NAME: Ox-Eyed Man, The: see The Hog-Eye Man (I) (File: RL401)
===
NAME: Oxeborough Banks (Maids of Australia)
DESCRIPTION: The singer settles under a tree to watch the girls bathe. One catches his eye -- and he hers. She calls him to rescue her from sinking. (He then "entered the bush of Australia.") Nine months later she bears a son whose dad "nowhere could be found"
AUTHOR: unknown
EARLIEST_DATE: 1952 (recording, Harry Cox)
KEYWORDS: courting seduction pregnancy abandonment river sex
FOUND_IN: Australia Britain(England(Lond)) Canada(Newf) US(SE)
REFERENCES: (5 citations)
Fahey-Eureka, pp. 44-45, "Maids of Australia" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 269-270, "Maids of Australia" (1 text)
Peacock, pp. 276-277, "The Gay Maid of Australia" (1 text, 1 tune)
Kennedy 183, "The Maid of Australia" (1 text, 1 tune)
Logsdon 27, pp. 163-166, "The Banks of My Native Australia" (1 text, 1 tune)
Roud #1872
RECORDINGS:
Harry Cox, "The Maid of Australia" (on FSB2, FSB2CD)
Unidentified Mississippi singers "The Fair Maids of Australia" (AFS 15014 A3, 1930s)
NOTES: The Hawkesbury River reaches the sea north of Sydney at Broken Bay, NSW. - PJS
File: FaE044
===
NAME: Oxen Song, The
DESCRIPTION: "Come all you bold ox teamsters, Wherever you may be...." "It's of a bold ox teamster, His name I'll tell to you, His name was Johnny Carpenter, He pulled the oxen through." Despite his prowess, the oxen wear out and the trips go slowly
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: logger work animal moniker
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Linscott, pp. 263-267, "The Oxen Song" (1 text, 1 tune)
DT, OXENDRV*
Roud #3751
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme) and references there
NOTES: Linscott mentions a claim that this was by Larry Gorman -- but, frankly, Gorman's songs tend to be better than this; the song really doesn't go anywhere. - RBW
File: Lins263
===
NAME: Oxford City [Laws P30]
DESCRIPTION: A servant asks a lady to wed; she put him off on the grounds that they are too young. When he sees her dancing with someone else, he poisons her wine. Feeling ill, she asks him to take her home. He reveals that both have drunk poison; they die together
AUTHOR: unknown
EARLIEST_DATE: 1905 (JFSS)
KEYWORDS: courting death poison murder wine suicide
FOUND_IN: US(MW,NE) Britain(Scotland,England(All)) Ireland Canada(Mar)
REFERENCES: (11 citations)
Laws P30, "Oxford City"
Greig #137, pp. 2-3, "In Oxford Town" (1 text) 
GreigDuncan2 210, "In Oxford Town" (4 texts, 1 tune)
Vaughan Williams/Lloyd, p. 83, "Oxford City" (1 text, 1 tune)
Copper-SoBreeze, pp. 212-213, "Poison in a Glass of Wine" (1 text, 1 tune)
Kennedy 329, "Poison in a Glass of Wine" (1 text, 1 tune)
MacSeegTrav 74, "Oxford City" (1 text, 1 tune)
Gardner/Chickering 18, "Oxford City" (1 text, 1 tune)
Flanders/Brown, pp. 92-93, "In Oxford City" (1 text, 1 tune)
Creighton-SNewBrunswick 54, "The Jealous Lover" (1 text, 1 tune)
DT 508, OXFJEAL*
Roud #218
RECORDINGS:
Bill Bundy, "Poison in a Glass of Wine" (Unissued test pressing, 1928; on KMM)
Mary Doran, "Oxford City" (on FSB7)
Louie Fuller, "Young Maria" (on Voice13)
Roscoe Holcomb, "True Love" (on Holcomb-Ward1)
New Lost City Ramblers, "Little Glass of Wine" (on NLCR06)
Stanley Brothers, "The Little Glass of Wine" (Rich-R-Tone 423, rec. c. late 1947) (Columbia 20590, 1949) (Rich-R-Tone 1056 [as "Little Glass of Wine"], rec. 1952)
Joseph Taylor, "Worcester City" (on Voice03)
ALTERNATE_TITLES:
The Jealous Lover
Jealousy
File: LP30
===
NAME: Oxford Girl, The: see The Wexford (Oxford, Knoxville, Noel) Girl [Laws P35] (File: LP35)
===
NAME: Oxfordshire Captain, The
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
A Gentleman of Exeter (The Perjured Maid) [Laws P32]
File: LP32
===
NAME: Oyster Girl, The [Laws Q13]
DESCRIPTION: The singer meets an oyster girl and proposes that they take a room at the inn to discuss the sale. When they arrive, she picks his pocket and jumps out the window. He is left with a kettle of oysters and a bill to pay
AUTHOR: unknown
EARLIEST_DATE: 1904
KEYWORDS: courting robbery trick seduction
FOUND_IN: US(SE) Britain(England(South,North),Scotland(Aber),Wales) Ireland
REFERENCES: (8 citations)
Laws Q13, "The Oyster Girl"
Greig #96, pp. 2-3, "The Girl and the Oysters" (1 text)
GreigDuncan2 304, "Oysters" (12 texts, 10 tunes)
SHenry H725, p. 278, "The Basket of Oysters" (1 text, 1 tune)
Kennedy 234, "The Oyster Girl" (1 text, 1 tune)
MacSeegTrav 48, "The Oyster Girl" (1 text, 1 tune)
Chappell-FSRA 48, "The Oyster Girl" (1 text)
DT 524, OYSTRGAL*
Roud #875
CROSS_REFERENCES:
cf. "Quare Bungo Rye" (mysterious--read female--"box" motif)
ALTERNATE_TITLES:
The Creel and the Oysters
File: LQ13
===
NAME: Oyster Shell Bonnets and Chignons (The Dandy Chignon)
DESCRIPTION: The singer describes the "queer fashion" of the (bonnet and) chignon. He tells how all the women are trying them out. Some even buy two; others get them made from odd materials. He clearly thinks the old ways (sunbonnets, etc.) were better
AUTHOR: unknown
EARLIEST_DATE: 1928 (Sam Henry collection)
KEYWORDS: hair nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H227, p. 47, "The Dandy Chignon" (1 text, 1 tune)
Roud #13359
File: HHH227
===
NAME: Oysters, The: see The Oyster Girl [Laws Q13] (File: LQ13)
===
NAME: P. T. Barnum's Show: see At Barnum's Show (File: R450)
===
NAME: Pace-Egging Song, The
DESCRIPTION: We have come pace-egging; give us eggs and beer and we'll not come till next year. A British tar who served with Nelson has returned to England pace-egging. A lady has run from her country and is here to collect eggs in a basket and drink neat gin.
AUTHOR: unknown
EARLIEST_DATE: 1893 (Broadwood)
KEYWORDS: Easter drink nonballad religious
FOUND_IN: Britain(England(Lond))
REFERENCES: (1 citation)
DT, PACEEGG*
Roud #614
RECORDINGS:
Emma Vickers, "The Pace-Egging Song" (on Voice16)
NOTES: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 16" - 13.9.02: "Pace-Egging customs were once common throughout north-west England (the word Pace, meaning Peace, may be derived from the French word Pasque, which means Easter) and this song is used as an introduction to an accompanied Mummer's Play." - BS
(Yates's derivation of "pace" is oversimplified. Most agree that "pace" is from Middle English "paschal" -- which does clearly derive from either a late Latin or an early French root. But it's not a word for "peace"; it's derived ultimately from the Greek root underlying "passion." Nonetheless the idea of "peace" may be mixed in somehow. The Latin for peace is "pax," and one of the most familiar of all Latin liturgical phrases is surely "pace [pronounced, in Church Latin, 'pach-ay'] vobiscum," "peace to you." Of course, none of this has anything to do with the actual custom of pace-egging.)
Depending on the version, quite a few characters show up to beg for their eggs and beer, starting with Lord Horatio Nelson himself. For Nelson, see e.g. "Nelson's Victory at Trafalgar (Brave Nelson)" [Laws J17], which in some ways is similar to this in structure. We also meet (Vice Admiral) Lord (Cuthbert) Collingwood, Nelson's second-in-command at Trafalgar, and sundry anonymous sailors who arelisted as serving under Nelson. - RBW
File: RcPaceEg
===
NAME: Pack Up Your Troubles: see Pack Up Your Troubles in Your Old Kit Bag (File: SBoA334)
===
NAME: Pack Up Your Troubles in Your Old Kit Bag
DESCRIPTION: "Pack up your troubles in your old kit bag And smile, smile, smile! While you've a Lucifer to light your fag, Smile, boys, that's the style; What's the use of worrying, It never was worthwhile; So pack up your troubles in your old kit bag...."
AUTHOR: W: "George Asaf" (George Henry Powell) / Music: Felix Powell
EARLIEST_DATE: 1915
KEYWORDS: nonballad war
FOUND_IN: US
REFERENCES: (2 citations)
Scott-BoA, p. 334, "Pack Up Your Troubles" (1 text, 1 tune)
Fuld-WFM, p. 419, "Pack Up Your Troubles in Your Old Kit Bag"
File: SBoA334
===
NAME: Package of Old Love Letters, A: see Little Rosewood Casket (File: R763)
===
NAME: Packington's Pound
DESCRIPTION: Dance tune, with no real lyrics of its own, but used as a platform for a great variety of broadsides.
AUTHOR: unknown
EARLIEST_DATE: 1596 (Barley's "New Book of Tablature")
KEYWORDS: nonballad dancetune
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Chappell/Wooldridge I, pp. 259-260, "Packington's Pound" (1 tune)
SAME_TUNE:
Well worth[y] Predecessors, and Fathers by name/Pitties Lamentation (BBI ZN2781)
Come listen a while and a Story you'll hear/The Murtherer Justly Condemned.. May, 1697 (BBI ZN629)
When England half Ruin'd had cause to be sad/Romes Beargarden (BBI ZN2836)
Poor England thy sorrows this many a year/England's Mercies (BBI ZN2214)
Come, John, sit thee down, I have somewhat to say/An Amorous Dialogue between John and his Mistress (BBI ZN616)
Come young men and listen to what I'le you show/A good wife is a portion every day (BBI ZN710)
All Company-keepers come hear what I say/Two-penny-worth of Wit for a Penny (BBI ZN61)
Come listen a while though the weather be cold/Blanket Fair (BBI ZN636)
I am a young blade that had money good store/The World turn'd up-side down (BBI ZN1231)
All you that have stock, and are mad for a peace/The French Preliminaries (BBI ZN136)
Let England rejoyce with heart and with voice/A New Protestant Ballad.. Reign of King William (BBI ZN1641)
Hold up thy head England, and now shew thy face/Englands Joy in a Lawful Triumph [on proclaiming Charles II King] (BBI ZN1158)
You Sabbath-day Tiplers, pray do not repine/A Caveat for Tiplers (BBI ZN3103)
There was an old Knight liv'd in Sommersetshire/The Bountiful Knight of Sommersetshire (BBI ZN2555)
A chimney-man lately in London did dwell/Chimney-man's Lamentation (BBI ZN486)
This nation long time hath been plagued with old rats/Come Buy a Mouse Trap/ [by Humphrey Crouch] (BBI ZN2582)
A new calculation of late has been given/A New Copy of Verses, of Monsieurs Boating (BBI ZN1875)
By Brittains true Monarchs, Great William and Mary/The Proclamation For a General Fast in the Nation (BBI ZN457)
Ye Sages of London, of states high and low/City Justice (BBI ZN2986)
Your scandalous lies I with patience have read/An Answer to the Packet of Advice (BBI ZN3223)
Good people come hither come listen awhile/The Brickmaker's Lamentation from Newgate (BBI ZN1049)
You free-men, and masters, and 'prentices mourn/London's Lamentation (BBI ZN3245)
Ye Whigs and Dissenters I charge ye, attend/The Whigs Hard Heart for the Cause of the Hard Frost (BBI ZN2987)
This Winter was sharp, it did plainly appear/London's Wonder [frost ending Feb. 4 1685] (BBI ZN2585)
Bold Titus he walkt about Westminster-Hall/Perjury Punished (BBI ZN411)
Come listen ye Whigs, to my pitiful moan/The Salamanca Doctor's Farewell (BBI ZN658)
Let England Rejoyce and all sorrows expell/The Princely Triumph..Birth of the Young Prince of Wales (BBI ZN1639)
The world is orerun with enormous abuse/Fayre Warning (BBI ZN2966)
Though the town does abound so with plots and with shams/The Protestant Cuckold [Ben. Harris and wife Ruth] (BBI ZN2599)
Now let us all true Protestants ever Rejoyce/...Prince of Orange's March (BBI ZN1932)
London now smiles to see Oxford in tears/Oxford in Mourning for the Loss of the Parliament (BBI ZN1703)
The manifold changes that have hap'ned of late/The High Court of Justice [trial of Regicides] (BBI ZN1748)
You Millers, and Taylors, & Weavers each one/The Crafty Maid of the West..Miller.. trapan'd (BBI ZN3071)
As through the City I passed of late/The Sorrowful Complaint of Conscience and Plain-Dealing (BBI ZN314)
The weather is clear, which was late over cast/Holland turn'd to Tinder..Third Great Royal Victory [Naval battle, July 25-6, 1666] (BBI ZN2760)
Let England, and Jreland, and Scotland rejoyce/The Royal Victory [over Dutch fleet, June 2, 3, 1665] (BBI ZN1636) (With the title "The Royal Victory" in C. H. Firth, _Publications of the Navy Records Society_ , p. 58)
Lift up thy head England & lay by thy mourning/The Triumph of four Nations;.. [peace of Breda] (BBI ZN1690)
Of all the rich pleasures that ever was seen/Joyfull News to the Nation..[Crowning of] Charles the II. on the 23. of April (BBI ZN2094)
Adiew vain delights, and bewitch us no more/Robbery Rewarded.. Five Notorious High-way-men's Exploits (BBI ZN15)
Come hither good fellows and hear what I say/A Groatsworth of Good Counsel for a Penny, Or The Bad Husbands Repentance (BBI ZN595)
Of late I did walk in a pleasant fair day/The Constant Couple, Or, The Glory of True Love (BBI ZN2110)
The Jenny a small Picaroon in the Park/The City Caper; Or, The Whetstone-Park Privateer (BBI ZN1541)
Forbear your vile plotting/The Plotter Executed (BBI ZN906)
All young men and maidens, come listen a while/The merry Pastime of the Spring (BBI ZN161)
Good people attend now, and I will declare/Mans Amazement..Thomas Cox..  (BBI ZN1045)
When all hearts did yield unto Cupid as King/Pyramus and Thisbie  (BBI ZN2815)
You Bartholomew tapsters I first do advise/A Description of Bartholomew-Fair  (BBI ZN2991)
Come all you brave Sea-men of Courage so free/News from the coast of Spain  (BBI ZN524)
Let all loyal subjects look well to their wits/Treason Rewarded at Tiburn.. executed [24th of January, 1679]  (BBI ZN1619)
Fairest and dearest to thee I am bound/The Dying Lovers Reprieve  (BBI ZN848)
For certain and sure, this Girl will go mad/The Young-Man's Answer to the Politick-Maids Device  (BBI ZN903)
Farewel, worldly pleasures and fading delight/Sir Thomas Armstrong's Farewell [executed June 20, 1684]  (BBI ZN888)
Come, all loyal lovers, so courteous and free/Love and Constancy  (BBI ZN503)
You bonny boon blades that are company keepers/The bad husband's Information of ill Husbandry  (BBI ZN2998)
Good fellows come hither, 'tis to you I speak/The Alewives Invitation to Married-Men, and Batchelors  (BBI ZN1005)
My dearest come hither and listen tome [sic]/The merry Discourse between two Lovers  (BBI ZN1799)
Come all loyal Subjects of every degree/Good News for the Nation..[new parliament]  (BBI ZN506)
Company of Gossips that love strong bub/The Merry Gossips Vindication  (BBI ZN712)
Alas my dear husband, what is your intent/A Looking glass for all Good-fellows; or, The Provident Wives Directions  (BBI ZN45)
Come all loyal subjects I pray you draw near/ Great Britains Joy  (BBI ZN505)
A curse on blind Cupid his name I do hate/A Westminster Wedding, Or, A Whore-master Buried Alive (BBI ZN738)
Captain Harman, or, News from the Coast of Spain ("Come, all you brave seamen of courage so free") (C. H. Firth, _Publications of the Navy Records Society_ , p. 83)
ALTERNATE_TITLES:
Digby's Farewell
NOTES: Folklore has it that a fellow named Packington, in the reign of Elizabeth I, bet that he could swim the length of the Thames. But Elizabeth forbade the attempt, and Packington forfeited his pound. I have no way to verify this; I heard it on a classical music station.
This *tune* is almost certainly traditional, though the words have not endured. Included in the Index for the many broadsides set to its melody (see the Same Tune list). - RBW
File: ChWI259
===
NAME: Paddle the Road with Me
DESCRIPTION: A rambler invites a girl to marry him and join him on the road. The girl is not thrilled; winter is coming and her father has another husband in mind. The rambler declares that her fiance is worthless; the two set out happily on their rambles
AUTHOR: unknown
EARLIEST_DATE: 1911
KEYWORDS: courting rambling marriage
FOUND_IN: US(MA) Britain(Scotland(Aber)) Ireland
REFERENCES: (3 citations)
Ord, pp. 78-79, "To Pad the Road wi' Me" (1 text, 1 tune)
Warner 32, "Paddle the Road with Me"
SHenry H18a, pp. 358-359, "Will Ye Pad the Road wi' Me?"; H 564, pp. 344-345, "The Banks of Mourne Shore" (2 texts, 2 tunes, the second placing more emphasis than usual on the rejection; the girl never agrees to go with the man)
ST Wa032 (Full)
Roud #4599
CROSS_REFERENCES:
cf. "The Weaver and the Tailor" (tune)
ALTERNATE_TITLES:
Pad the Road wi' Me
File: Wa032
===
NAME: Paddle Your Own Canoe
DESCRIPTION: "I've traveled about a bit in my time And of troubles I've seen a few, But I found it better in every clime To paddle my own canoe." The singer advises loving one's neighbor, not being downhearted, and remaining as independent as possible
AUTHOR: H. Clifton ?
EARLIEST_DATE: before 1867 (broadside, Bodleian Harding B 11(2905))
KEYWORDS: nonballad work
FOUND_IN: Britain(Scotland(Aber)) US(SE)
REFERENCES: (2 citations)
GreigDuncan3 663, "Paddle Your Own Canoe" (1 text)
BrownIII 55, "Paddle Your Own Canoe" (1 text)
Roud #6093
BROADSIDES:
Bodleian, Harding B 11(2905), "Paddle Your Own Canoe" ("I've travelled about a bit, in my time"), J. Harkness (Preston), 1840-1866; also Harding B 26(492), Harding B 18(580), Firth b.34(222), "Paddle Your Own Canoe"
LOCSinging, sb30426b, "Paddle Your Own Canoe," H. De Marsan (New York), 1864-1878  
CROSS_REFERENCES:
cf. "Captain Bill Ryan Left Terry Behind" (tune)
NOTES: GreigDuncan3: "Cf. Paddle Your Own Canoe written and sung by Harry Clifton (Hopwood and Crew, London, c. 1890)"  -- but note earlier broadsides.
Broadside LOCSinging sb30426b: 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: Be3055
===
NAME: Paddy and the Whale
DESCRIPTION: "Paddy O'Brien left Ireland in glee He had a strong notion old England to see." A whale attacks the ship, swallows him, and vomits him six months later. "The next time he wishes old England to see It will be when the railroad runs over the sea"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: travel escape drink England Ireland humorous whale
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 67, "Paddy and the Whale" (1 text, 1 tune)
DT, PADWHAL*
Roud #6342
CROSS_REFERENCES:
cf. "Jack Was Every Inch a Sailor" (theme)
NOTES: Obviously a variant of the Jonah legend, this seems to be found only in Canada. Although no one seems to have traced it, I suspect stage-Irish origin. - RBW
File: GrMa067
===
NAME: Paddy Backwards
DESCRIPTION: Singer rides to market on a cow, which dirties his clothes and shoes. He looks up the magistrate, asking if he knows the place; when he arrives, he sees nothing but a thousand potatoes growing on a pear tree. Chorus: "Sing down, all you paddies, lay down"
AUTHOR: unknown
EARLIEST_DATE: 1921 (Greenleaf/Mansfield)
KEYWORDS: travel nonsense paradox animal
FOUND_IN: Britain(England) Canada(Mar,Newf)
REFERENCES: (6 citations)
Greenleaf/Mansfield 110, "Paddy Backwards" (1 text)
Leach-Labrador 110, "Paddy Backwards" (2 texts, 2 tunes)
Creighton-NovaScotia 82, "Paddy Backwards" (1 text, 1 tune)
Creighton/Senior, pp.140-141, "Paddy Backwards" (1 fragment, 1 tune)
MacSeegTrav 119, "Paddy Backwards" (1 text, 1 tune)
DT, PADBCKWD*
Roud #1687
CROSS_REFERENCES:
cf. "Nottamun Town (Nottingham Fair)" (theme, lyrics)
cf. "The Seven Wonders" (theme)
cf. "The Lofty Giant (Song of Marvels)" (theme)
cf. "Paddy's Ramble to London" (theme and some couplets)
ALTERNATE_TITLES:
All You Paddies Lay Down
NOTES: MacColl & Seeger lump this and other "marvels" songs with "Nottamun Town," but as the tunes, structures wonders cited are different I prefer to keep them separate. - PJS
This is another "Oh, dear." Looking at the version in the Digital Tradition, the plot is quite distinct from what is listed here, and it shares lyrics and a metrical pattern with "Nottamun Town" -- so much so that I almost filed *it* with Nottamun Town and called the MacColl/Seeger text a separate piece. Definitely a case of continuous texts, but with divergent extremes. - RBW
Greenleaf/Mansfield says "this is a variant of 'Paddy's Ramble to London' a favorite slip and broadside song of the first half of the nineteenth century."
Leach-Labrador agrees with Greenleaf/Mansfield in that "an English broadside, 'Paddy's Ramble to London,' early nineteenth century, is probably the ancestor of this and of the various songs found in America with titles like 'Nottingham Fair,' 'Nottamun Torn.' It was a popular minstrel song.
If you follow this through the Bodleian archives, be careful not to be misled by broadsides with similar titles like "Paddy's Ramble THROUGH London" or "Paddy's VISIT to London" which are among the many country-bumpkin-comes-to-town-and-reveals-how-foolish-things-are-in-the-city broadsides. Bodleian includes "Paddy's Ramble to London" printed at Seven Dials between 1802 and 1844, shelfmark 2806 c.18(233). You can see a similar text as "Paddy's Ramble"["Says Paddy in Ireland no longer I'll stay"] printed in London between 1802 and 1819, shelfmark Harding B 16(198a).
Here is a Long Description of "Paddy's Ramble to London": 
This is addressed to tars looking for a fight between wars, without swords or guns but arms "to kill all our friends that will do no harm."
Paddy has too much money and so can't pay his debts and decides to go to London, pass for a Lord, with his head under his arm, his wig and broad sword. 
[The third and fourth verse are a clear source for Paddy Backwards]: He leaves Dublin for Manchester "next Michael last" where "My horse standing still throw'd me down in the dirt Daubed my Body and bruised my shirt, I being of good courage I mounted again, My ten toes I tripp'd over the plain, Where my knapsack and all I throw'd to the ground And away then I steer'd to fair London town"
At London "not a soul could I see" because the crowd was so thick so I stood still but my feet were worn and shoes were lame.
I choked on the dust in the day-long rain, had a quart "to drive gladness away" and since I had no money to pay with I took a coach and walked away.
[Lines from the next two verses also survive in Paddy Backwards]:"As I was a going through St. Jame's Park, In the middle of winter when noon it was dark, I met three making of hay in the middle of winter, One Midsummer's Day. To find out the place I was sad at a loss, When shutting my eyes on safe Charing Cross Where the King set on horseback all on the cold stone There was thousands all round him but troth never a one."
I'll play cards at the Ball and court a rich Lady worth nothing. At the marriage drum will ring, bells beat and fiddle sing.
I'll marry a Blackamoor Lady, the "fairest of creatures" and buy her a silver cup of horn.
Since I favor splitting "Paddy's Ramble to London" from "Paddy Backwards" I think it pays to compare the two more precisely. Among the four Newfoundland texts, the version of "Paddy Backwards" that is closest to the "Paddy's Ramble to London" broadside is on the _MacEdward Leach and the Songs of Atlantic Canada_ site. The broadside has 20 couplets and the site has 14. They share five. The five couplets shared are the only ones found in Greenleaf/Mansfield (3 couplets out of 12), Leach text A (4 out of 13 1/2) and Leach text B (3 1/2 out of 8). - BS
File: McCST119
===
NAME: Paddy Carey
DESCRIPTION: Recruiting Sergeant Snapp meets Paddy Carey, a great favorite with the women. He enlists Paddy for a shilling "while Pat was coaxing duck-legged Mary." At that ugly widow Leary gives Paddy money for a ring. He outfits himself as a captain and leaves.
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside, Bodleian Harding B 17(232a))
KEYWORDS: courting army recruiting money humorous rake
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 20, "Paddy Carey" (1 text)
BROADSIDES:
Bodleian, Harding B 17(232a), "Paddy Carey" ("'Twas at the town of neat Clogheon"), J. Evans (London), 1780-1812; also 2806 c.15(294), Harding B 11(2906), Harding B 12(71), Harding B 11(2907), Harding B 28(23), Harding B 25(1445), "Paddy Carey"
NOTES: Broadside Bodleian Harding B 17(232a) is used as the basis for the description since O'Conor ends his song before widow Leary comes on the scene. - BS
It should be noted that this song was printed at a time when commission by purchase was still the norm in the British army. - RBW
File: OCon020
===
NAME: Paddy Darry
DESCRIPTION: "Paddy Darry lived in Clary, Had a girl in Biddy Town, Her tongue was slit with the sierel larry, But she sang to Paddy a golden rune. Hey eye for the sierel-larry... Oh what's the use of going fast? He's sure to meet me on the way."
AUTHOR: unknown
EARLIEST_DATE: 1940 (Belden)
KEYWORDS: courting
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 293, "Paddy Darry" (1 text)
Roud #7952
NOTES: This is perhaps the least-documented piece in all of Belden. He didn't take down the date or the tune, it's only a fragment, and neither he nor I knows another version of it. - RBW
File: Beld293
===
NAME: Paddy Doyle (I)
DESCRIPTION: Shanty. Characteristic line: "We'll pay Paddy Doyle for his boots." The boots may be referred to as stolen, or Paddy's boarding house may be described
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: shanty clothes poverty
FOUND_IN: US(MA) Ireland Canada(Mar)
REFERENCES: (11 citations)
Doerflinger, p. 10, "Paddy Doyle" (1 text, 1 tune)
Colcord, p. 43, "Paddy Doyle" (1 text, 1 tune)
Harlow, p. 32, "Paddy Doyle and His Boots" (1 text, 1 tune)
Hugill, pp. 330-334, "Paddy Doyle's Boots" (3 texts, 3 tunes) [AbEd, pp. 247-249]
Sharp-EFC, XXXVIII, p. 43, "Paddy Doyle" (1 text, 1 tune)
SHenry H53c, p. 96, "Paddy Doyle' (1 text, 1 tune, a tiny fragment)
Smith/Hatt, p. 28, "We'll Pay Paddy Doyle For His Boots" (1 fragment)
Bone, p. 47, "Paddy Doyle" (1 short text, 1 tune)
Shay-SeaSongs, p. 31, "Paddy Doyle" (1 text, 1 tune)
DT, PADDOYLE
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). A fragment of "Paddy Doyle" is in Part 4, 8/4/1917.
Roud #4695
RECORDINGS:
The Clancy Brothers and Tommy Makem, "Paddy Doyle's Boots" (on IRClancyMakem02)
Richard Maitland, "Paddy Doyle" (AFS, 1939; on LC26)
NOTES: According to Doerflinger, Doyle was a boarding master. (A boarding master took in sailors and found them jobs at sea in return for a cut of their pay. In return, he was to provide them with necessary equipment such as boots; for background on the, see the notes to "Dixie Brown" [Laws D7].) Boarding masters expected to take a large profit, but apparently Doyle was more rapacious than most. - RBW
File: Doe010
===
NAME: Paddy Doyle (II): see Doran's Ass [Laws Q19] (File: LQ19)
===
NAME: Paddy Magee's Dream
DESCRIPTION: An Englishman, Scotchman, and Irishman meet and pool their resources to buy a loaf. The loaf will go to the one who has the grandest dream. The Englishman and Scotchman have grand dreams but the Irishman dreamt he was hungry, woke and ate the loaf.
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian Harding B 11(2917))
KEYWORDS: wager dream food humorous
FOUND_IN: Canada(Mar)
REFERENCES: (2 citations)
O'Conor, p. 99, "Paddy Magee's Dream" (1 text)
Creighton-SNewBrunswick 72, "Johnny Bull, Irishman, and Scotchman" (1 text, 1 tune)
ST OCon099 (Partial)
Roud #3272
BROADSIDES:
Bodleian, Harding B 11(2917), "Paddy Magee's Dream" , W.S. Fortey (London), 1858-1885; also Harding B 11(2918), "Paddy Magee" ("John Bull he was an Englishman, he went on the tramp one day") or "The Three Dreams"
CROSS_REFERENCES:
cf. "John Bull Lives In England" (theme of national comparison)
File: OCon099
===
NAME: Paddy Malone
DESCRIPTION: "Oh! My name is Paddy Malone, or 'twas so in Tipperary," but he chose to emigrate to Australia and now regrets it: He lost his master's sheep, was kicked by his bullock team; he will now head to town to try something safer
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson, _Old Bush Songs_)
KEYWORDS: Australia emigration animal humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Paterson/Fahey/Seal, pp. 97-101, "Paddy Malone" (1 text)
Roud #9111
File: PFS097
===
NAME: Paddy on the Railway
DESCRIPTION: "Paddy on the railway, Picking up stones; Along came an engine And broke Paddy's bones." "O, said Paddy, That's not fair. O, said the engineman, You shouldna have been there."
AUTHOR: unknown
EARLIEST_DATE: 1946 (Opie)
KEYWORDS: train injury
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Montgomerie-ScottishNR 151, "(Paddy on the railway)" (1 text)
ADDITIONAL: Peter and Iona Opie, _I Saw Esau: Traditional Rhymes of Youth_, #46, "(Piggy on the Railway)" (1 text)
Roud #13611
ALTERNATE_TITLES:
Teddy on the Railway
File: MSNR151
===
NAME: Paddy on the Turnpike
DESCRIPTION: Floating verses about Paddy's difficulties as he travels: "I'm just Paddy on the turnpike, I'll just be on my way, I'll just paddle down the turnpike To pass the time away." He describes his travels, admits he has no wife, and laments growing old
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: floatingverses rambling age
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 43, "Paddy on the Turnpike" (1 text, 1 tune)
NOTES: Not to be confused with the fiddle tune of the same name. Ohrlin's version, as the notes admit, consists mostly of floating verses; I don't know if a coherent version exists. - RBW
File: Ohr043
===
NAME: Paddy Ryan
DESCRIPTION: "Way up in old Calgary over the line There came an old cowboy, his name was Pat Ryan. He looked at the cowboys a-workin' the chutes, 'Boys, watch these spurs on the heels of my boots.'" "Old Thief Duncan looks up and he squalls, 'Watch this boy....'"
AUTHOR: unknown
EARLIEST_DATE: 1964
KEYWORDS: cowboy horse
HISTORICAL_REFERENCES: 1896 - Birth of Pat Ryan
FOUND_IN: Canada
REFERENCES: (1 citation)
Ohrlin-HBT 34, "Paddy Ryan" (1 fragmentary text, 1 tune)
File: Ohr034
===
NAME: Paddy Sheahan: see Patrick Sheehan [Laws J11] (File: LJ11)
===
NAME: Paddy Stole the Rope: see How Paddy Stole the Rope (File: OCon068)
===
NAME: Paddy West
DESCRIPTION: The singer stops at Paddy West's (boarding)-house. Paddy offers him a (bad) meal and induces him to go to sea. Paddy assures the recruit is qualified by sending him three times "around the horn" of a cow and having him furl the royal of the window blind
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: sailor humorous shanghaiing
FOUND_IN: US(MA) Britain(England)
REFERENCES: (3 citations)
Doerflinger, pp. 113-114, "Paddy West" (1 text, 1 tune)
Hugill, pp. 335-336, "Paddy West" (1 text, 1 tune) [AbEd, pp. 250-251]
DT, PADWEST*
Roud #3092
CROSS_REFERENCES:
cf. "Davy Faa (Remember the Barley Straw)" (tune)
cf. "Tramps and Hawkers" (tune)
NOTES: Hugill claimed Paddy West was a real person, living probably on Great Howard Street in Liverpool. But he offers no further details. For the not-very-savory history of boarding masters in general, see the notes to "Dixie Brown" [Laws D7].
How much difference Paddy West's attempts to varnish his recruits made is far from clear. Richard Henry Dana Jr., who sailed in this period, wrote in the second paragraph of chapter one of _Two Years Before the Mast_, "The change from the tight dress coat, silk cap, and kid gloves of an undergraduate at Cambridge, to the loose duck trowsers, checked shirt, and tarpaulin hat of the sailor... was soon made, and I supposed myself to be looking as salt as Neptune himself. But it is impossible to deceive the practiced eye in these matters... I was, no doubt, known for a landsman by every man on board as soon as I hove in sight. A sailor has a peculiar cut to his clothes, and a way of wearing them which a green hand can never get.... Besides the points in my dress which were out of the way, doubtless my complexion and hands were enough to distinguish me from the regular _salt_, who, with a sunburnt cheek, wide step, and rolling gain, swings his bronzed and toughened hands athwartships, half open, as though just ready to grasp a rope." - RBW
File: Doe113
===
NAME: Paddy Whack
DESCRIPTION: Paddy Whack boasts of his Irish ancestry, his schooling (especially in fisticuffs), and his skill in war
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: Ireland
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 153, (first of several "Fragments of Irish Songs")
ST E153A (Full)
Roud #5353
File: E153A
===
NAME: Paddy Works on the Erie: see Paddy Works on the Railway (File: LxU076)
===
NAME: Paddy Works on the Railway
DESCRIPTION: Paddy describes the working conditions on the railway: "In (1841), I put me corderoy britches on... to work upon the (railway)." He recalls the hard work, courting and losing a wife, and the drink he uses to relieve his burdens
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg); there is a clear reference from 1864 in a manuscript from the clipper _Young Australia_
KEYWORDS: railroading work marriage death drink hardtimes
FOUND_IN: US Britain(England)
REFERENCES: (16 citations)
Cohen-LSRail, pp. 547-552, "Paddy Works on the Railway" (1 text plus extended excerpts to illustrate variations in the song and a broadside print of "Mick Upon the Railroad," 1 tune)
Sandburg, pp. 356-357, "Poor Paddy Works on the Railway" (1 text, 1 tune)
Colcord, pp. 107-108, "Paddy Works on the Railway" (1 text, 1 tune)
Harlow pp. 139-141, "Oh, Poor Paddy Works on the Railway" (1 text, 1 tune)
Hugill, pp. 155-156, "Roll the Cotton Down" (1 text, version "E" of "Roll the Cotton Down");  pp. 337-338, "Paddy Works on the Railway," "Poor Paddy Works on the Railway" (2 texts, 2 tunes) [AbEd, pp. 252-253]
Shay-SeaSongs, pp. 77-78, "Paddy Works on the Railway" (1 text, 1 tune)
MacColl-Shuttle, pp. 20-21, "Poor Paddy Works on the Railway" (1 conflated text, 1 tune)
Lomax-FSUSA 76, "Paddy Works On the Erie" (1 text, 1 tune)
Lomax-ABFS, pp. 20-22, "Paddy Works on the Erie" (1 text, 1 tune)
Botkin-RailFolklr, p. 438, "Paddy Works on the Erie" (1 text, 1 tune)
PSeeger-AFB, p. 43, "Fillimeeooreay" (1 text, 1 tune)
Greenway-AFP, pp. 42-43, "Pat Works on the Railway" (1 text)
Darling-NAS, p. 330, "Pat Works on the Railway" (1 text)
Silber-FSWB, p. 101 "Pat Works On The Railway" (1 text)
DT, PADRAIL1*
ADDITIONAL: Captain John Robinson, "Songs of the Chantey Man," a series published July-August 1917 in the periodical _The Bellman_ (Minneapolis, MN, 1906-1919). "Paddy on the Railway" is in Part 3, 7/28/1917.
Roud #208
RECORDINGS:
Pete Seeger, "Paddy Works on the Railway" (on PeteSeeger07, PeteSeeger07b)
CROSS_REFERENCES:
cf. "The Bluestone Quarries" (tune & meter)
cf. "The Shaver" (tune)
ALTERNATE_TITLES:
The American Railway
NOTES: Greenway prints a three-verse version ending with complaints about the company store. It is not clear whether this is a parody or a natural addition -- or whether the Sandburg/Lomax versions have cleaned this up.
There is a broadside, NLScotland LC.Fol.178.A.2(086), entitled "Paddy on the Railway," beginning "A Paddy once in Greenock town, For Glasgow city he was bound." The chorus is "Engine, boiler, water tight, Driving in with all his might, Upon my soul it was a sight To see the Greenock railway." This may well be related; I wouldn't consider it the same song. Cohen thinks there is "no relation."
Cohen also discusses the origin of this song, observing that it has two basic forms, which might be distinguished by their choruses -- the one more common in old versions being "I'm weary of the railway, Poor Paddy works on the railway"; the other, which is the one they taught us in grade school, is "Fil-i-me-oo-ri-ee-ri-ay" or some such noise.  Cohen hints darkly about the fact that the earliest source of the second tune is a Lomax book, and I can offer no contrary evidence. There is also evidence of mixng of versions; Cohen notes the similarity of these several Lomax verses to the undated broadside "Mick Upon the Railroad."
Shay describes his version as a capstan chantey. The only support for this is the last of his nine verses, in which the singer goes to work for the Black Ball Line in 1849 ("and that's the end of my monkeyshine"). It is clear that the song functioned as a shanty of some sort, though, given the number of sea song collections in which it is found.
- RBW
File: LxU076
===
NAME: Paddy, Get Back
DESCRIPTION: Shanty, with long chorus, "Paddy, get back, Take in the slack, Heave away your capstan," etc. The song details how the poor boy has to go to sea to earn money, then suffers at the hands of weather, mate, and a long voyage
AUTHOR: unknown
EARLIEST_DATE: 1898
KEYWORDS: shanty poverty sailor abuse
FOUND_IN: US(MA) Canada(Mar) Britain(England(Lond))
REFERENCES: (6 citations)
Doerflinger, pp. 54-55, "Paddy, Get Back" (1 text, 1 tune)
Colcord, pp. 121-122, "Paddy Get Back" (1 text, 1 tune)
Hugill, pp. 321-327, "Paddy Lay Back" (3 texts, 3 tunes with variants) [AbEd, pp. 241-244]
Shay-SeaSongs, pp. 68-70, "Paddy Get Back" (1 text, 1 tune)
Smith/Hatt, pp. 42-43, "Lay Out, Tack Sheets and Haul" (1 text)
DT, PADLAYBK
Roud #653
RECORDINGS:
George Ling, "On Board the Leicester Castle" (on Voice02)
Richard Maitland, "Paddy, Get Back" (AFS, 1939; on LC26)
CROSS_REFERENCES:
cf. "The Liverpool Song" (form, lyrics)
ALTERNATE_TITLES:
Mainsail Haul
The Liverpool Song
Valparaiso Round the Horn
File: Doe054
===
NAME: Paddy, Lay Back: see Paddy, Get Back (File: Doe054)
===
NAME: Paddy, the Cockney and the Ass
DESCRIPTION: Pat Molloy meets a cockney and his ass in London. Forced to speak to the ass, Pat puts a pebble in its ear. Enraged, it upsets the cockney's cart. Taken in, Pat says he told the ass that the Irish had rid themselves of the landlords. Charges dismissed
AUTHOR: unknown
EARLIEST_DATE: 1972 (Munnelly/Deasy-Lenihan)
LONG_DESCRIPTION: Pat Molloy from County Clare goes to London and meets a Cockney with a cart and donkey. The Cockney won't let Pat pass until he speaks to the donkey. While speaking he puts a pebble in the ass's ear. The ass, mad, upsets the Cockney's cart. The Cockney has the peelers take Pat in. The magistrate asks Pat what he told the ass to make him mad. He says he told the ass that the Irish had rid themselves of all the landlords. The magistrate laughs and dismisses Pat.
KEYWORDS: England Ireland humorous animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
Munnelly/Deasy-Lenihan 18, "Paddy, the Cockney and the Ass" (1 text, 1 tune)
Roud #3078
ALTERNATE_TITLES:
Pat Molloy and the Cockney
Paddy and the Ass
NOTES: Munnelly/Deasy-Lenihan: "The slightly 'stagy' language used in the ballad might be an indication -- by no means an infallible one -- that the song originated in America." - BS
File: RcPaCoAs
===
NAME: Paddy's Advice
DESCRIPTION: Paddy is advised "let men of all creeds and professions agree ... How easy old Erin we'd free." If you stand alone, the preachers will fleece you, you must pay landlords just to dig your land. "The system must fall ... if ye stick to each other"
AUTHOR: James Hope (1764-1847) (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: Ireland nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 41, "Paddy's Advice" (1 text, 1 tune)
File: Moyl041
===
NAME: Paddy's Curiosity Shop
DESCRIPTION: "Did you hear tell of Paddy's Museum?" It is filled with antiquities. Barnum's cannot compare. It has Adam's "mattock and spade," "King David's ould breeches,"... "I'll give you the second edition Some night when you drop in again."
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30404a)
KEYWORDS: humorous talltale Bible
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 145, "Paddy's Curiosity Shop" (1 text)
Roud #15372
BROADSIDES:
Bodleian, Harding B 18(694), "Pat's Curiosity Shop", H. De Marsan (New York), 1864-1878 [same as LOCSinging sb30404a]
LOCSinging, sb30404a, "Pat's Curiosity Shop", H. De Marsan (New York), 1864-1878 [same as  Bodleian Harding B 18(694)]
NOTES: Broadsides LOCSinging sb30404a and Bodleian Harding B 18(694): 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: OCon145
===
NAME: Paddy's Green Country: see The Town of Antrim (File: HHH632)
===
NAME: Paddy's Green Shamrock Shore
DESCRIPTION: The singer tells of setting sail from (Londonderry), bound for America. He looks long on the beloved Irish coast he is leaving. A hard voyage brings him to America, where he and his friends say farewell. (He hopes to return home and marry his girl)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sam Henry collection)
KEYWORDS: emigration parting ship separation
FOUND_IN: Ireland
REFERENCES: (4 citations)
SHenry H192, pp. 101-102, "The Shamrock Shore" (1 text, 1 tune)
Ranson, p. 55, "The Shamrock Shore" (1 text)
McBride 62, "The Shamrock Shore" (1 text, 1 tune)
DT, PADDYGRN* PADDYGR2*
Roud #1419
File: HHH192
===
NAME: Paddy's Land
DESCRIPTION: The singer travels from Ireland to Scotland. He sees and falls in love with a beautiful girl. She asks him if he is Scottish. He tells her no, and asks if she will go to Ireland with him. She apparently refuses, for he returns to Ireland alone
AUTHOR: unknown
EARLIEST_DATE: 1932 (Sam Henry collection)
KEYWORDS: love courting rejection foreigner beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H473, pp. 354-355, "Paddy's Land" (1 text, 1 tune)
Roud #6876
File: HHH473
===
NAME: Paddy's Panacea
DESCRIPTION: Poteen is "the best thing in nature For sinking your sorrows and raising your joys." It cures cramp, colic and spleen, calms a baby when mixed in milk, sooths a mind at school, makes the dumb talk, the lame walk, and helped Brunel dig the Thames tunnel.
AUTHOR: Joseph Lunn (1784-1863) (source: O'Conor)
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: drink humorous nonballad technology
FOUND_IN: Ireland
REFERENCES: (2 citations)
Munnelly/Deasy-Lenihan 3, "Paddy's Panacea" (1 text, 1 tune)
OConor, pp. 155-156, "Paddy's Panacea" (1 text)
Roud #3079
RECORDINGS:
Tom Lenihan, "Paddy's Panacea" (on Voice13) (on IRTLenihan01)
NOTES: Marc Isambard Brunel began construction of the Thames Tunnel in 1825. The tunnel was completed in 1842 and opened in 1843. (source: _Thames Tunnel_ at the Wikipedia site. - BS
File: RcPadPan
===
NAME: Paddy's Pastoral Rhapsody
DESCRIPTION: Pat asks Molly to marry. She says he is too young and too poor. He says "wealth is an invitation The wise should never mintion." Sparrows, bees and roses, he says, get by without wealth. He drinks to her "for when I'm drunk I think I'm rich"
AUTHOR: Samuel Lover (1797-1868)
EARLIEST_DATE: before 1885 (broadside, Bodleian Firth b.28(6a/b) view 7 of 8)
KEYWORDS: poverty courting rejection drink
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, p. 38, "Paddy's Pastoral Rhapsody" (1 text)
BROADSIDES:
Bodleian, Firth b.28(6a/b) view 7 of 8, "Paddy's Pastoral Rhapsody", R. March & Co (London), 1877-1884 
NOTES: Broadside Firth b.28(6a/b): "Sung by the Author in his Irish Evenings"; the broadside does not state who that Author might be but the Bartleby Great Books Online site quotes _The Cambridge History of English and American Literature in 18 Volumes (1907-21).Volume XIV. The Victorian Age, Part Two. IX. Anglo-Irish Literature_ to attribute this to Samuel Lover (and quote the verse O'Conor omits, to boot). This broadside has a final verse omitted by O'Conor. The broadside is used for the Description (I guess "the Author" should know). - BS
File: OCon038
===
NAME: Paddy's Ramble to London
DESCRIPTION: Paddy has too much money and so can't pay his debts and goes to London to pass for a Lord. He has strange, often paradoxical adventures. Finally he decides to marry a Blackamoor Lady, the "fairest of creatures" and buy her a silver cup of horn.
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian 2806 c.18(233))
KEYWORDS: travel nonsense paradox animal
FOUND_IN: 
REFERENCES: ()

BROADSIDES:
Bodleian, 2806 c.18(233), "Paddy's Ramble to London" ("Come listen awhile you frolicksome tars"), J. Pitts (London), 1802-1844
CROSS_REFERENCES:
cf. "Donald's Visit to Glasgow" (theme: country folk in town)
cf. "Paddy's Voyage to Glasgow" (theme: country folk in town)
cf. "Paddy Backwards" and references there
cf. "Nottamun Town (Nottingham Fair)" (theme)
cf. "The Seven Wonders" (theme)
cf. "The Lofty Giant (Song of Marvels)" (theme)
NOTES: One verse of Bodleian 2806 c.18(233) is close to Opie-Oxford2 93, "As I was going by Charing Cross" (earliest date in Opie is 1808).
Paddy's Ramble to London: "To find out the place I was sad at a loss, When shutting my eyes on safe Charing Cross. Where the King set on horseback all on the cold stone There was thousands all round him but truth never a one."
Opie-Oxford2 93: "As I was going by Charing Cross, I saw a black man upon a black horse; They told me it was King Charles the First Oh dear, my heart was ready to burst!"
Opie explains that "in 1675 the statue of Charles I, which had originally been erected in King Street (and may today be seen at the top of Whitehall), was re-erected on the site of the old Charing Cross ...."
On the same subject see broadside Bodleian, Antiq. c. E.9(97), "A dialogue between the old black horse at Charing cross, and the new one, with a figure on it in H--er square ," unknown, c.1702 - BS
File: BdBPRtL
===
NAME: Paddy's Voyage to Glasgow
DESCRIPTION: Paddy goes to Scotland for the harvest. He takes the steamboat from Belfast to Glasgow and does not understand paying fare. He is confused by the town and a public show, cannot sleep for the drunk telling the hour, and is happy to leave for the Lothians
AUTHOR: John Milne (source: broadside Bodleian Harding B 11(3605))
EARLIEST_DATE: 1905 (GreigDuncan2)
KEYWORDS: travel humorous
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 293, "Paddy in Glasgow" (3 texts, 2 tunes)
Roud #5859
BROADSIDES:
Bodleian, Harding B 11(3605) View 2 of 2, "Paddy's Voyage to Glasgow" ("When I took a notion from home for to stray"), unknown, no date ["Songs and poems by John Milne"]
CROSS_REFERENCES:
cf. "Paddy's Ramble to London" (theme: country folk in town)
cf. "Donald's Visit to Glasgow" (theme: country folk in town)
ALTERNATE_TITLES:
The Broomielaw
NOTES: Paddy is illiterate ("I never was learned my name for to spell"). He does not understand what he sees. The show he visits seems to him real: he first sees "wild beasts, few of them were tame, The nobles of Scotland came there to see them, Young Bonapart I on him did stare, I wondered what brought him from Germany there"; he is prevented by "a man with a red neck" from shaking hands with Bonapart.
Broadside Bodleian Harding B 11(3605) is the basis for the description. - BS
File: GrD2293
===
NAME: Padstow May Day Song
DESCRIPTION: Ritual song, for a hobby-horse, in English or Cornish: "Unite and unite, and let us all unite"..."Rise up, Mrs. __ and gold be your ring/And give to us a cup of ale the merrier we shall sing"..."Where are these young men that now here should dance..."
AUTHOR: unknown
EARLIEST_DATE: 1860 (Baring Gould MS)
LONG_DESCRIPTION: Ritual song, accompanying antics of a hobby-horse; sung in English or Cornish: "Unite and unite, and let us all unite"..."Rise up, Mrs. __ and gold be your ring/And give to us a cup of ale the merrier we shall sing"..."Where are these young men that now here should dance?/Some they are in England and some they are in France"..."Now we fare you well and we bid you all good cheer/We'll call no more unto your house before another year"
KEYWORDS: ritual drink foreignlanguage moniker nonballad animal horse
FOUND_IN: Britain(England(South,North))
REFERENCES: (2 citations)
Kennedy 86, "Can Cala Me [May Day Song]" (1 text, 1 tune; the notes give a related text and a version of "The Old May Song")
DT, CORMMAY
Roud #305
RECORDINGS:
Blue Ribbon Hobby Horse Team, "May Day Song" (on FSB9)
People of Padstow, "Padstow May Day Song" (on Lomax41, LomaxCD1741)
ALTERNATE_TITLES:
The Old May Song
Cornish May Carol
NOTES: Kennedy's Cornish words are a revivalist translation from the English. - PJS
File: K086
===
NAME: Page's Train Run So Fast: see Cotton-Eyed Joe (File: LxA262)
===
NAME: Paid O'Donoghue
DESCRIPTION: Anti-rebel forces range through Meath. Young Currogha smith Paid O'Donoghue forges rebel pike-heads. He is betrayed, taken and forced, before execution, to shoe the yeoman captain's horse. He kills the captain with his hammer and escapes on the horse
AUTHOR: Patrick Archer (1861-1919) (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion betrayal escape death recitation horse
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 59, "Paid O'Donoghue" (1 text, 1 tune)
File: Moyl059
===
NAME: Painful Plough, The
DESCRIPTION: "Come all you jolly plowmen, of courage stout and bold... To crown them with contentment, behold the painful plow." The gardener and plowman discuss the antiquity of their profession. The plowman wins the argument because the plow makes all else possible
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Harding B 11(2936))
KEYWORDS: farming worker
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #66, p. 1, "The Painful Plough" (1 text) 
GreigDuncan3 448, "The Painful Plough" (5 texts, 2 tunes)
Ord, pp. 222-223, "The Painful Plough" (1 text)
Roud #355
BROADSIDES:
Bodleian, Harding B 11(2936), "The Painful Plough" ("Come all you jolly ploughmen of courage stout and bold"), J. Catnach (London), 1813-1838; also Johnson Ballads 2086, Harding B 20(127), 2806 c.17(325), Firth b.26(485), Harding B 11(2935), "[The] Painful Plough"
CROSS_REFERENCES:
cf. "The Irish Boy" (tune, per GreigDuncan3)
ALTERNATE_TITLES:
The Plough
The Ploughman and the Gardener
NOTES: Greig: "The expression 'painful plough' is very interesting, as illustrating how tradition may retain a word even after its original meaning has become obsolete and liable to be misunderstood. 'Painful' here means painstaking or laborious." - BS
This sounds reasonable -- but I wouldn't bet the farm on it. Note that one stanza of this song claims that "Adam was a plowman when plowing first begun." This is not scriptural; on the face of it, Adam was a hunter/gatherer. Cain is correctly identified as a farmer (Genesis 4:2). But Genesis 3:17 declares, "Cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy life." This is right after God declares that Eve shall suffer misery in childbirth. Sounds pretty painful to me (and most modern translations use the word "pain" or "painful" somewhere in Genesis 3:16-17, though the King James Version does not).
The exploits of Samson are in Judges 13-16. Solomon's wisdom is mentioned, e.g., in 1 Kings 3:12 (though in fact 1 Kings devotes more space to his folly than his wisdom). David's slaying of "his ten thousands" is mentioned first in 1 Samuel 18:7.
The exploits of Alexander the Great are not mentioned in the Hebrew Bible, though there are several mentions in the Greek Old Testament; in any case, he was well-known to tradition. - RBW
File: Ord222
===
NAME: Pains in My Fingers
DESCRIPTION: "Pains in my fingers, Pains in my toes; I sent for Doctor Brody To know what to do." Cho: "Sick him, Bobby, hoo-hoo, Sick him, Bobby, hoo! Oh, pore Mary Jane, He'll never come here no more." Other verses float
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: doctor injury animal floatingverses
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 167-168, "Pains In My Fingers" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Raccoon" (floating verses)
File: ScaNF168
===
NAME: Paisley Officer, The (India's Burning Sands) [Laws N2]
DESCRIPTION: Henry, an officer from Paisley, meets and falls in love with Mary. His regiment having been called to India, (they are married and) she dresses as a soldier to accompany him. He is fatally injured; she is killed caring for him
AUTHOR: unknown
EARLIEST_DATE: 1916 (Gardner/Chickering, who also mention a manuscript copy dated 1884); there are sundry 19C broadsides
KEYWORDS: courting marriage cross-dressing soldier death battle India
FOUND_IN: US(MA,MW,NE) Canada(Mar) Ireland Britain(Scotland(Aber))
REFERENCES: (11 citations)
Laws N2, "The Paisley Officer (India's Burning Sands)"
GreigDuncan1 185, "The Paisley Officer" (2 texts)
Doerflinger, pp. 308-310, "The Paisley Officer" (2 texts, 1 tune)
SHenry H120, pp. 332-333, "Blythe and Bonny Scotland/India's Burning Sands" (1 text, 1 tune, composite)
McBride, pp. 65,75, "The Paisley Officer" (1 text)
Creighton/Senior, pp. 192-193, "The Paisley Officer" (2 texts)
Creighton-Maritime, pp. 158-159, "The Paisley Officer" (1 text, 1 tune)
Mackenzie 51, "Bonny Scotland" (2 texts)
Ives-NewBrunswick, pp. 153-157, "The Paisley Officer" (1 text, 1 tune)
Gardner/Chickering 86, "The Village Pride" (1 text plus mention of 1 more)
DT 438, PAISLYOF
Roud #550
RECORDINGS:
Sara Cleveland, "In Bonny Scotland" (on SCleveland01)
Warde Ford, "India's Burning Sands" [fragment] (AFS 4199Bx1, 1938; in AMMEM/Cowell)
BROADSIDES:
Bodleian, Harding B 17(234a), "The Paisley Officer," Sanderson (Edinburgh), 1830-1910; also 2806 c.14(124), "The Paisley Officer"
NLScotland, L.C.178.A.2(198), "The Paisley Officer," unknown, c.1840; also L.C.178.A.2(198); RB.m.169(070), "The Paisley Officer"
CROSS_REFERENCES:
cf. "Fare Thee Well, My Dearest Dear"
cf. "The Fair Town of Greenock" (theme)
cf. "The Lad in the Scotch Brigade (The Banks of the Clyde)" (theme)
NOTES: The description of this song at the Bodleian site associates this with the Sepoy Rebellion (1857-1858) -- but note that the National Library of Scotland broadsides probably predate this. - BS, RBW
File: LN02
===
NAME: Pakenham
DESCRIPTION: "Come, Packingham, and have a cup, Perhaps the last you will ever sup." The singer taunts the British soldiers coming to the battle of New Orleans
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: battle death soldier
HISTORICAL_REFERENCES: Jan 8, 1815 - Battle of New Orleans. Although a peace had already been signed, word had not yet reached Louisiana, which Pakenham sought to invade. Andrew Jackson's backwoodsmen easily repulsed Pakenham's force; the British commander is killed in the battle.
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 298-299, "The Hunters of Kentucky" (1 text plus 2 fragments, 1 tune, but the "A" fragment and part of "C" is "Pakenham")
Roud #2211
CROSS_REFERENCES:
cf. "The Hunters of Kentucky" [Laws A25] (floating lyrics)
cf. "The Battle of New Orleans" [Laws A7] (subject)
cf. "Molly Put the Kettle On (Polly Put the Kettle On)" (form)
NOTES: Belden observes that the fragment he lists as "A" of "The Hunters of Kentucky," and several lines of the last stanza of his "C" text, do not appear to be part of "The Hunters."  (And I heartily agree, though Roud lumps them.) And they *do* appear to be the same song. Belden therefore speculates that they are fragments of some lost song.
He appears to be right. Indeed, the chorus of the "A" fragment ("Jackson, put the kettle on, Coffee, blow the fire strong, Carroll, hands the cups around, The strangers must have tea") makes it nearly certain that it was built around "Molly Put the Kettle On." Whether it was truly traditional must wait on other information.
Jackson is of course Andrew Jackson, and "Packingham" is Pakenham, the British commander. "Coffee" is not the drink but John Coffee, Jackson's second in command in the Creek War (for background, see "Andrew Jackson's Raid"); Carroll is William Carroll (1788-1844), Jackson's successor in command of the Tennessee militia and later governor of that state. - RBW
File: Beld298
===
NAME: Palace Grand: see Lady Mary (The Sad Song) (File: R698)
===
NAME: Pale Ring, The: see Hind Horn [Child 17] (File: C017)
===
NAME: Pale WIldwood Flower, The: see Wildwood Flower (File: JRSF248)
===
NAME: Palms of Victory (Deliverance Will Come)
DESCRIPTION: "I saw a wayward traveller in tattered garments clad... His back was heavy laden, his strength was almost gone, He shouted as he journeyed, 'Deliverance will come!" Whatever the trouble, the traveller's refrain is the same.
AUTHOR: Rev. John B. Matthias
EARLIEST_DATE: 1836 (original composition)
KEYWORDS: religious
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 626, "Palms of Victory' (1 fragment, 1 tune)
Randolph/Cohen, pp. 437-438, "Palms of Victory" (1 text, 1 tune -- Randolph's 626)
Warner 92, "Palms of Victory" (1 text, 1 tune)
DT, PALMSVIC
Roud #3540
RECORDINGS:
Linzy Hicks, "Palms of Victory" (on USWarnerColl01)
Homer Rodeheaver, "Palms of Victory" (Rainbow 1118, c. 1925)
CROSS_REFERENCES:
cf. "The Honest Farmer" (form)
File: R626
===
NAME: Pandora, The
DESCRIPTION: The Pandora "went down in Youghal Bay." On November 18 she sailed from Nova Scotia and, after seven days of heavy seas, sank after striking a rock. Captain Hardcastle "ordered out the longboat in hopes to reach the land" but many "perished in the deep"
AUTHOR: unknown
EARLIEST_DATE: 1943 (Ranson)
KEYWORDS: drowning sea ship storm wreck sailor
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, p. 11, "The Pandora" (1 text)
NOTES: Youghal Bay is in County Cork. Ranson: "'The Pandora' was a Wexford vessel ... homeward bound with timber."
The only Pandora listed by Bourke is a Wexford brig that sank December 15, 1848 (see Bourke in _Shipwrecks of the Irish Coast_ v1, p. 100)- BS
A more famous _Pandora_, an English warship sent out in late 1790 to search for the mutinous crew of the _Bounty_. On August, 1791 it struck a reef near the ill-fated island of Vanikoro and sank with large loss of life. Clearly not the inspiration of this song, but it might have added to the aura of ill fate about the name _Pandora_. There was also an 18-gun warship _Pandora_, wrecked February 13, 1811 off Jutland. - RBW
File: Ran011
===
NAME: Panic is On, The
DESCRIPTION: Singer says the country is falling apart; no one can get work; landlords are raising rents; women are selling fruit, booze, or "everything they can." I things don't change "there'll be some stealin' done." Cho: "Doggone...I mean the panic is on."
AUTHOR: Probably Hezekiah Jenkins
EARLIEST_DATE: 1931 (recording, Vic Collins [Hezekiah Jenkins])
LONG_DESCRIPTION: Singer says the country is falling apart; no one can get work, folks are homeless and walking the streets; landlords are raising rents and evicting those who can't pay; to support their men, women are selling fruit, booze, or "everything they can." Singer has pawned everything but his gun; if things don't change "there'll be some stealin' done." Chorus: "Doggone...I mean the panic is on."
KEYWORDS: poverty crime robbery unemployment hardtimes nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
DT, PANICON
Roud #15867
RECORDINGS:
Vic Collins [pseud. for Hezekiah Jenkins], "The Panic is On" (Columbia 14585-D, 1931)
NOTES: The Great Depression is usually considered to have begun with the crash of the stock market in 1929; however, conditions in rural areas had been depressed for several years before then. - PJS
File: DTpanico
===
NAME: Papa, Papa, Build Me a Boat: see The Sailor Boy (I) [Laws K12] (File: LK12)
===
NAME: Papa's Billy Goat: see Bill Grogan's Goat (File: SRW141)
===
NAME: Papa's Going to Buy Me a Mockingbird: see Hush, Little Baby (File: SBoA164)
===
NAME: Paper of Pins, (The): see The Keys of Canterbury (File: R354)
===
NAME: Papir Iz Doch Vays (Silver Is the Daylight)
DESCRIPTION: Yiddish: Daylight is silver, the sea is blue, and the singer's new love is bright. He hopes she will stay with him forever. None is as fair as she. He is tormented by love; all he wants is to be with her. If he is, any hut is a palace
AUTHOR: unknown
EARLIEST_DATE: 1950
KEYWORDS: love courting colors foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 292-293, "Papir Iz Doch Vays (Silver Is the Daylight)" (2 texts (1 English, 1 Yiddish), 1 tune)
File: SBoA292
===
NAME: Parcel from a Lady, The (Under Her Apron)
DESCRIPTION: Singer is hailed by a lady who asks him to hold her parcel while she finds her sister. He holds the parcel until his arms grow tired. He sets it down; it emits a squall; he finds a baby. He advises young men never to take a parcel from a lady
AUTHOR: unknown
EARLIEST_DATE: 1959 (recorded from Frank Hillier)
LONG_DESCRIPTION: Singer, walking down the strand, is hailed by a lady who asks him to hold her parcel while she goes to find her sister. He agrees, and holds the parcel until his arms grow tired. He then sets it down, and it emits a squall; he opens the parcel, and finds a baby. He advises young men never to take a parcel from a lady, or they might find themselves with an unwanted child
KEYWORDS: request warning abandonment humorous baby 
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Kennedy 328, "The Parcel from a Lady" (1 text, 1 tune)
Roud #898
CROSS_REFERENCES:
cf. "The Basket of Eggs" (plot) and references there
ALTERNATE_TITLES:
Rolled in her Apron
She roun't in her apron
NOTES: While the plot is certainly similar to those of "The Basket of Eggs" and "Quare Bungo Rye", this song does not share any lyrics with them (except, of course, for the word "baby"). - PJS
File: K328
===
NAME: Pardon Came Too Late, The
DESCRIPTION: "A fair-haired boy in a foreign land at sunrise was to die." The solder is captured while trying to desert. The pardon does not arrive in time to save him. After his death, his comrades learn that he had been trying to return to his dying mother
AUTHOR: Paul Dresser (1857-1906)
EARLIEST_DATE: 1927
KEYWORDS: death execution mother desertion soldier
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 709, "The Pardon Came Too Late" (1 text)
Spaeth-WeepMore, pp. 233-235, "The Pardon Came Too Late" (1 text, 1 tune)
Gilbert, pp. 311-312, "The Pardon Came Too Late" (1 text)
ST R709 (Full)
Roud #7375
RECORDINGS:
Vel Veteran [pseud. for either Arthur Fields, Vernon Dalhart or Irving Kaufman] "The Pardon Came Too Late" (Grey Gull 4237, 1928)
BROADSIDES:
NLScotland, RB.m.143(123), "The Pardon Came Too Late," Poet's Box (Dundee), c. 1880-1900
NOTES: For the story of Paul Dresser, see the notes to "On the Banks of the Wabash, Far Away." - RBW
File: R709
===
NAME: Parents, Warning: see The Silver Dagger (I) [Laws G21] (File: LG21)
===
NAME: Parish of Dunboe, The: see The Banished Lover (The Parish of Dunboe) (File: HHH023)
===
NAME: Parish of Dunkeld, The: see O What a Parish (The Parish of Dunkeld) (File: FVS217)
===
NAME: Parish of Inch, The
DESCRIPTION: On St Patrick's day the Teagues assembled at Downpatrick fair: "Protestant traitors with papists united Unfurled their green banners at Ballynahinch" and were confronted by the members of Four Hundred and Thirty, "the True Blues of the Parish of Inch"
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: Ireland nonballad political religious
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 22, "The Parish of Inch" (1 text, 1 tune)
NOTES: "Dictionary definition for 'Taig': Taig n. In Northern Ireland, a Protestant epithet for a Roman Catholic. Formerly, any Irishman. Also Teague." (source: Double-Tongued Word Wrester site.) "Lilliburlero" begins "Ho brother Teague, Dost hear de decree."
[The spelling "Teague" seems generally to be preferred; I suspect "Taig" is a result of local pronunciation. Eric Partridge's _A Dictionary of Slang and Unconventional English_, fifth edition, gives alternate spellings "Teg" and "Teigue," and derives it from the Irish surname "Tadhg," pronounced "Teeg." As "Teg," it appears in the anthology "Merry Drollery" in 1661; it is also used by Swift. Listed as archaic since 1879, but still used in Ulster as late as 1904. - RBW]
OrangeLark: "Inch had L.O.L. 430 and the song compares its gallant members with the bad Protestants 'who would change their faith for a British half-crown.' On a certain St Patrick's Day they proved their loyalty and dependability to the distress of their enemies."
For "True Blue" Masonic Lodges see Notes to "Derry Walls Away." - BS
File: OrLa022
===
NAME: Park in Portadown, The
DESCRIPTION: The singer meets a woman who knows him by name. He asks her to walk with him in the park in Portadown. She refuses; she is waiting for her cousin James McKeown. He receives a letter from his "dear" as Mrs James McKeown. Beware of girls willing to spark.
AUTHOR: unknown
EARLIEST_DATE: 1970 (Morton-Ulster)
KEYWORDS: courting lie rejection warning
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Ulster 18, "The Park in Portadown" (1 text, 1 tune)
Roud #2892
CROSS_REFERENCES:
cf. "Watercresses" (theme: the married woman pretending to be single)
NOTES: Morton-Ulster: "Portadown ... is a market town just below Lough Neagh." - BS
File: MorU018
===
NAME: Parrot Song, The: see Lady Isabel and the Elf Knight [Child 4] (File: C004)
===
NAME: Parsley Vine, The: see The Elfin Knight [Child 2] (File: C002)
===
NAME: Parson and the Clerk, The
DESCRIPTION: Parson preaches against sin; clerk  wants to do it. Parson denounces coveting gold, saying it's his fate to be well-paid. Clerk says, "Give it to me." Parson deplores boys kissing hussies; clerk says "I've done it myself and they're fond of it  too." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1949 (recorded from Phil Tanner)
LONG_DESCRIPTION: Parson preaches against various sins; clerk says he wants to do them. Parson denounces coveting gold, saying it's his fate to be well-paid. Clerk says, "Give it to me." He tells those sinned against to turn the other cheek; clerk says, "I'll break his nose." Parson deplores young boys kissing hussies; clerk says "I've done it myself and they're fond of it  too." Parson preaches temperance; clerk says "I am awfully dry."
KEYWORDS: virtue courting sin drink dialog humorous religious clergy worker
FOUND_IN: Britain(Wales)
REFERENCES: (1 citation)
Kennedy 235, "The Parson and the Clerk" (1 text, 1 tune)
Roud #1154
RECORDINGS:
Phil Tanner, "The Parson and the Clerk" (on FSB10)
CROSS_REFERENCES:
cf. "The Soldier and the Sailor" (theme)
cf. "The Mare and the Foal" (theme)
NOTES: Verse 6 of this song runs, "I bid you work and pray, And don't do all your parson does, But do as your parson say." Compare Matthew 23:3 -- "Do and obey what [the scribes and Pharisees] tell you, but not what they do, for they preach but do not practice."
It will presumably be obvious that "clerk" is pronounced "clark." - RBW 
File: K235
===
NAME: Parson Brown's Sheep
DESCRIPTION: A boy sings truly that his father killed the minister's wether. The minister hears the song and offers a reward to sing the song in church. The boy sings that he saw the minister in bed with his mother. The minister runs away. The family eats the wether.
AUTHOR: unknown
EARLIEST_DATE: before 1879 (broadside, LOCSinging sb30381a) [but notice that the earliest date on the sequel (broadside, Bodleian Harding B 11(82) is before 1867]
LONG_DESCRIPTION: A family had nothing to eat for Christmas and followed the son's plan to lure and kill the minister's fat wether. Alone in the wood the boy sang about the deed. The minister heard the song and offered the poor boy a reward to sing that song in church. At Christmas service the minister promised the full congregation that a boy would come and sing a true song. The boy sang that he saw the minister in bed with his mother [Are we to assume that the minister's objective had been to eliminate the father's competition by having him hanged?]. (In other versions, the minister is in bed with "Molly" or some other girl.) The minister ran away with the boy running after claiming his reward [but, though he sang a true song, it was not the song contracted; we do not hear that he collected]. The family ate the wether.
KEYWORDS: adultery accusation promise theft trick food hardtimes humorous sheep family clergy
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 309, "The Minister's Wedder" (4 texts, 3 tunes)
Roud #2498
BROADSIDES:
Bodleian, Harding B 11(2955), "Parson Brown's Sheep" ("Not long ago in our town"), H. Such (London), 1863-1885; also Harding B 11(2952), "Parson Browns' Sheep"; Johnson Ballads 2743, "Parson Brown"
LOCSinging, sb30381a, "Old Parson Brown," H. De Marsan (New York), 1864-1878
ALTERNATE_TITLES:
The Minister and His Wether
The Parson's Fat Wedder
NOTES: The LOCSinging and Bodleian broadsides tell the story, alternating verse and prose, with many more details but sharing no lines with GreigDuncan2 texts. In these the boy explains that the father is old and out of work; the parson sets the dog on the boy when he asks for help; the part about the parson overhearing the first song agrees well enough; the parson pledges to the congregation the truth of what is about to be heard ("it's of a most notorious and outrageous crime as ever was committed, and ought to be severely punished, and every word that he says is as true as the gospel I am now preaching"); the new song is not about the parson and mother but rather about the parson "Romping Molly on the hay." The GreigDuncan2 texts seem to be a badly remembered retelling of "Parson Brown's Sheep," which seems to me a stage piece.
There is a sequel broadside as well for "Parson Brown's Sheep." See Bodleian, Harding B 11(82), "Encore Verses" or "The Answer to Parson Brown's Sheep" ("My thanks accept kind friends"), J. Harkness (Preston), 1840-1866; also Bodleian, 2806 c.16(241), "Encore Verses" or "The Answer to Parson Brown's Sheep"; Bodleian, Johnson Ballads 678, "Second edition of Parson Brown's Sheep" [Parson Brown arranges that the boy marry Molly, upon whom the Parson has bestowed a dowery of three hundred golden sovreigns. They live happily ever after. Like the original, this piece alternates recitation and verse.]
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: GrD2309
===
NAME: Parson Upon Dorothy: see references under "The Knight and the Shepherd's Daughter" [Child 110] (File: C110)
===
NAME: Parting Friends: see Farewell My Friends (Parting Friends; I'm Bound for Canaan) (File: LxA564)
===
NAME: Parting Glass, The
DESCRIPTION: The singer has done some ills and foolish things, but never with ill purpose and only to himself. He misses his girl. He would spend money on good company if he had it. Conclusion: "So fill to me the parting glass, Goodnight and joy be with you all."
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian 2806 c.15(114))
KEYWORDS: drink farewell nonballad
FOUND_IN: Ireland Canada(Newf)
REFERENCES: (5 citations)
SHenry H769, p. 65, "The Parting Glass" (1 text, 1 tune)
OLochlainn 69, "The Parting Glass" (1 text, 1 tune)
Peacock, pp. 573-574, "The Parting Glass" (1 text, 1 tune)
DT, PARTGLAS*
ADDITIONAL: Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 82-83, "The Parting Glass" (1 text, 1 tune)
Roud #3004
RECORDINGS:
The Clancy Brothers and Tommy Makem, "The Parting Glass" (on IRClancyMakem01)
BROADSIDES:
Bodleian, 2806 c.15(114), "The Parting Glass," J.F. Nugent & Co. (Dublin) , 1850-1899; also Harding B 26(498), Harding B 26(499), 2806 c.15(13), Harding B 19(89), "The Parting Glass"
CROSS_REFERENCES:
cf. "Over the Hills to My Nanny, O" (tune, per broadsides Bodleian 2806 c.15(114), Bodleian 2806 c.15(13), Bodleian Harding B 19(89))
NOTES: This song is lyric enough that it can import elements from almost anywhere; the Sam Henry version, for instance, starts with a verse best known from "The Barnyards o' Delgaty"  ("I can drink and no be drunk..."), and also includes a bit of "My Dearest Dear." I suspect there are versions which elaborate on the girl the singer can't have. - RBW
Description from Peacock's version: She hopes he won't go far away. He intends to leave her "when and where all stormy winds blow."  She dreams he has been "pressed ... gone on board ... to serve his royal majesty." - BS
File: HHH769
===
NAME: Parting Lovers, The: see Farewell, Sweetheart (The Parting Lovers) (File: R756)
===
NAME: Parting of Burns and Highland Mary, The: see Burns and His Highland Mary [Laws O34] (File: LO34)
===
NAME: Parting Words
DESCRIPTION: "When the parting words were spoken And I told him he was free... I am free, oh, free again...." She has seen him with another; accuses him of falsehood, says she will be true; he wipes away a tear, murmuring, "Life is nothing more to me."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: love courting betrayal floatingverses
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 160, "Parting Words" (1 text)
Roud #6576
CROSS_REFERENCES:
cf. "Farewell He" (plot)
cf. "Ella Lea" (floating lyrics)
cf. "Thou Hast Learned to Love Another" (floating lyrics)
cf. "Faded Flowers" (floating lyrics)
NOTES: A rather confused piece; the overall plot is very much like "Farewell He," but with the strange report of his despair at the end. Many of the lyrics float; see the cross-references. - RBW
File: BrII160
===
NAME: Partizaner Lid (The Partisan)
DESCRIPTION: Yiddish: The guerrilla is advised to use (her) weapon well. A girl is going on her first raid. She kills an enemy soldier, and his vehicle crashes. She rejoices in her success in "a struggle all must share"
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: war battle death rebellion foreignlanguage
FOUND_IN: 
REFERENCES: (1 citation)
Scott-BoA, pp. 360-361, "Partizaner Lid (The Partisan)" (2 texts (1 English, 1 Yiddish), 1 tune)
NOTES: World War II saw more partisan activity than any previous war, mostly because the Nazis so cruelly oppressed their victims. Perhaps the largest guerrilla forces were raised in Poland, where Jews were plentiful and even the Christians were treated as animals.
Toward the end of the war, as the Russians approached Warsaw, the Polish resistance arose and recaptured the city. This was the greatest accomplishment of the partisans in the entire war.
Sadly, at that very moment the Russians stopped their advance. Stalin said his armies needed to regroup. In fact, he was allowing the Nazis the chance to crush the Warsaw uprising so he wouldn't have to do it himself.
The Nazis did their part, then the Russians moved in. Tens of thousands of Poles had died for nothing. - RBW
File: SBoA360
===
NAME: Party in Alpena, The: see Way Down Near Alpena (File: Be039)
===
NAME: Pass Around the Bottle (As We Go Marching Home)
DESCRIPTION: "Pass around the bottle and we'll all take a drink (x2) As we go marching home." "Pull out the stopper and fill it up again." "Hang John Brown on a sour apple tree." "Grasshopper sitting on a sweet potato vine." Etc.
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Gid Tanner & his Skillet Lickers)
KEYWORDS: drink floatingverses Civilwar execution drink nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 34, "Pass Around the Bottle" (1 text)
Roud #7858
RECORDINGS:
Al Bernard, "Pass Around the Bottle" (Van Dyke 5115, c. 1930)
Georgia Yellow Hammers, "Pass Around the Bottle" (Victor 20550, 1927; Montgomery Ward M-8054, 1939)
Sim Harris, "Pass Around the Bottle" (Oriole 916, 1927)
North Carolina Hawaiians, "Pass Around the Bottle" (OKeh 45405, 1930; rec. 1928)
Ernest Stoneman, "Pass Around the Bottle" (Banner 2157/Domino 3985/Regal 8346/Homestead 16490 [as by Sim Harris], c. 1929/Oriole 916 [as by Harris]/Challenge 665/Conqueror 7064/Conqueror 7755, 1931/Paramount 3021/Broadway 8054, c. 1930; rec. 1927) Pathe 32278/Perfect 12357/Cameo 8217/Romeo 597/Lincoln 2882, 1927); "Hang John Brown" (on Stonemans01); (Edison, unissued, 1927)
Gid Tanner & his Skillet Lickers, "Pass Around the Bottle and We'll All Take a Drink" (Columbia 15074-D, 1926)
Walter Williams, "Pass Around the Bottle" (AFS, 1937; on KMM)
CROSS_REFERENCES:
cf. "Marching On" (lyrics)
cf. "John Brown's Body" (tune & meter) and references there
NOTES: Since this is almost entirely floating verses, with a floating chorus, it probably is actually a version of something else. But without a tune, we can't really tell what.
Paul Stamler tells me that Gid Tanner recorded this to the tune of "John Brown's Body." However, this does not fit the text printed by Brown (which is only three lines long rather than four). - RBW
File: Br3034
===
NAME: Pass the Drunkard By: see Short Life of Trouble (File: RcSLOT)
===
NAME: Pass Under the Rod
DESCRIPTION: The singer variously sees "a young bride in her beauty and pride," a "young mother in tenderness band," and parents falling victim to "idolatrous love," but a Healer came to rescue them, saying "I love thee, I love thee, pass under the rod."
AUTHOR: Mrs. M. S. B. Dana (?)
EARLIEST_DATE: 1905 (Heart Throbs)
KEYWORDS: religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 650, "Pass Under the Rod" (2 texts)
Roud #7571
NOTES: As best I can tell, the phrase "pass under the rod" is an allusion to the King James Version text of Ezekiel 20:37, which refers to bringing transgressors back into the covenant. Leviticus 27:32 uses the same phrase (referring to the holy tithes of animals), but this strikes me as even more of a stretch. - RBW
File: R650
===
NAME: Passant par Paris (Passing through Paris)
DESCRIPTION: French capstan song. Singer is passing through Paris, when he's told that someone is courting his girl. He says he doesn't care, anyone can have her, and goes on to list all the other good things that he has/had.
AUTHOR: unknown
EARLIEST_DATE: 1927 (Hayet, _Chansons de bord_)
LONG_DESCRIPTION: French capstan song. Singer is passing through Paris, when he's told that someone is courting his girl. He says he doesn't care, anyone can have her, and goes on to list all the other good things that he has/had. Sung as a typical French call & response form where the first line of a verse is a repeat of the last line of the previous verse, with choruses interspersed. Chorus of this song is "Bon! bon! bon! Le bon vin m'endort, l'amour me reveille / Good! good! good! The good wine makes me sleep, but love wakes me up."
KEYWORDS: foreignlanguage shanty love bragging
FOUND_IN: France
REFERENCES: (1 citation)
Hugill, pp. 414-416, "Passant par Paris" (2 texts-French & English, 1 tune)
File: Hugi414
===
NAME: Pastoral Elegy
DESCRIPTION: "What sorrowful sounds do I hear Move slowly along in the gale?... Sweet Coroden's notes are all o'er, How lonely he sleeps in the clay." Caroline describes the flowers by his grave and plans to haunt the woods "Since Coroden hears me no more"
AUTHOR: unknown
EARLIEST_DATE: 1835 (Missouri Harmony)
KEYWORDS: death burial rambling
FOUND_IN: US(MW)
REFERENCES: (1 citation)
LPound-ABS, 95, pp. 203-204, "Pastoral Elegy" (1 text)
Roud #4662
CROSS_REFERENCES:
cf. "Corydon and Phoebe" (theme)
NOTES: This is clearly a folk remnant of the many Corydon-and-Phyllis/Phyllida/Chloris pastoral romances so common in the broadsides. I have not been able to find a broadside source, but this is nearly the only traditional survival of one of these pieces. (I thought the only one until Paul Stamler pointed out "Corydon and Phoebe.")
For which we should all be heartily thankful.
The song does appear, under the "Pastoral Elegy" title, in the 1835 edition of the "Missouri Harmony," and this, or some equivalent version, is probably ancestral to the text Pound collected. - RBW
File: LPnd203
===
NAME: Pastures of Plenty
DESCRIPTION: "It's a mighty hard road that my poor hands has hoed." The singer describes the hard work in the fields and the life of the (migrant) field worker. The singer promises to fight if need be, "'Cause my Pastures of Plenty must always be free."
AUTHOR: Woody Guthrie
EARLIEST_DATE: 1953
KEYWORDS: work farming travel migrant freedom nonballad derivative
FOUND_IN: US
REFERENCES: (2 citations)
Greenway-AFP, pp. 293-294, "Pastures of Plenty" (1 text)
DT, PASTPLEN
Roud #16377
RECORDINGS:
Woody Guthrie, "Pastures of Plenty" (on AmHist2)
CROSS_REFERENCES:
cf. "Pretty Polly (II)" (tune)
File: Grnw293
===
NAME: Pat and the Gauger
DESCRIPTION: Paddy lands with a 6-gallon whisky keg. A gauger asks to see his permit. Says Pat, "It's unconvenient to show it." The gauger takes the "smuggled" keg and sweats lugging it toward Customs House. At his own house Pat shows the permit and takes the keg
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: drink humorous trick work
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 78, "Pat and the Gauger" (1 text, 1 tune)
ST CrSNB078 (Partial)
Roud #2765
NOTES: I repeat Bob Waltz's comment from "The Gauger": It appears, in this case, that "gauger" is used in its sense of "revenue officer," though the secondary sense of one who is very aware of his own interests also fits. - BS
File: CrSNB078
===
NAME: Pat Brady
DESCRIPTION: Pat Brady's father is taken prisoner and hanged without any crime. Pat vows revenge. He takes part in the rebellion at Gorey, Wicklow, New Ross, and Vinegar Hill, is taken in Rathangan, and condemned to hang for high treason.
AUTHOR: unknown
EARLIEST_DATE: before 1886 (broadside, Bodleian 2806 b.10(15))
KEYWORDS: rebellion battle death execution Ireland lament patriotic
HISTORICAL_REFERENCES: 1798 - the Irish Rebellion
June 4 - Wexford rebels capture Gorey (which loyalists had abandoned a week earlier)
June 5, 1798 - The Wexford rebels attack the small garrison (about 1400 men, many militia) at New Ross, but are repelled
June 9, 1798 - Battle of Arklow. Father John Murphy tries to fight his way into Wicklow, but fails and suffers heavy casualties
June 21, 1798 - The rebel stronghold a Vinegar Hill is taken, and the Wexford rebellion effectively ended
FOUND_IN: Ireland
REFERENCES: (2 citations)
OLochlainn 53A, "The Lamentations of Patrick Brady" or "The Heroes of Ninety-Eight" (1 text, 1 tune)
Moylan 67, "The Lamentation of Patrick Brady" (1 text, 1 tune)
Roud #3071
BROADSIDES:
Bodleian, 2806 b.10(15), "Pat Brady" ("Ye true born heroes, I hope you will lend an ear"), W.S. Fortey (London), 1858-1885; also 2806 b.10(13), "Pat Brady"
CROSS_REFERENCES:
cf. "The Banishment of Patrick Brady" (theme)
cf. "Boulavogue" (historical setting)
cf. "Father Murphy (I)" (subject of Father Murphy) and references there
File: OLoc053A
===
NAME: Pat Malloy [Laws Q24]
DESCRIPTION: Pat, the singer, reports that his mother (burdened with thirteen children) at last had to send him out to fend for himself. He visits England and America, sending his earnings home. Finally he prepares to return to Ireland and his sweetheart Molly
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, LOCSinging sb40549a)
KEYWORDS: mother emigration love return Ireland
FOUND_IN: US(SE) Ireland
REFERENCES: (4 citations)
Laws Q24, "Pat Malloy"
O'Conor, p. 116, "Pat Malloy" (1 text)
Scarborough-SongCatcher, pp. 333-335, "Pat Malloy" (1 text; tue on pp. 447-448)
DT 533, PATMOLOY
Roud #8809
BROADSIDES:
Bodleian, 2806 c.9(28), "Pat Molloy," W.S. Fortey (London), 1858-1885; also 2806 b.11(24), "Pat Molloy!"; 2806 c.8(191), Johnson Ballads 3061, "Pat Malloy"
LOCSinging, sb40549a, "Pat Malloy," H. De Marsan (New York), 1861-1864
CROSS_REFERENCES:
cf. "Return of Pat Molloy" (character of Pat Malloy/Molloy)
NOTES: Laws calls this "Pat Malloy," which we follow, but the name "Pat Molloy" is at least as common -- and it seems to have been the basis for the (probable) sequel "Return of Pat Molloy." Laws mentions a sequel, "Molly's Welcone to Pat Malloy." I haven't yet found a copy of this, so I don't know if it is the same as the other sequel, "Return of Pat Molloy." - RBW
Broadside LOCSinging sb40549a: 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: LQ24
===
NAME: Pat Malone: see The Irish Wake [Laws Q18] (File: LQ18)
===
NAME: Pat Malone Forgot that He Was Dead: see The Irish Wake [Laws Q18] (File: LQ18)
===
NAME: Pat Malony's Family
DESCRIPTION: Mike Malony marries Molly Higgins. "She'd as many relations as fishes in the sea, They ate me out of house and home." The family, including the "seventeen hundred babies... grandmothers and mothers-in-law" are numbered and named.
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: marriage humorous food clothes ordeal family moniker
FOUND_IN: Ireland
REFERENCES: (1 citation)
O'Conor  p. 128, "Pat Malony's Family" (1 text)
CROSS_REFERENCES:
cf. "The Poor Hard-Working Man" (theme)
File: OCon128
===
NAME: Pat Murphy: see I Don't Mind If I Do (File: MA263)
===
NAME: Pat Murphy of the Irish Brigade
DESCRIPTION: "Said Pat to his mother, "It looks strange to see, Brothers fighting in such a queer manner." But Pat joins the Union army. He goes to battle still singing, but is shot and dies "far from the land of shillelagh."
AUTHOR: unknown
EARLIEST_DATE: before 1865 (broadside, Bodleian Harding B 31(118))
KEYWORDS: Civilwar death battle foreigner
FOUND_IN: US
REFERENCES: (3 citations)
Silber-CivWar, p. 22-23, "Pat Murphy of the Irish Brigade" (1 text, 1 tune)
DT, SHILLELA
ADDITIONAL: _Sing Out_ magazine, Volume 23, #3 (1974), p. 18, "Pat Murphy" (1 text, 1 tune, based primarily on the early broadsides)
Roud #11630
BROADSIDES:
Bodleian, Harding B 31(118), "Pat Murphy of Meagher's Brigade", H. De Marsan (New York), 1861-1864 
LOCSinging, sb30412b, "Pat Murphy of Meagher's Brigade", H. De Marsan (New York), 1861-1864 
CROSS_REFERENCES:
cf. "By the Hush" (subject)
SAME_TUNE:
Think of Your Head in the Morning (per broadsides LOCSinging sb30412b and Bodleian Harding B 31(118))
ALTERNATE_TITLES:
Song of the Splintered Shillelagh
NOTES: In at least one sense, this song is quite accurate historically. The Army of the Potomac's famous "Irish Brigade" (63 NY, 69 NY, 88 NY; 28 Mass and 116 PA added later) had the highest casualty rate of any unit in the army in the early years of the war. By Gettysburg, the brigade had only 600 men (out of over 4000 originally enrolled), and the three New York regiments had fewer than a hundred men a piece -- a casualty rate in excess of 90%. - RBW
Broadsides LOCSinging sb30412b and Bodleian Harding B 31(118) are duplicates.
Broadsides LOCSinging sb30412b and Bodleian Harding B 31(118): 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: SCW22
===
NAME: Pat O'Brien [Laws P39]
DESCRIPTION: Pat asks Nancy to meet him. Having decided not to marry her, he stabs her. Her ghost tells her mother of the crime. Her body is found and Pat arrested. The ghost keeps appearing to him, finally inducing him to confess. He is hanged
AUTHOR: unknown
EARLIEST_DATE: 1909 (GreigDuncan2)
KEYWORDS: murder ghost execution gallows-confession
FOUND_IN: US(NE) Ireland Britain(Scotland(Aber))
REFERENCES: (4 citations)
Laws P39, "Pat O'Brien"
GreigDuncan2 203, "Pat O'Brien" (1 text)
Munnelly/Deasy-Lenihan 10, "Pat O'Brien" (1 text, 1 tune)
DT 516, PATOBRI
Roud #1919
CROSS_REFERENCES:
cf. "The Cruel Ship's Carpenter (The Gosport Tragedy; Pretty Polly) [Laws P36A/B]" (theme)
NOTES: "The Cruel Ship's Carpenter" is just the first similar ballad that came to mind.  As Munnelly notes, "it is a classic of the type of murder ballads which eminated from the popular broadsheet presses of the 19th century."  Munnelly also remarks on the "popularity of this song in oral tradition."  I don't have a broadside example yet. - BS
File: LP39
===
NAME: Pat O'Donnell
DESCRIPTION: Pat O'Donnell, "a deathly foe to traitors," sails from Ireland for Capetown on the Melrose. The informer James Kerry is also on board. Pat kills Kerry in a gunfight and is convicted of murder, though he claims self defence.
AUTHOR: unknown
EARLIEST_DATE: 1883 (Zimmermann)
KEYWORDS: emigration murder trial Ireland patriotic
HISTORICAL_REFERENCES: May 6, 1882 - Chief Secretary Lord Frederick Cavendish and the Under Secretary Thomas Henry Burke are murdered by a group calling themselves "The Invincible Society."
January 1883 - twenty seven men are arrested.
James Carey, one of the leaders in the murders, turns Queen's evidence.
Six men are condemned to death, four are executed (Joseph Brady is hanged May 14, 1883; Daniel Curley is hanged on May 18, 1883), others are "sentenced to penal servitude," and Carey is freed and goes to South Africa.
July 29, 1883 - Patrick O'Donnell kills Carey on board the _Melrose Castle_ sailing from Cape Town to Durban.
Dec 1883 - Patrick O'Donnell is convicted of the murder of James Carey and executed in London (per Leach-Labrador)
(Source for The Phoenix Park murders: primarily Zimmermann, pp. 62, 63, 281-286)
FOUND_IN: Canada(Mar, Newf) Ireland
REFERENCES: (5 citations)
Leach-Labrador 42, "Pat O'Donnell" (1 text, 1 tune)
Manny/Wilson 86, "Patrick O'Donnell" (1 text, 1 tune)
OLochlainn 44A, "Pat O Donnell" (1 text, 1 tune)
Zimmermann 86, "Patrick O'Donnell" (1 text)
Morton-Maguire 54, pp. 150-151,176, "Pat O'Donnell" (1 text, 1 tune)
ST LLab042 (Partial)
Roud #2794
RECORDINGS:
Marie Hare, "Patrick O'Donnell" (on MRMHare01)
CROSS_REFERENCES:
cf. "The Phoenix Park Tragedy" (subject: the Phoenix Park murders) and references there
NOTES: Zimmermann p. 62: "The Phoenix Park murders and their judicial sequels struck the popular imagination and were a gold-mine for ballad-writers: some thirty songs were issued on this subject, which was the last great cause to be so extensively commented upon in broadside ballads." - BS
File: LLab042
===
NAME: Pat O'Hara
DESCRIPTION: "I am an Irish boy, and my heart is full of joy... I'm the rattling, rowling, teasing Pat O'Hara." The girls are always chasing Pat. He loves Ireland "tho' the times have changed this while in dear ould Erin's isle, And many have had to wander"
AUTHOR: unknown
EARLIEST_DATE: before 1900 (broadside, Bodleian Firth c.16(216))
KEYWORDS: bragging courting Ireland nonballad rake
FOUND_IN: 
REFERENCES: (1 citation)
O'Conor, pp. 20-21, "Pat O'Hara" (1 text)
Roud #9697
BROADSIDES:
Bodleian, Firth c.16(216), "Pat O'Hara", T. Pearson (Manchester), 1850-1899; also Firth c.26(194), "Pat O'Hara"
File: OCon020
===
NAME: Pat O'Reilly
DESCRIPTION: Pat O'Reilly intends to go to America, make a fortune, and return to Tyrone. Pat promises to marry Ann McCormick when he returns. She has him arrested and lies at the trial. He is condemned to "die on the gallows tree"
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor)
KEYWORDS: courting accusation lie death lover trial execution emigration
FOUND_IN: Canada(Newf) Ireland US(MW)
REFERENCES: (3 citations)
Peacock, pp. 159-160, "Pat O'Reilly" (1 text, 1 tune)
O'Conor  p. 35, "Patrick Reilly" (1 text) 
Dean, pp. 7-8, "Patrick Riley" (1 text)
Roud #5494
File: Pea159
===
NAME: Pat of Mullingar
DESCRIPTION: "They may talk of Flying Childers" and other fast horses but none compares to the filly that drags Pat Mulingar's jaunting car. She won cups but "lost an eye at Limerick and an ear at Waterloo... She's gentle as the dove sirs, her speed you can't deny"
AUTHOR: unknown
EARLIEST_DATE: before 1862 (broadside, Bodleian Harding B 15(234b))
KEYWORDS: racing horse
HISTORICAL_REFERENCES: June 18, 1815 - Battle of Waterloo
FOUND_IN: Ireland
REFERENCES: (2 citations)
O'Conor, p. 10, "Pat of Mullingar" (1 text)
OLochlainn 90, "Pat of Mullingar" (1 text, 1 tune)
Roud #3067
BROADSIDES:
Bodleian, Harding B 15(234b), "Pat of Mullingar", J.O. Bebbington (Manchester), 1858-1861; also 2806 c.15(130), Harding B 11(2967), 2806 b.11(121), "Pat of Mullingar"; Harding B 26(503), Harding B 19(91), "Pat of Mullinger"
NOTES: Flying Childers, born in 1714, "is considered the first truly great racehorse in the history of the Thoroughbred." (source: Thoroughbred Heritage site) - BS
File: OCon010
===
NAME: Pat Reilly: see Johnny Gallagher (Pat Reilly) (File: Pea469)
===
NAME: Pat Works on the Railway: see Paddy Works on the Railway (File: LxU076)
===
NAME: Pat's Wedding
DESCRIPTION: "O come in, man, and let's hear your cracks; I heard ye was o'er at the wedding O aye, man, indeed I was that, And I lent them a hand at the bedding." The singer describes Pat, "a comical body"; Rob, "the greedy hash"; etc.
AUTHOR: unknown
EARLIEST_DATE: 1916 (Gardner/Chickering)
KEYWORDS: wedding food nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 166, "Pat's Wedding" (1 expurgated text)
ST GC166 (Partial)
Roud #3705
NOTES: This may well be a fragment of some sort of song such as "The Blythesome Bridal," about an uproarious wedding. But it appears a bit fragmentary, and the omission of a verse at the end doesn't help. I file it separately until something clearly related shows up, and so does Roud. - RBW
File: GC166
===
NAME: Patie's Waddin': see Patie's Wadding (Petie's Wedding) (File: HHH200)
===
NAME: Patie's Wadding (Petie's Wedding)
DESCRIPTION: Petie comes to Meg to ask if she will marry. She consents but directs him to her father. Petie asks her father, pointing out that he has relatively little. The father consents to the wedding, and to pay for the feast
AUTHOR: unknown
EARLIEST_DATE: 1899 (Ford)
KEYWORDS: wedding father food
FOUND_IN: Ireland Britain(Scotland(Aber))
REFERENCES: (2 citations)
GreigDuncan3 616, "Patie's Wedding" (4 texts, 4 tunes)
SHenry H200, pp. 470-471, "Petie Cam' ower the Glen" (1 text, 1 tune)
Roud #5514
ALTERNATE_TITLES:
Patie Cam' Doon the Glen
NOTES: One has to wonder what is going on beneath the surface here -- the father seems awfully eager to get rid of his daughter.... - RBW
File: HHH200
===
NAME: Patie's Wedding: see Patie's Wadding (Petie's Wedding) (File: HHH200)
===
NAME: Patie's Wedding (II)
DESCRIPTION: The singer tells of attending Patie's wedding. There was lots of food but the singer sat next to a glutton. They had to give the fiddler a toddy so he could play. Everyone danced until "they'd a' got their fill," then "repaired to the beddin'"
AUTHOR: unknown
EARLIEST_DATE: 1906 (GreigDuncan3)
KEYWORDS: wedding dancing drink fiddle food music nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #151, p. 2, "Patie's Weddin'" (1 text)
GreigDuncan3 607, "The Wedding" (3 texts, 2 tunes)
Roud #2620
NOTES: GreigDuncan3 and Greig suggest that Stokoe/Reay, pp. 24-26, "The Skipper's Wedding" may be this song. I see no relationship between these songs (no shared lines, for example) except the subject: a wedding with lots of food. - BS
File: GrD3607
===
NAME: Patrick O'Donnell: see Pat O'Donnell (File: LLab042)
===
NAME: Patrick O'Neal
DESCRIPTION: Patrick goes to visit a cousin, and -- being mistaken for a sailor in disguise -- is taken by a press gang. Aboard ship, he proves utterly inept and meets many surprises. His ship defeats a Frenchman in battle. With peace, Patrick gets to go home
AUTHOR: unknown
EARLIEST_DATE: 1829 (Northern Minstrel)
KEYWORDS: ship pressgang sailor humorous escape
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H552, pp. 102-103, "Patrick O'Neal" (1 text, 1 tune)
ST, PATNEAL
Roud #13368
File: HHH552
===
NAME: Patrick Reilly: see Pat O'Reilly (File: Pea159)
===
NAME: Patrick Riley: see Pat O'Reilly (File: Pea159)
===
NAME: Patrick Sheehan [Laws J11]
DESCRIPTION: Patrick and his family are forced from their home by the landlord. His mother dies in the poorhouse. Patrick has little choice but to join the British army. He is blinded at Sevastopol, and ends as a wandering beggar
AUTHOR: Charles Joseph Kickham  ("Darby Ryan, Junior") (1828-1882)
EARLIEST_DATE: 1857 ("First printed in The Kilkenny Journal, 7th October, 1857," according to Zimmermann)
KEYWORDS: war death family father begging injury
HISTORICAL_REFERENCES: 1853-1856 - Crimean War (Britain and France actively at war with Russia 1854-1855)
FOUND_IN: US(MW,NE) Australia Ireland
REFERENCES: (10 citations)
Laws J11, "Patrick Sheehan"
Meredith/Anderson, pp. 88-89, "Paddy Sheahan" (1 text, 1 tune)
Zimmermann 63, "Patrick Sheehan" (1 text, 1 tune)
Munnelly/Deasy-Lenihan 39, "Patrick Sheehan" (2 texts, 1 tune)
O'Conor, p. 72, "Patrick Sheehan" (1 text)
Healy-OISBv2, pp. 115-117, "Patrick Sheehan" (1 text)
Dean, pp. 3-4, "Patrick Sheehan" (1 text)
cf. Gardner/Chickering, p. 481, "Patrick Sheehan" (source notes only)
DT 750, PATSHEEN*
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 214-216, 502, "Patrick Sheehan"
Roud #983
RECORDINGS:
Vincie Boyle, "Patrick Sheehan" (on IRClare01)
BROADSIDES:
Bodleian, 2806 b.11(48), "Patrick Shean" or "The Glen of Aherloe," H. Such (London), 1863-1885; also 2806 b.10(204), Firth c.14(124), "Patrick Shean" or "The Glen of Aherloe"; 2806 c.8(300), "Patrick Sheehan" or "The Glen of Aherlow"
CROSS_REFERENCES:
cf. "Lovely Jamie" (plot)
NOTES: The author attribution to Charles Kickham is from the Bodleian broadsides cited.
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 8" - 1.3.03, re "The Glen of Atherlow" instrumental: "Text written by Charles Joseph Kickham (1828 - 1882), who based it on a true story of one Patrick Sheehan who was blinded at Sebastopol. Sheehan was later jailed for begging in Grafton Street, Dublin, his British army pension having expired after six months. Kickham's poem was first published in 1857."
Zimmermann: "On 28th September, 1857, _The Freeman's Journal_ published the following information: 'A young man named Patrick Sheehan was brought up in custody of Police-constable Lynam, charged with causing an obstruction to the thoroughfare in Grafton-street. The constable stated that the prisoner was loitering in Grafton-street for the purpose of begging, having a placard on his breast setting forth that he had served in the Crimea in the 55th regiment; that he had lost his sight in the trenches before Sebastopol, and that he was discharged on a pension of six pence per day for nine months; and that this period being now expired, he was now obliged to have recourse to begging to support himself. A Crimean medal was found on his person... The prisoner was committed for seven days for begging.'"
Notes to IRClare01: "The ballad was soon to be heard in the streets all over Ireland, and was thought to have shamed the government into enquiring about the ex-soldier, to whom a life pension of a shilling a day was granted." - BS
Kickham's most important work is generally considered to be the novel _Knocknagow._ His dates seem to have caused some uncertainty; Laws quotes Barry to the effect that he was born in 1826; earlier editions of the Index quoted a birthdate of 1825, on what basis I no longer recall. But the majority of my references give his birth date as 1828.
Kickham had seemed destined for a career as a doctor when a shooting accident left him half-blind, almost deaf, and badly disfigured. He nonetheless became a successful author and poet -- and a vigorous nationalist, strongly attacking the Catholic church for its passivity in the quest for Irish independence.
By 1848, he was involved in nationalist causes. In 1861, he joined the Fenian Brotherhood, which evolved into the Irish Republican Brotherhood. Around 1873, he became president of the IRB's Supreme Council, holding the post until his death and rebuilding it after the debacle of the Fenian Rebellion.
It will be evident that his personal experiences contributed at least somewhat to the content of this song, though Kickham's family was sufficiently well-off that there was never any threat of him being forced from his home.
Healy-OISBv2, pp. 159-160, prints a piece, "The Immortal Kickham Is No More." There is no evidence that it's traditional, but it shows his historical importance. - RBW
File: LJ11
===
NAME: Patrick Spencer: see Sir Patrick Spens [Child 58] (File: C058)
===
NAME: Patriot Mother, The
DESCRIPTION: "'Come tell us the name of the rebelly crew Who lifted the pike on the Curragh with you.'" The captured rebel's mother tells the young man that she would rather see him dead than turn traitor. He holds fast and is hanged
AUTHOR: Mary Eva Kelly (1826-1910) (source: Moylan)
EARLIEST_DATE: 1888 (Sparling)
KEYWORDS: prisoner mother children Ireland patriotic execution
FOUND_IN: 
REFERENCES: (3 citations)
PGalvin, pp. 85-86, "The Patriot Mother" (1 text, 1 tune)
Moylan 54, "The Patriot Mother" (1 text, 1 tune)
ADDITIONAL: H. Halliday Sparling, Irish Minstrelsy (London, 1888), pp. 393-394, "The Patriot Mother"
NOTES: Sparling, re Eva Mary Kelly (p. 502): "One of the poetesses of the _Nation_." Sparling does not credit her with "The Patriot Mother." - BS
File: PGa085
===
NAME: Patriot Queen, The
DESCRIPTION: Singer meets a beautiful woman who identifies herself as Ireland. "The bigoted tyrant I'll humble" "I have noble fine brave men ... Preparing to fight for my name; I have noble O'Connell my leader, And millions of heroes at home"
AUTHOR: unknown
EARLIEST_DATE: first half 19C (Zimmermann)
KEYWORDS: beauty Ireland nonballad patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 26, "The Patriot Queen" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Pretty Maid Milking Her Cow"("Cailin deas cruidhte na mbo") (tune, Zimmermann)
cf. "Erin's Green Shore" [Laws Q27] (theme: beautiful woman to rally Erin)
File: Zimm026
===
NAME: Pattonia, the Pride of the Plains [Laws B12]
DESCRIPTION: Rangers at a frontier post are hard-pressed by Indians. The commander sends the singer to get help. His swift horse Pattonia carries him through to safety, even though an arrow has pinned his foot to the stirrup
AUTHOR: unknown
EARLIEST_DATE: 1931
KEYWORDS: horse injury Indians(Am.)
FOUND_IN: US(So,SW) Canada(Ont)
REFERENCES: (6 citations)
Laws B12, "Pattonia, the Pride of the Plains"
Randolph 207, "Pattonia, the Pride of the Plains" (1 text)
Larkin, pp. 116-118, "Plantonio" (1 text, 1 tune)
Fife-Cowboy/West 67, "Pattonio" (1 text, 1 tune)
Ohrlin-HBT 23, "Platonia" (1 text, 1 tune)
DT 708, PATTONIO
Roud #3236
NOTES: As far as I know, no one knows the source of this ballad, and the author is unknown.
There is, however, a fairly close historical parallel told of none other than Wild Bill Hickok. Bill O'Neal, _Encyclopedia of Western Gunfighters_, pp. 135-136 (entry on James Butler Hickok), notes that, in 1868, Hickok was part of a party surrounded by Cheyennes in Colorado. Hickok was chosen to ride forth seeking rescue. He made it through the lines -- in the process suffering a foot wound. - RBW
File: LB12
===
NAME: Paul Bunyan
DESCRIPTION: Recitation. Singer works Paul Bunyan's camp, where everything is done on a grand scale (e.g. the pancakes are turned with a sidehill plow). Bunyan, needing a river to run his logs, has his huge ox plow the Big Manistee. Bunyan retires when the ox dies.
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering humorous recitation talltale logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 96, "Paul Bunyan" (1 text)
Roud #8874
CROSS_REFERENCES:
cf. "Round River Drive" (subject)
cf. "Paul Bunyan's Big Ox" (subject)
NOTES: Paul Bunyan is sometimes derided as a phony folk-hero, and he's certainly been heavily commercialized, but Beck makes clear that these were genuine folk tales.- PJS
This is a complicated question, and I will admit to having doubts -- including questions about Beck's credibility, because he seems to be the only person who actually collected Bunyan poems, and he has no fewer than five different recitations.
The first certain reference to Paul Bunyan is unquestionably literary. Norman K. Risjord, in _A Popular History of Minnesota_, p. 143, reports that "Paul Bunyan was popularized by a Detroit, Michigan, journalist, James McGillivray, who wrote a story for the Detroit _News-Tribune_ on July 24, 1910 about a heroic lumberjack of immense size and strength." Similarly, Walker D. Wyman, _Wisconsin Folklore_, University of Wisconsin Extension (?), 1979, p. 4, says that "The name on Bunyan appears for the first time in 1910 in the _Detroit Evening News,_, in the poem 'Round River Drive' by James McGillivray. Four years later Douglas McMallock rewrote the McGillivray story for the _American Lumberman_." A series of pamphlets and books followed in the 1920s, the most notable being _Paul Bunyan_ by James Stevens (yes, "The Frozen Logger" author James Stevens), and eventually a Minnesota lumber company picked him up as a mascot.
There seems to be no evidence whatsoever that any of these stories were collected from loggers or based on lumbermen's tales, except for what Stevens states in his preface. In the second edition of _Paul Bunyan_ (1947; I use the 1975 Western Americana edition), p. ix, Stevens states, "The Paul Bunyan legend had its origin in the Papineau rebellion of 1837. This was a revolt of the French-Canadians against their young English queen. [Victoria, who ascended in 1837.] ... Among [the rebels] was a mighty-muscled, bellicose, bearded giant named Paul Bunyan.... [He] raged among the Queen's troops like Sampson among the Philistines."
Bunyan, of course, is not a French name, but Walter Havinghurt, _Upper Mississippi: A Wilderness Saga_, a volume in the Rivers of America series (Farrar & Rinehart, 1937, 1944), p. 236, says that he was originally "Paul Bonhomme of the Two Mountain Country," and claims the stories were first told in the New Brunswick area. He cites no sources.
The Papineau rebellions were real; Louis J. Papineau struggled for decades to improve the political position of the residents of Quebec. J. Bartlet Brebner, _Canada, A Modern History_ (with a final chapter by Donald C. Masters), University of Michigan Press, 1960, p. 220, notes that there had been bad harvests in 1836 and 1837, and the combination of hunger and rejection of their political demands led to uprisings. But Brebner adds that the "half-dozen skirmishes and pitched battles of November and December were pitiable, tragic affairs in which half-armed farmers faced regulars backed by artillery, and, after their defeats, saw their illages and farmsteads looted and burned by uncontrollable, vengeful volunteers."
There is no mention at all of a second Sampson.
Stevens, interestingly, admits that he got most of his stories from Louis Letourneau and his family, who came from Washington state (Stevens, p. x). There seem to be no evidence of a heroic figure in the records of eastern lumber camps.
Webb Garrison, _A Treasury of Minnesota Tales: Unusual, Interesting, and Little Known Tales of Minnesota_, Rutledge Hill Press, 1998, p. 163, repeats a different story: "Nobody really knows for sure where Paul Bunyan came from or when. It's possible that French-Canadian fur trappers and traders of the Northwest told the earliest of all Paul Bunyan stories. They tried to resits when their territory was invaded by woodsmen who cut the trees that shelered the animals. Telling about Paul Bunyan and Babe helped them work off some of their frustration. This theory is buttressed by the fact that _Bon Jean_, meaning 'brave John,' was often slurred so that it sounded a lot like _Boneyaahn_. _Boneyaahn_ gradually became _Bonikon_ and then _Bunyon_ and eventually _Bunyan_, some scholars thing." (Though no one seems ever to have seen the intervening forms.)
Wyman mentions that some of the people he talked to knew of a "big man" named "Joe Mouffreau." Stevens, p. xi, says that the name (which he spells Muphraw) is a variant of Murphy, and claims that he worked in Quebec some time after 1875. Stevens admits that the two legends may have combined, but claims that Paul Bunyan stories were in circulation by 1860. On p. xvii, he states that "I must have known some [of the Bunyan stories] before 1910, but it was not until then that I heard a gifted and experienced bunkhouse bard give a genuine Paul Bunyan service."
One wonders who this bard might have been. I find it highly interesting that Rickaby has no songs about Paul Bunyan. Neither does Doerflinger. Nor Fowke.
Stevens, in his second edition (p. xvi), acknowledges that the Paul Bunyan stories have come under attack, listing Stuart Sherman and Ben Botkin as those doubting their veracity. But he denies that the attacks have been successful.
Agnes M. Larson, in surveying lumbermen for a history of white pine logging published in the 1940s, found that none of them knew about Paul (see William E. Lass, _Minnesota: A History_Norton, 1983, p. 152). Similarly, Wyman apparently had students look for traces of Paul Bunyan among loggers. and found some who thought they had heard of him in lumber camps, but many more claimed never to have heard of him there.
Theodore Blegen's massive tome _Minnesota: A History of the State_, University of Minnesota Press, 1963, written by Minnesota's best historian who was also something of a folklorist, says on page 335, "Paul Bunyan has been presented as a myth, a folk tale, drawn from oral tradition in the lumber camps.... The stories have had wide circulation.... But there is scarcely a shred of evidence that the lumberjacks were familiar with Paul Bunyan, told stories about him, or indeed had ever heard of him.... The present author interviewed a lumberjack of rich experience in the 1920s, Wright T. Orcutt, who had written about lumberjacks and woods lore, and he had never heard a Bunyan story in the woods. And the Forest History Society in its far-ranging investigations of the sources for woods history has unearthed no evidence that Paul Bunyan was the subject of bunkhouse tales."
Jamie Moreira reports that Sandy Ives found no Paul Bunyan tales at all among his New England informants. He also reports on a student collector who had the same experience.
Richard M. Dorson had a very critical appraisal of the legends in his book _American Folklore_; he includes Paul Bunyan as one of his key examples of "fakelore." Duncan Emrich, _Folklore on the American Land_, p. ix, says explicitly that the stories of Paul Bunyan "are not folktales."
A pretty massive collection of authorities; I would be loathe to argue with them.
On the other hand, Bunyan's place in Minnesota's urban folklore seems clear -- you can hear screams all the way to Saint Paul any time anyone messes with a Paul Bunyan monument.
Terri Hardin, editor, _A Treasure of American Folklore_, Barnes & Noble, 1994, p. 296, says "The legends of Paul Bunyan are widely distributed throughout the lumber camps of the North," and claims to have assembled a batch of materials from 1916 -- though the book seems to use only one source, which looks secondary to me.
Beck, collecting primarily in Michigan, gathered enough material to make a Paul Bunyan book, and to have some material left over for other collections. (In this context, it's interesting to note that Gardner and Chickering, who gathered much Michigan logging material, do not seem to have found any Paul Bunyan material.)
Norm Cohen cites the following from _Leach's Standard Dictionary of Folklore_: "As far as can be determined, the legend originated in Canada during the [nineteenth] century, and was considerably amplified as it spread west and south with the lumber industry, centering in the Lake states and the Northwest. In the course of his migration Paul Bunyan incorporated elements of local heroes like Jigger Jones (Johnson), Joe Mufraw, and Jean Frechette, whom he supplanted."
Cohen himself concluded, "He first appeared in print in stories published by James MacGillivray in 1910,  but oral tales from lumbermen in Pennsylvania, Wisconsin, and the Northwest circulated considerably earlier.... Paul was first introduced to a general audience by W.B. Laughead, a Minnesota advertising man, in a series of pamphlets (1914-44) used to publicize the products of the Red River Lumber Company....  James Stevens, also a lumber publicist, mixed tradition and invention in his version of the story, _Paul Bunyan_(1925). Along the way, the Bunyan stories took on the character of lying contests -- who could tell the biggest whopper about the good-natured Paul."
Cohen adds, in a message to the Ballad-L mailing list, "In a letter to Louise Pound (SFQ 7) Laughead states that he began with what he 'remembered from Minnesota logging camps (1900-1908)...then picked up odds and ends from letters received....'"
Although, as noted above, Edith Fowke found no Bunyan songs, Jamie Moreira points to her published report, "In Defence of Paul Bunyan" (New York Folklore 5, 1979, 43-52), which says that there were nineteenth century folktales about him.
Jonathan Lighter reports a speculation of Gershon Legman that Bunyan began as a figure of erotic folklore (which obviously would explain why he wasn't cited in the earlier collections). Legman on p. 227 of _The Horn Book_ says that Bunyan was "an upstart in folklore, but folklore nevertheless" (though without explaining or justifying the statement).
I guess I'll have to leave it to you to draw your own conclusions. - RBW.
File: Be096
===
NAME: Paul Bunyan's Big Ox
DESCRIPTION: Recitation aboutPaul Bunyan's giant blue ox ("...every day for dinner/He would eat a ton of hay"; "This big blue ox weighed fourteen tons/And every time he'd bawl/The earth would shake... timber it would fall." The ox dies by breaking its neck
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: recitation talltale animal death
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 97, "Paul Bunyan's Big Ox" (1 text)
Roud #4069
CROSS_REFERENCES:
cf. "Round River Drive" (subject)
cf. "Paul Bunyan" (subject)
cf. "The Derby Ram" (theme)
NOTES: This recitation is item dC48 in Laws's Appendix II. For background (or, rather, speculation) about Paul Bunyan, see the notes to "Paul Bunyan." - RBW
File: Be097
===
NAME: Paul Jones: see Paul Jones's Victory [Laws A4] (File: LA04)
===
NAME: Paul Jones the Pirate: see Paul Jones's Victory [Laws A4] (File: LA04)
===
NAME: Paul Jones, the Privateer [Laws A3]
DESCRIPTION: John Paul Jones's American ship outruns a British man-of-war. Most of the ballad is devoted to describing the way the ship sails.
AUTHOR: unknown
EARLIEST_DATE: 1909
KEYWORDS: sea navy ship
HISTORICAL_REFERENCES: 1777 - The "Ranger" is commissioned
1778 - The "Ranger" outruns the British ship
FOUND_IN: US(MA,MW,NE), Canada(Mar) Ireland
REFERENCES: (10 citations)
Laws A3, "Paul Jones, the Privateer"
Doerflinger, pp. 131-133, "The Stately Southerner" (1 text, 1 tune)
Colcord, pp. 126-127, "The Stately Southerner" (1 text, 1 tune)
Harlow, pp. 177-184, "The Yankee Man-Of-War" (2 texts, 1 tune)
Creighton/Senior, pp. 267-268, "The Stately Southerner" (3 texts, 2 tunes)
Rickaby 44, "Paul Jones, the Privateer" (2 texts, 1 tune)
Ranson, pp. 82-85, "Paul Jones" (1 text, 2 tunes)
Shay-SeaSongs, pp. 153-157, "The Yankee Man-of-War" (1 text, 1 tune)
Darling-NAS, pp. 157-158, "The Stately Southerner" (1 text)
DT 360, STATESTH
Roud #625
CROSS_REFERENCES:
cf. "Paul Jones's Victory" [Laws A4] (subject of John Paul Jones)
cf. "The Yankee Man-of-War (III)" (subject of John Paul Jones)
NOTES: Although much is made of Jones's escape in this song, it really was not exceptional. The _Ranger_ was a small commerce-raider, designed to be fast (and, according to Fletcher Pratt, _The Compact History of the United States Navy_, was also quite new, which would also tend to make her faster); heavy men-of-war were much slower, as they had to carry much more weight.
According to John Fitzhugh Millar and Gregory Irons (illustrtor), _Ships of the American Revolution_ (Bellerophon, 1988), entry on the _Ranger_, the ship was an 18-gun corvette built at Portsmouth in 1777 and named after "the skillful riflemen who had played a crucial role in the great American victory at Saratoga." It adds that the ship was regarded as "exceptionally fast but 'over-hatted' (she had more sail area than was considered safe to carry)." Howard I. Chapelle, _The History of American Sailing Ships_, Norton, 1935, p. 59, confirms this: "[T]he _Ranger_ was the most famous [of three sloop-ships built at this time[; she was built at Portsmouth, New Hampshire, in 1777. William Hackett seems to have been her designed, and his cousin, James K. Hackett of Portsmouth, the builder."
It is ironic to note that the _Ranger_ (no longer commanded by Jones, of course) was captured by the British in 1780 at the fall of Charleston, and ended its career as HMS _Halifax_ (and was quickly found unsuitable for British use; she was sold in 1781).
For a biography of Jones (who is the "stately southerner" of Doerflinger's ballad; the title does not refer to the ship, as the _Ranger_ sailed out of New England), see the entry on "Paul Jones's Victory" [Laws A4].  - RBW
File: LA03
===
NAME: Paul Jones's Victory [Laws A4]
DESCRIPTION: John Paul Jones's [Bonhomme] Richard encounters two British ships. Despite being outgunned, Jones manages to capture the larger of the British ships.
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Johnson Ballads 247)
KEYWORDS: navy war ship battle
HISTORICAL_REFERENCES: Sept 23, 1779 - Battle between the Bonhomme Richard (40 guns) and the British Serapis (44 guns) and Scarborough (20 guns)
FOUND_IN: US(MA,SE) Britain(England) Canada(Mar) Ireland
REFERENCES: (15 citations)
Laws A4, "Paul Jones's Victory"
BrownII 220, "Paul Jones" (2 texts)
Creighton/Senior, pp. 225-226, "Paul Jones" (1 text, 1 tune)
Mackenzie 78, "Paul Jones" (2 texts)
Ranson, p. 51, "Paul Jones" (1 text, 1 tune)
Chappell-FSRA 24, "Paul Jones" (1 text, 1 tune)
Leach, p. 713, "Paul Jones' (1 text)
Friedman, p. 290, "Paul Jones" (1 text)
FSCatskills 8, "Paul Jones" (1 text, 1 tune)
Warner 153, "Paul Jones" (1 text, 1 tune)
Scott-BoA, pp. 81-83, "Paul Jones's Victory (Poor Richard and the Serapis and Alliance" (1 text, 1 tune)
Logan, pp. 32-38, "Paul Jones (Paul Jones the Pirate)" (1 text)
MHenry-Appalachians, p. 233, (third of four "Fragments from Maryland") (1 fragment, consisting solely of the words "Paul Jones had a frigate"; I file it here because it looks more like this than the other John Paul Jones songs)
DT 359, PAULJONE PAULJON2
ADDITIONAL: Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 259, "Paul Jones" (1 text)
ST LA04 (Full)
Roud #967
BROADSIDES:
Bodleian, Johnson Ballads 247, "Paul Jones" ("An American frigate, call'd the Richard by name"), J. Catnach (London), 1813-1838; also Johnson Ballads 2804, Harding B 11(2974), Harding B 11(1906), Firth c.13(59), Firth b.26(273), Harding B 11(4314), Firth b.25(275), Harding B 11(2973), "Paul Jones"; Firth c.13(55), "Paul Jones the Pirate"
LOCSinging, as110810, "Paul Jones' Victory," Leonard Deming (Boston), 19C; also as111860, "Paul Jones" 
Murray, Mu23-y1:061, "Paul Jones," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "Paul Jones, the Privateer" [Laws A3] (subject of John Paul Jones)
cf. "The Yankee Man-of-War (III)" (subject of John Paul Jones)
NOTES: The following biography has been heavily revised from that in earlier versions of the Ballad Index. I no longer know what references I originally consulted. I do know that Samuel Eliot Morison, in his biography _John Paul Jones_, (I use the 1981 Time-Life edition) accuses earlier biographers of simply forging large parts of the Jones story, which makes me feel a little better.
John Paul Jones (1747-1792) was born in Scotland with the name John Paul (Morison, pp. 1, 3). He went to sea at age 13 (Morison, p. 9), initially serving aboard merchant ships (Morison, p. 10), including time aboard a slaver (Morison, p. 13).
In 1768, John Paul saw both the master and mate of his ship die of fever. The only man aboard who could navigate, he brought the ship home and was given command of the _John_ (Morison, pp. 13-14). He was 21. He served well in this role for five years (Morison, p. 20).
Then he killed one of his sailors.
It wasnÕt the first time he had been charged with brutality. In the course of a voyage in 1769-1770, Jones had had a sailor named Mungo Maxwell brutally flogged (Morison, p. 17). There had been some doubt about the Maxwell case; there was no question about this one. Calling at Tobago, John Paul had refused to pay his men an advance on their wages (which, we note, they had already earned, but which were not due until the ship returned to Britain). Several men apparently wanted to desert. John Paul stopped the mutiny by killing "the ringleader" (Morison, pp. 22-23). Legally, he was in the right -- but it was definitely not a smart thing to do.
It is not clear what happened next, but somehow John Paul ended up in the colonies and started calling himself by the surname "Jones" rather than his birth name of "Paul" (Morison, pp. 23-24).
When war broke out with Great Britain, Paul Jones joined the navy, apparently being the senior lieutenant in the entire service (Morison, p. 29). (We should probably add that "lieutenant" was, in effect, a higher rank then than now -- the approved ranks were captain, lieutenant, master, and midshipman. Thus a lieutenant was the equivalent of a "commander" today, ranked high enough to command a sloop or even a small frigate though not a hip of the line.)
Not that the continental navy  was a very impressive service at first; Fletcher Pratt, _The Compact History of the United States Navy_, p. 11, reports that ÒAt the time the troubles broke out in Boston in 1775, there were not a few officers of the Royal Navy who came from the colonies, but... these officers stayed with the flag rather than join persons in revolt against due authority. A few men were available for the Continental Navy who had served with the Royal Navy earlier in their careers, but only one man is reported to have left the King's service to join the colonists in revolt, and his name has not survived."
The appointment process didn't help. According to Samuel W. Bryant, _The Sea and the States_, p. 79, "Never was the creation of a corps of naval officers handled with more regard for the political weight each aspirant carried; the commissions were frankly awarded on the basis of political expediency, and little regard for the appointees' abilities as leaders and marines." Pratt, p. 24, comments that the initial naval commands "were distributed on the combined principles of geography and nepotism, modified by political maneuver." Of the first batch of officers in the United States Navy, Bryant apparently considers Jones to be the only "happy choice," but such were this politics of the time that he would soon be known as the "North Carolina Captain."
Early in the war, Jones was given command of the ship _Ranger_, which he sailed with some success (see "Paul Jones, the Privateer" [Laws A3]). This was all the more impressive because, according to Bryant, p. 96, he had only one set of sails (and only one cask of rum, if you can believe that.) But -- in one of those typically idiotic acts of the American congress -- he was deprived of command and put on the beach. (On the other hand, Pratt, p. 44, reports that he kicked one of his junior officers in the pants, which is hardly the way to win friends and influence people.)
He finally scrounged up the _Bonhomme Richard_, a converted merchant ship with forty guns so badly worn as to be rather dangerous. Bryant calls her a "floating antique with a castellated poop," and says that the former _Duc de Durac_ was "worm-eaten, crank, her old timbers exuding a heardy aroma of arrack, cloves, and tea" -- a reminder of her days trading to the East Indies (Bryant, p. 97). Paul Jones sailed her anyway, with a scrounged-up crew (Pratt reports that only 79 of his initial crew of 227 were Americans), and an assortment of five even more ill-favored consorts (see Albert Marrin, _The War for Independence_, p. 168).
Even though two of his ships had to return to France, Jones commanded a squadron of four ships, 124 guns, at the time of this battle (a flotilla financed by the French), although only the _Bonhomme Richard_ was completely engaged in the fight; his second-in-command, the French officer Pierre Landais, refused to take part.
Jones won the battle by using his marines: He lashed his ship to the big 44-gun _Serapis_, and -- having made his famous remark "I have just begun to fight" when called upon to surrender -- continued the struggle until the British gave up. The _Richard_ had, however, been reduced to a sinking condition (among other things, several of those worn guns had blown up; Pratt, p. 47), and only vigorous work at the pumps kept her afloat long enough to take the _Serapis_. Indeed, Jones would never have been able to board had not the _Serapis_ been so mis-handled as to bump into the _Richard_ (Marrin, p. 172).
This time, Jones's brutality paid off: Some of his men, with their guns silenced, the ship full of holes, the deck falling in, had tried to surrender. Jones knocked one of them unconscious and kept up the fight. You could make the case that he won because his men were too afraid to give in.
In any case, he succeeded only because of the British attitude toward prizes. Had the British navy paid sailors decently, and had a doctrine of just *sinking* the enemy, rather than capturing them, the _Serapis_ would have won the fight and John Paul Jones would be a guy who sank with his ship. The _Richard_ proved past saving and went down on September 24; had Jones not won, he would have been either a prisoner (possibly even regarded as a deserter, given that he was Scottish) or dead.
(I can't help but think how much this sounds like it could have inspired the Stan Rogers song "Barrett's Privateers," only Rogers gave it the ending it deserved.)
Laws classified this as an American song, and it probably was so in origin -- but it will be seen that it was found in British and Scottish broadsides at least. - RBW
In the Bodleian broadsides, the frigate is named Percy, Rachel or Richard. The opposing ship, if named, is Caraphus, Ceraphus or Percy. - BS
File: LA04
===
NAME: Paul Venerez: see Bill Vanero (Paul Venerez) [Laws B6] (File: LB06)
===
NAME: Paul's Steeple: see references under The  Husbandman and the Servingman (File: K226)
===
NAME: Paw-Paw Patch, The
DESCRIPTION: Playparty, with lyrics such as "Where oh where is pretty little (Susie/Liza/Nellie) (x3)? Way down yonder in the paw-paw patch." "Pickin' up paw-paws, puttin' 'em in her pockets." "Come along, boys, and let's go see her...."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Wolford)
KEYWORDS: playparty nonballad courting
FOUND_IN: US(Ap,MW,So)
REFERENCES: (3 citations)
Randolph 553, "Paw-Paw Peeling" (1 text plus a fragment, 1 tune)
Lomax-FSNA 46, "The Paw-Paw Patch" (1 text, 1 tune)
Silber-FSWB, p. 391, "Paw-Paw Patch" (1 text)
Roud #5038
RECORDINGS:
Group of children, "The Paw Paw Patch" (on JThomas01)
Pete Seeger, "Paw Paw Patch" (on PeteSeeger22)
CROSS_REFERENCES:
cf. "Where Is Old Elijah? (The Hebrew Children)" (tune & meter)
cf. "Going to Boston" (lyrics)
File: R553
===
NAME: Pawkie Adam Glen
DESCRIPTION: "Pawkie Adam Glen, piper o' the clachan When he stoited ben, sairly was he pechin'." Old Adam goes out seeking a wife, settling on "auntie Madie." After a cheerful dance, "Madge is hect to Adam Glen, And sune we'll hae a weddin'."
AUTHOR: Alexander Laing ?
EARLIEST_DATE: 1901 (Ford)
KEYWORDS: courting age dancing wedding
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 300-301, "Pawkie Adam Glen" (1 text)
Roud #13101
NOTES: According to Ford, piper Adam Glen died in battle in 1715 at age ninety, having taken his seventh wife (who was half his age) some months previously. Believe that if you will. - RBW
File: FVS300
===
NAME: Pawkie Paiterson's Auld Grey Yaud
DESCRIPTION: "As I gae'd up Hawick Loan... 'Twas there I heard an auld yaud Gie mony a heavy grane... 'I'm Pawkie Patterson's auld yaud, See how they're guidin' mie.'" The aged horse describes its hard and bitter life, and leaves its body parts to various people
AUTHOR: George Ballantyne ?
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: horse age death lastwill hardtimes
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Ford-Vagabond, pp. 311-313, "Pawkie Paiterson's Auld Grey Yaud" (1 text, 1 tune)
Stokoe/Reay, pp. 52-53, "Robin Spraggon's Auld Grey Mare" (1 text, 1 tune)
ST FVS311 (Partial)
Roud #3063
CROSS_REFERENCES:
cf. "Poor Old Horse (III)" (theme)
cf. "Mon Cher Voisin (My Dear Neighbor)" (theme)
File: FVS311
===
NAME: Pay Day at Coal Creek
DESCRIPTION: "Pay day, O pay day, O pay day, Pay day at Coal Creek tomorrow." "Bye bye, good woman, I'm gone." "You gonna miss me when I'm gone" "She's a rider, but she'll leave that rail sometime." "Pay day won't come no more."
AUTHOR: unknown
EARLIEST_DATE: 1928
KEYWORDS: work mining separation
FOUND_IN: US(MW)
REFERENCES: (3 citations)
Lomax-FSNA 146, "Pay Day" (1 text, 1 tune)
Silber-FSWB, p. 126, "Pay Day At Coal Creek" (1 text)
DT, PAYDAYCC
Roud #6685
RECORDINGS:
Pete Seeger, "Pay Day at Coal Creek" (on SeegerTerry)
Pete Steele, "Last Payday at Coal Creek" (on PSteele01); "Pay Day at Coal Creek" (AFS, 1938; on LC02, KMM)
CROSS_REFERENCES:
cf. "Coal Creek Troubles" (subject)
NOTES: While this has turned into a nonballad, it seems to have started off as an account of a bitter strike. - PJS
(For details, see the notes to "Coal Creek Troubles.") - RBW
File: LoF146
===
NAME: Pay Me My Money Down
DESCRIPTION: "Pay me, O pay me, Pay me my money down... Pay me or go to jail. Pay me, mister stevedore.... You pay me, you owe me...." Almost anything may be included, but all on the theme that the boss has hired the worker and should pay him for his labor
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: work money nonballad
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Lomax-FSNA 279, "Pay Me" (1 text, 1 tune)
Hugill, pp. 501-503, "Pay Me My Money Down" (1 text, 1 tune) [AbEd, pp. 370-371]
Silber-FSWB, p. 83, "Pay Me My Money Down" (1 text)
DT, PAYMONEY* PAYMONY2
CROSS_REFERENCES:
cf."Tie-Tamping Chant" (floating lyrics)
cf. "Darlin' (I)" (floating lyrics)
File: LoF279
===
NAME: Pea Ridge Battle, The [Laws A12b]: see Laws A12, "The Battle of Elkhorn Tavern" (File: LA12)
===
NAME: Peacock that Lived in the Land of King George, The: see Hornet and the Peacock, The (File: E107)
===
NAME: Pearl Bryan (I) [Laws F2]
DESCRIPTION: Pearl Bryan runs away to meet her lover Jackson, who, helped by Walling, takes her to Kentucky and decapitates her. Her body is discovered the next day. (The fate of the murderers may then be described)
AUTHOR: unknown
EARLIEST_DATE: 1935 (Brewster)
KEYWORDS: elopement murder
HISTORICAL_REFERENCES: Feb 1, 1896 - Discovery of the headless body of Pearl Bryan, killed along with her unborn child by Scott Jackson and Alonzo Walling, near Fort Thomas, Kentucky
Mar 20, 1897 - Execution of Jackson and Walling
FOUND_IN: US(Ap,MW,SE)
REFERENCES: (7 citations)
Laws F2, "Pearl Bryan I"
Brewster 61, "Pearl Bryan" (3 texts plus an excerpt and mention of 3 more; 1 tune; the "A" and "B" texts and the "F" fragment and tune are this piece; the "C" text is Laws F1B)
Leach, pp. 789-790, "Pearl Bryan" (1 text)
Burt, p. 31, "(Pearl Bryan)" (1 short text)
Friedman, p. 209, "Pearl Bryan" (1 text)
Darling-NAS, pp. 199-200, "Pearl Bryan" (1 text plus a fragment)
DT 751, PERLBRY1
Roud #2212
CROSS_REFERENCES:
cf. "The Jealous Lover (I), The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C]" [Laws F1], particularly the "B" subgroup of Pearl Bryan ballads
cf. "Pearl Bryan III" [Laws F3]
cf. "Pearl Bryan IV"
NOTES: Cox gives significant details about the history behind this song. Pearl Bryan was probably murdered on January 31, the day before the discovery of her body. Jackson and Walling were "young doctors" to whom Miss Bryan had appealed for medical help. Her body was recognized based on her feet (she is said to have been "web-footed"); her head was not recovered. A third man, surnamed Woods, was regarded as a possible co-conspirator, but not convicted.
To tell this song from the other Pearl Bryan ballads, consider this first stanza (from Leach):
Now, ladies, if you'll listen, a story I'll relate
What happened near Fort Thomas in the old Kentucky state.
'Twas late in January this awful deed was done
By Jackson and by Walling; how cold their blood did run! - RBW
File: LF02
===
NAME: Pearl Bryan (II): see Jealous Lover, The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C] (File: LF01)
===
NAME: Pearl Bryan (III) [Laws F3]
DESCRIPTION: Pearl Bryan appeals to Jackson for help; he is not interested and, with (Alonzo) Walling, cuts off her head and abandons the body
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: murder abandonment
HISTORICAL_REFERENCES: Feb 1, 1896 - Discovery of the headless body of Pearl Bryan, killed along with her unborn child by Scott Jackson and Alonzo Walling, near Fort Thomas, Kentucky
Mar 20, 1897 - Execution of Jackson and Walling
FOUND_IN: US(Ap,MW)
REFERENCES: (3 citations)
Laws F3, "Pearl Bryan III"
Eddy 105, "A Fatal Acquaintance" (2 texts, but Laws considers only the B text part of this ballad; the A text may belong with Pearl Bryan II)
DT 755, PERLBRY3
Roud #2213
CROSS_REFERENCES:
cf. "The Jealous Lover (I), The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C]" [Laws F1], particularly the "B" subgroup of Pearl Bryan ballads
cf. "Pearl Bryan I" [Laws F2]
cf. "Pearl Bryan IV"
NOTES: To tell this song from the other Pearl Bryan ballads, consider this first stanza (from Eddy):
In Greencastle lived a maiden
She was known the wide world o'er;
She was murdered by Scott Jackson
Whom she fondly did adore.
Comparison with Eddy's other text (which also lacks a melody) would seem to imply that the two could be one -- but Laws separates them, so the Index does the same. - RBW
File: LF03
===
NAME: Pearl Bryan (IV)
DESCRIPTION: A girl of Greencastle, Indiana loves a young man. (She becomes pregnant?, and) begs him to make good the wrong he has done her. He refuses and plans to depart. She follows him. He kills her. Young girls are warned by the example of Pearl Bryan
AUTHOR: unknown
EARLIEST_DATE: 1939 (Eddy)
KEYWORDS: love murder abandonment
HISTORICAL_REFERENCES: Feb 1, 1896 - Discovery of the headless body of Pearl Bryan, killed along with her unborn child by Scott Jackson and Alonzo Walling, near Fort Thomas, Kentucky
Mar 20, 1897 - Execution of Jackson and Walling
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Eddy 105, "A Fatal Acquaintance" (2 texts, but Laws assigns the B text to "Pearl Bryan III")
ST E105 (Full)
CROSS_REFERENCES:
cf. "The Jealous Lover (I), The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C]" [Laws F1], particularly the "B" subgroup of Pearl Bryan ballads
cf. "Pearl Bryan I" [Laws F2]
cf. "Pearl Bryan III" [Laws F3]
NOTES: This song is item dF51 in Laws's Appendix II.
To tell this song from the other Peal Bryan ballads, consider this first stanza (from Eddy):
In Greencastle, Indiana, a fair young maiden dwelled
Beneath a mother's loving care, a father's lavish wealth,
A mother's pride, a father's joy, by many friends esteemed,
From out her young handsome face the pure innocence gleamed.
Comparison with Eddy's other text (which also lacks a melody) would seem to imply that the two could be one -- but Laws separates them, so the Index does the same. - RBW
File: E105
===
NAME: Pearl Bryant: see Jealous Lover, The (Florella, Floella) (Pearl Bryan II) (Nell Cropsey II) [Laws F1A, B, C] (File: LF01)
===
NAME: Peasant's Bride, The (Thady and I)
DESCRIPTION: "I was a simple country girl." She loves Thady: "with hook or scythe, with plow or spade, He'd beat ten men together" They marry and many nobles "would gladly give a crown of gold To be like me and Thady."
AUTHOR: unknown
EARLIEST_DATE: 1855 (Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II)
KEYWORDS: poverty love marriage
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, pp. 120,123, "The Peasant's Bride" (1 text, 1 tune)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II, p. 84, "The Peasant's Bride"
BROADSIDES:
Bodleian, Firth b.28(9a/b) view 7 of 8, "Thady and I", R. March & Co (London), 1877-1884 
File: OCon120
===
NAME: Peaslee's Lumber Crew
DESCRIPTION: The various characters on Peaslee's lumber crew are described.
AUTHOR: Fred Walker
EARLIEST_DATE: 1888
KEYWORDS: lumbering work humorous logger moniker nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 68, "Peaslee's Lumber Crew" (1 text)
Roud #8842
CROSS_REFERENCES:
cf. "Hall's Lumber Crew" (very similar structure)
cf. "The Lumber Camp Song" (theme) and references there
NOTES: The "moniker song" consists mostly of listing the names of one's compatriots, and perhaps telling humorous vignettes about each; it's common among lumberjacks, hoboes, and probably other groups. Sometimes, as with this song and "Hall's Lumber Crew", it's clear the singer is plugging names and descriptions into a generic structure. - PJS
File: Be068
===
NAME: Pecos Punchers, The
DESCRIPTION: The singer describes his appearance ("I wear the high heels, also the white hat"), talks of the work of a cowboy, and lists the outfits he worked for. He decides to "go east like Wild Bill and there play the tough" -- but keep his saddle for use hereafter
AUTHOR: unknown
EARLIEST_DATE: 1966
KEYWORDS: cowboy work
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 112, "The Pecos Punchers" (1 text)
Roud #8047
File: FCW112
===
NAME: Pecos Queen, The: see Pecos River Queen (File: TF20)
===
NAME: Pecos River Queen
DESCRIPTION: "Where the Pecos river winds and turns its journey to the sea... Dwells fair young Patty Moorhead the Pecos River Queen." Patty's amazing skills are described. At last she "rode her horse... a lover's heart to test." "But the puncher wouldn't follow...."
AUTHOR: N. Howard Thorp
EARLIEST_DATE: 1908
KEYWORDS: cowboy love courting
FOUND_IN: 
REFERENCES: (2 citations)
Thorp/Fife XX, pp. 244-246 (39-40), "Pecos River Queen" (1 text)
Saffel-CowboyP, p. 206, "The Pecos Queen" (1 text)
Roud #8048
NOTES: Like that other Thorp composition, "Chopo," there is no evidence that this piece ever actually entered oral tradition. Lomax printed it in "Cowboy Songs," but there is every reason to think he was lifting material off Thorp. - RBW
File: TF20
===
NAME: Pecos Stream, The: see A Cowboy's Life (File: LoF187)
===
NAME: Peculiar Sermon for Shanty Boys, A: see Tobacco's But an Indian Weed (File: Log262)
===
NAME: Peddler and his Wife, The [Laws F24]
DESCRIPTION: An old peddler and his wife are riding in their wagon on a fine day when they are ambushed, robbed, and murdered
AUTHOR: unknown
EARLIEST_DATE: 1930 (recording, Appalachian Vagabond [Hayes Shephard])
KEYWORDS: murder robbery commerce
FOUND_IN: US(Ap)
REFERENCES: (5 citations)
Laws F24, "The Peddler and his Wife"
Fuson, pp. 116-117, "The Peddler and His Wife" (1 text)
Cambiaire, p. 9, "The Peddlar and His Wife" (1 text)
Combs/Wilgus 70, pp. 166-167, "The Irish Peddler" (1 text)
DT 762, PEDDWIFE
Roud #2262
RECORDINGS:
Appalachian Vagabond [pseud. for Hayes Shephard], "Peddlar and his Wife" (Vocalion 5450, rec. 1930)
James Howard, "The Peddler and his Wife" (AFS, 1937; on KMM)
File: LF24
===
NAME: Pedlar (I), The
DESCRIPTION: "The pedlar ca'd in by the house o' Glenneuk" and begins bargaining -- for his goods and the hosts' daughters. Although the parents discourage it, one daughter is interested. She departs with him; they are married; he proves very successful in business
AUTHOR: William Watt
EARLIEST_DATE: 1904 (Ford)
KEYWORDS: love courting rambling money elopement
FOUND_IN: Britain(Scotland)
REFERENCES: (4 citations)
Greig #96, pp. 1-2, "The House o' Glenneuk" (1 text)
GreigDuncan2 280, "The Pedlar and his Pack" (4 texts, 2 tunes)
Ford-Vagabond, pp. 126-128, "The Pedlar" (1 text)
Ord, pp. 140-142, "The Pedlar" (1 text)
Roud #5552
BROADSIDES:
Murray, Mu23-y1:081 "The Pedlar," James Lindsay (Glasgow), 19C
CROSS_REFERENCES:
cf. "The Jolly Beggar" [Child 279] and references there
cf. "Come Under My Plaidie" (tune, according to GreigDuncan2)
File: FVS126
===
NAME: Pedlar (II), The
DESCRIPTION: "Sae merrily sang the nightingale, Sae merrily sang he O, Sae merrily sang the proud pedlar, As he cam' ower the lea O"
AUTHOR: unknown
EARLIEST_DATE: 1910 (GreigDuncan2)
KEYWORDS: commerce
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 265, "The Pedlar" (1 fragment, 1 tune)
Roud #5852
NOTES: The current description is all of the GreigDuncan2 fragment, excluding the chorus. - BS
File: GrD265
===
NAME: Pedlar and his Pack, The: see The Pedlar (I) (File: FVS126)
===
NAME: Peeler and the Goat, The
DESCRIPTION: The Peelers meet a goat and plan to jail him for being on the road. The goat says that he is honorable if houseless and that the road is his home. He expects to be acquitted. He says the peelers are drunk and could be bought for more poteen.
AUTHOR: Jeremiah O'Ryan ("Darby Ryan") (Source: Zimmermann)
EARLIEST_DATE: 1939 (OLochlainn); c.1830 (Zimmermann) 
KEYWORDS: prison drink humorous political animal police
FOUND_IN: Ireland
REFERENCES: (3 citations)
OLochlainn 74, "The Peeler and the Goat" (1 text, 1 tune)
Zimmermann 45, "The Peeler and the Goat" (1 text, 1 tune)
DT, PEELERGT*
Roud #1458
RECORDINGS:
Martin Reidy, "Peeler and the Goat" (on IRClare01)
BROADSIDES:
Bodleian, Harding B 26(510), "The Original Peeler and the Goat," unknown, n.d.; also 2806 b.9(266), "The Peeler and the Goat"
CROSS_REFERENCES:
cf. "The Sow's Triumph Over the Peelers" (theme)
cf. "The Cavan Buck" (tune)
NOTES: Sir Robert Peel established the Royal Irish Constabulary in 1812 and its success led, in 1829, to the Metropolitan Police Act for London. Originally the term "Peeler" applied to the London constabulary. (source: _Sir Robert "Bobby" Peel (1788-1850)_ at Historic UK site.)
In this song the term is applied to the Bansha police in Bansha, County Tipperary.
Martin Reidy's tune on IRClare01 is the one used for "The Recruiting Sergeant" (on Robin Hall and Jimmy MacGregor, "Two Heids are Better than Yin!," Monitor MF 365 (1962)) - BS
File: OLOc074
===
NAME: Peelhead
DESCRIPTION: Peelhead owns the saw mill. "All the kind o' logs they got Was small rough saplin' pine." Hope for better times: "not like it was last summer When you said they'd be good times, And some o' your men you owe six months, And more you do owe nine"
AUTHOR: William McKay "of the Millstream" (Manny/Wilson)
EARLIEST_DATE: 1948 (Manny/Wilson)
KEYWORDS: lumbering hardtimes humorous moniker boss horse
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 37, "Peelhead" (1 text, 1 tune)
ST MaWi037 (Partial)
Roud #9208
NOTES: Manny/Wilson: "The song ... is a typical woods satire about a lumber operator, Isaac Anderson, nick-named 'Peelhead,' who flourished in the 1880's. There is a mention for everyone in the woods crew, including the horses, and the usual fling at the employer. Actually the reproaches in the last verse were not very serious complaints in the 1880's, when so much of the lumber business was done on credit." - BS
File: MaWi037
===
NAME: Peep Squirrel
DESCRIPTION: Singing game: "Peep squirrel, yang-dan-diddle-um (or other nonsense, e.g. Hop squirrel, eedle-dum-dum)" (x2 or x4). Similarly, "Run, squirrel...." "Catch the old squirrel...." "I give you fifty cents...."
AUTHOR: Squirrel
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal hunting playparty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Chappell-FSRA 119, "Peep Squirrel" (1 fragment, 1 tune)
Scarborough-NegroFS, pp. 134-136, "Hop, Old Squirrel" (2 texts, the second with interspersed game instructions, 1 tune)
ST ChFRA119 (Partial)
Roud #7645
NOTES: Roud lumps this with "Hunt the Squirrel" and similar items -- superficially reasonable, since they're both singing games about squirrels. But they don't have any lyrics in common.
Even I decided ot merge "Hop, Old Squirrel" with "Peep, Squirrel"; the forms are very different, but it appears that lyrics cross so much; my guess is that it's one song with two differen games. - RBW
File: ChFRA119
===
NAME: Peg an' Awl
DESCRIPTION: "In the days of eighteen and one, Peg an' awl... Peggin' shoes was all I done, Hand me down my pegs, my pegs, my pegs, my awl." The singer describes his work(/play?), then tells how "They've invented a new machine.... Makes a hundred pairs to my one."
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Carolina Tar Heels)
KEYWORDS: work technology unemployment worker
FOUND_IN: US(Ap,SE)
REFERENCES: (4 citations)
Lomax-FSNA 144, "Peg an' Awl" (1 text, 1 tune)
Asch/Dunson/Raim, p. 40 "Peg and Awl" (1 text, 1 tune)
Darling-NAS, p. 363, "Peg and Awl" (1 text)
DT, PEGNAWL*
Roud #4619
RECORDINGS:
Carolina Tar Heels, "Peg and Awl" (Victor V-40007A, 1928; on AAFM1)
Kelly Harrell, "Peg and Awl" (OKeh 40544, 1925; on KHarrell01)
Lawrence Older,  "Peg and Awl" (on LOlder01)
Pete Seeger, "Peg and Awl" (on PeteSeeger13)
Hobart Smith, "Peg an' Awl" (on LomaxCD1702)
Clarence Ashley & Doc Watson, "Peg and Awl" (on WatsonAshley01)
NOTES: The notes in Lomax imply that this is a bawdy song. I suppose it's possible, but I think this is a confusion with "The Long Peggin' Awl." - RBW
File: LoF144
===
NAME: Peg and Awl: see Peg an' Awl (File: LoF144)
===
NAME: Pegging Awl, The: see Long Peggin' Awl, The (File: RL280)
===
NAME: Peggy and the Soldier: see The Gallant Soldier (Mary/Peggy and the Soldier) (File: HHH782)
===
NAME: Peggy and the Soldier (The Lame Soldier) [Laws P13]
DESCRIPTION: Peggy leaves her husband and child to go with a soldier who offers her gold and a high life. The two soon quarrel; the soldier beats her and sends her back to her husband. She arrives home and begs her husband to take her back; he rejects her
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: infidelity separation soldier rejection family
FOUND_IN: US(MW) Britain(Scotland)
REFERENCES: (3 citations)
Laws P13, "Peggy and the Soldier (The Lame Soldier)"
BBI, ZN1517, "It was a brave souldier that long liv'd in Wars"
DT 497, LAMESLDR* LAMESLD2
Roud #907
CROSS_REFERENCES:
cf. "Rosie Anderson" (plot)
cf. "The Brewer Laddie" (plot)
File: LP13
===
NAME: Peggy Bawn
DESCRIPTION: An Irishman stops at a Scots farmer's house and courts daughter Jane. The farmer offers his daughter in marriage, money, and land. The singer thinks of Peggy and excuses himself: he must be off on the king's business. He will always be true to Peggy
AUTHOR: unknown
EARLIEST_DATE: 1788 (William Shield's opera "Marion," according to OLochlainn-More)
KEYWORDS: infidelity sex rejection separation Ireland Scotland father courting money
FOUND_IN: Ireland Britain(England(Lond))
REFERENCES: (2 citations)
OLochlainn-More 5, "Peggy Bawn" (1 text, 1 tune)
ADDITIONAL: Charles Gavan Duffy, editor, The Ballad Poetry of Ireland (1845), pp. 134-135, "Peggy Bawn"
Roud #661
RECORDINGS:
Walter Pardon, "Peggy Benn" (on Voice01)
BROADSIDES:
Bodleian, Harding B 25(1481)[many illegible words], "Peggy Band," D. Wrighton? (Birmingham)[hand-written note on broadside], 1810-1820; also Harding B 28(149), Firth b.25(391), Harding B 20(131), Harding B 11(2699), Harding B 11(2700), Harding B 11(2982), Firth c.18(244), 2806 c.17(329), 2806 b.11(232), "Peggy Band"; Harding B 25(1480), "Peggy Bann"
NOTES: OLochlainn-More: "Once very popular in Northern Ireland and among the Irish in Scotland.
Duffy (1845): "The existence of this ballad is traceable for a century -- it is probably much older. It bears strong evidence of having been written in Ulster, where it holds its ground with undiminished popularity to this day."
I have to admit to some confusion. It seems clear that Jane and Peggy are not the same person but some broadside lines make it seem otherwise: "With hat in hand I came away, And parted with each one, And especially the pretty girl Who was tired of lying alone. With hat in hand I came away, But in my mind it ran, That blithe and merry were the days I had with Peggy Band." The counter argument, from broadside Bodleian Harding B 25(1481), "Peggy Band's Answer," D. Wrighton? (Birmingham), 1810-1820 has Peggy relating that her Jemmy, "a SCOTISH Lady did adore, And offerred him her Hand, But he slighted all her Proffers For his dear PEGGY BAND." - BS
File: OLcM005
===
NAME: Peggy Gordon
DESCRIPTION: "Oh Peggy Gordon, you are my darling, Come sit you down upon my knee, And tell to me the very reason Why I am slighted so by thee." Spurned, the singer wishes he were far away, or drinking, or doing something to ease the pain of separation
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cox)
KEYWORDS: love separation rejection
FOUND_IN: US(Ap) Canada(Mar,Newf) Britain(England)
REFERENCES: (7 citations)
Gilbert, p. 127, [No title] (1 fragmentary text)
Abrahams/Foss, p. 164, (no title) (1 tune, partial text, probably this song)
JHCox 141, "Youth and Folly" (1 text, with many floating verses but such plot as it has derived from this song); 142, "Maggie Goddon" (1 text)
Creighton/Senior, pp. 194-195, "Peggy Gordon" (1 text plus 1 fragment, 1 tune)
Creighton-Maritime, pp. 74-75, "Peggy Gordon" (1 text, 1 tune)
Peacock, pp. 475-476, "Love is Lovely" (1 text, 1 tune, strongly composite, starting with a verse perhaps from "Peggy Gordon," then the chorus of "Waly Waly (The Water Is Wide)," two more which might be anything, and a conclusion from "Carrickfergus")
DT, PEGGORDN*
Roud #2280
RECORDINGS:
Grace Clergy, "Peggy Gordon" (on MRHCreighton)
CROSS_REFERENCES:
cf. "Fair and Tender Ladies" (floating lyrics)
cf. "O'Reilly from the County Leitrim" (lyrics in common with the "Youth and Folly" texts)
ALTERNATE_TITLES:
Maggie Gordon
File: Gil127
===
NAME: Peggy Howatt
DESCRIPTION: Howatt, a barkeep, is shot and killed by "a brave engineer." When St. Peter declines to admit Howatt, the late bartender replies with obscenity and scorn.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy murder Hell
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 468-470, "Peggy Howatt" (2 texts, 1 tune)
CROSS_REFERENCES:
cf. "Casey Jones (I)" [Laws G1] (tune)
NOTES: Jim "Peggy" [from his wooden leg] Howatt sold liquor in Joplin, Mo., Picher, Okla., and Pittsburg, Kansas, until his death from tainted moonshine about 1924.
Annotator Legman posits this topical satire, sung to a set of the melody of "Casey Jones," was written by the composer of that ballad, Wallace Saunders. - EC
File: RL468
===
NAME: Peggy in the Morning
DESCRIPTION: "Noo, mither, confess, a' the lasses ye saw... And wasna my Peggy the flooer o' them a'?" The mother says the girl is lazy and sleeps late. The lad says her father has promised a fine dowry. The mother admits, "Your Peggy's better noo."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting money dowry
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 110, "Peggy in the Morning" (1 text)
Roud #5541
CROSS_REFERENCES:
cf. "Billy Grimes the Rover" (plot)
cf. "Will Ray" (plot)
NOTES: Sort of a Scottish version of "Billy Grimes the Rover," with the sexes reversed. - RBW
File: Ord110
===
NAME: Peggy o' Greenlaw
DESCRIPTION: "I am a bold, undaunted youth, George Hewitt is my name... And there I had a sweetheart... My Peggy o' Greenlaw." But bad company pulls him away; he falls in love with another, marries her in haste, quickly becomes disillusioned, and regrets losing Peggy
AUTHOR: Alexander Shaw
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting abandonment betrayal marriage
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 143, "Peggy o' Greenlaw" (1 text)
Roud #3949
File: Ord143
===
NAME: Peggy of the Moor
DESCRIPTION: "Come all you sporting young men and listen unto me, Come all you loyal lovers that live in unity...." The singer was one of many fascinated by Peggy of the Moor. A bold shoemaker will be successful with her. The singer wishes success to lovers
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: love courting beauty drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H761, pp. 228-229, "Peggy of the Moor" (1 text, 1 tune)
Roud #7979
NOTES: It is not at all clear from the Henry text whether the singer is the "bold shoemaker" whose attention to Peggy will make all other lover's attentions "useless." - RBW
File: HHH761
===
NAME: Peggy Walker: see The Girl I Left Behind [Laws P1A/B] (File: LP01)
===
NAME: Peggy-O: see Bonnie Lass of Fyvie, The (Pretty Peggy-O) (File: SBoA020)
===
NAME: Peistie Glen, The
DESCRIPTION: The singer wanders by Peistie Glen and "imbibes meditation" urging him to "write measured words eulogizing" the place. He recalls the history of the place. Now the ship calls him away; he bids farewell to his home
AUTHOR: Frances Heaney ?
EARLIEST_DATE: 1936 (Sam Henry collection)
KEYWORDS: home emigration nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H654, pp. 170-171, "The Peistie Glen" (1 text, 1 tune)
Roud #9685
CROSS_REFERENCES:
cf. "Cailin Deas" (tune)
NOTES: Yes, the first verse is as bad as the quoted excerpts imply. The rest is a little better, but only a little. - RBW
File: HHH654
===
NAME: Pelton Lonnin': see Felton Lonnin (Pelton Lonnin') (I, II, III) (File: StoR150)
===
NAME: Penny Fair, The
DESCRIPTION: The Penny Fair drifts from the wharf. The crew are wakened and scramble to tie her up. Jack Lushman, on the ferry, not only sleeps through the hubbub but sleeps while the ferry runs aground. Everyone has a good laugh.
AUTHOR: Blanche Pink
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: sea ship ordeal
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 86, "The Penny Fair" (1 text, 1 tune)
File: LeBe086
===
NAME: Penny Wager, The
DESCRIPTION: A traveller with one penny in his pocket stakes his purse in a pub wager. He wins; when he asks the landlord's wife what he owes, she tells him to give her a kiss and go. (He rejoices that he has won the wager; otherwise he'd have had to sell his horse)
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Harding B 11(3387))
KEYWORDS: wager travel gambling money landlord
FOUND_IN: Britain(England) Australia
REFERENCES: (2 citations)
Kennedy 280, "The Penny Wager" (1 text, 1 tune)
MacSeegTrav 115, "The Penny Wager" (1 text, 1 tune)
Roud #393
RECORDINGS:
George Dunn, "My Little Grey Horse" (on Voice13)
Levi Smith, "One Penny" (on Voice11)
BROADSIDES:
Bodleian, Harding B 11(3387), "Adventures of a Penny" ("Long time I've travelled the north country"), J. Pitts (London), 1819-1844; also Harding B 16(2b), "The Adventures of a Penny"
ALTERNATE_TITLES:
One Penny
Adventures of a Penny
File: McCST115
===
NAME: Pere Marquette 18, The
DESCRIPTION: "Out through the piers at Ludington one dark September day, The Pere Marquette 18 steamed proudly on her way. Her captain, Peter Kilty, looked on his ship with pride," but the mate announces the ship is sinking. They call for help, but 28 drown
AUTHOR: Frank McCauley
EARLIEST_DATE: 1932 (collected from Manus J. Bonner, brother-in-law of the Pere Marquette 18's captain, by Walton)
KEYWORDS: ship disaster death drowning technology
FOUND_IN: US(MW0
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 177-179, "The Pere Marquette 18" (1 text)
NOTES: Although this wreck is historical, there seems to be some uncertainty about the facts. I checked four sources: Walton/Grimm/Murdock, Bruce D. Berman's _Encyclopedia of American Shipwrecks_ (Mariner's Press, 1972), Benjamin Shelak's _Shipwrecks of Lake Michigan_ (Trails Books, 2003), and Mark L. Thompson's _Graveyards of the Lakes_ (Wayne State University Press, 2000).
Berman's brief comment, p. 259, says merely that the _Pere Marquette 18_, 2090 tons, built 1902, foundered September 9, 1910, near Sheboygan, with the loss of 27 lives.
Walton/Grimm/Murdock agrees with the tonnage and the date of sinking; it says that "more than two dozen" lives were lost, including Captain Peter Kilty. The ship foundered some twenty miles from Sheboygan. The remaining crew members were saved by the _Pere Marquette 17_, a sister ship.
The most detailed accounts are in Shelak and Thompson. Shelak, pp. 144-147, describes her as 338 feet long, with a beam of 56 feet and a draft of 20, and lists her as 2909 tons (it will be seen that this and Berman's figures are easy typographic variants of each other). The ship was a car ferry; there were reportedly 29 railroad cars aboard. The ship had been recently inspected, and the weather on her final voyage, though stormy, was not really extreme. Reportedly there were 62 passengers and crew, and two stowaways, aboard.
The voyage was a "routine cruise" from Ludington to Milwaukee. Shelak seems to say that the voyage began in the early morning of September 8, but gives no date for the actual sinking (though he claims the fatal leak was discovered around 3:00 a.m.)
When water started coming in, the first mate made an inspection and concluded it was "nothing more than a damaged deadlight or porthole cover." But the pumps could not handle the flooding. Not even pushing out nine of the loaded railroad cars could keep the ship afloat. Finally a distress call went out. The _Pere Marquette 17_ responded, but the _18_ went down just before rescue operations could begin. _Pere Marquette 6_ and _Pere Marquette 20_ also arrived eventually. 33 passengers and crew were saved, but all officers were lost, and two crew from the _Pere Marquette 17_ died in the rescue attempts.
The cause of the disaster was never determined, but a likely culprit is the rear deck area where the railroad cars were loaded.
Thompson, p. 285, says "On September 9, 1911, the Pere Marquette Railroad's _Pere Marquette 18_ got caught out on the lake in a severe storm and began taking on water through a number of portholes that were smashed out by the pounding seas. When the pumps couldn't keep up with the incoming water and the stern of the ship continued to settle deeper in the seas, the captain had the radio operator send out a message in Morse code asking for help.
"The distress call was heard by the _Pere Marquette 17_, which arrived on the scene just as the flooded ferry sank.... [C]rewmembers from the _Pere Marquette 17_ managed to pull thirty-two people from the stormy waters. Twenty-seven others went down with the ship or drowned before rescuers could get to them."
Thompson has another account of the sinking, on page 27, which ways that "many lives" were lost in the sinking, but 35 were saved. This passage gives the date as September 9, 1910, as in all the other sources. It seems clear that this is the correct date, but apparently the number killed and the number saved is slightly uncertain.
Thompson also notes that this was the first rescue on the Lakes made possible by radio. (There had already been one on the high seas.) Radios were still optional, but the Pere Marquette railroad company had voluntarily installed radios on their ship, and in this case it paid off handsomely. - RBW
File: WGM177
===
NAME: Peri Meri Dixie Dominie: see I Gave My Love a Cherry
 (File: R123)
===
NAME: Perigoo's Horse
DESCRIPTION: Lawyer Walter Perigoo visits Whalen's Inn and puts his horse in the stable. Local boys (led by Whalen's son?) cut off the horse's tail and paint it red, white, and blue. Perigoo eventually finds the disguised animal and threatens retribution
AUTHOR: George or John Calhoun?
EARLIEST_DATE: 1971
KEYWORDS: horse trick lawyer humorous disguise
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, pp. 266-268, "Perigoo's Horse" (1 text)
Roud #4165
NOTES: This song is item dH48 in Laws's Appendix II. - RBW
File: Doe266b
===
NAME: Perrie, Merrie, Dixi, Domini: see I Gave My Love a Cherry
 (File: R123)
===
NAME: Persia's Crew, The: see The Persian's Crew [Laws D4] (File: LD04)
===
NAME: Persian's Crew, The [Laws D4]
DESCRIPTION: The Persian sets out [from Chicago] and disappears on Lake Huron. Since nothing is known of the wreck, the singer can only wonder at and lament the fate of the lost crew. The mate, Daniel Sullivan, may be specially praised
AUTHOR: unknown
EARLIEST_DATE: 1877 (published as a poem in the Buffalo Express, according to Walton/Grimm/Murdock; the first traditional version appears to have been Dean's)
KEYWORDS: ship storm death
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (8 citations)
Laws D4, "The Persian's Crew"
Colcord, pp. 203-204, "The Persia's Crew" (1 text, 1 tune)
Rickaby 46, "The Persian's Crew" (1 text plus a fragment, 2 tunes)
Dean, pp. 29-30, "The Persian's Crew" (1 text)
Walton/Grimm/Murdock, pp. 191-194, "Lake Huron's Rockbound Shore (The Ill-Fated Persian)" (1 text, 1 tune)
Beck 86, "Lake Huron's Rock-Bound Shore" (1 text)
DT 677, PERSIACR
ADDITIONAL: _Sing Out_ magazine, Volume 33, #1 (1987), pp, 46-47, "Persia's Crew" (1 text, 1 tune, apparently the Sidney Baby version)
Roud #2230
RECORDINGS:
Stanley Baby, "The 'Persian's Crew" (on GreatLakes1)
John W. Green, "The Ill-Gated Persian" (1959; on WaltonSailors -- not the same as the text in Walton/Grimm/Murdock; it sounds as if two recordings have been combined due to Green's memory troubles)
CROSS_REFERENCES:
cf. "The Maggie Hunter" (subject, tune)
NOTES: According to Beck, possibly composed by the daughter of Dan Sullivan, the _Persian's_ first mate. - PJS
I suspect something rather more complicated, given the handful of melodies for this piece. Laws lists four melodies, two in Rickaby and one in Colcord. Rickaby's first, from Dean, is approximately "Tramps and Hawkers." His second, from Art C. Milloy, has a somewhat similar shape but but is mixolydian and not necessarily related. And Colcord has yet another tune with similar shape but distinct tonal differences.
Perhaps some of the variations are due to the fact that so little is known about what actually happened, which might have inspired rewrites. According to William Ratigan, _Great Lakes Shipwrecks & Survivals_, revised edition, Eerdmans, 1977, p. 98, "the schooner _Persia_ went down with all hands" in November 1869 (a memorable storm which also destroyed the _Volunteer_ and other ships), and inspired a song" (presumably this).
And yet, Bruce D. Berman's _Encyclopedia of American Shipwrecks_, Mariner's Press, 1972, p. 257, does not even list the _Persia_ as a Great Lakes shipwreck. He does note the screw steamer _Persian_ (note the presence of the n at the end; the ship wrecked in 1869 was _Persia_, not _Persian_). The _Persian_ burned near Long Point, Ontario, in August 1875. Long Point is in Lake Erie, not Lake Huron, but might it have contributed to some confusion?
Norm Cohen's research (which I would imagine exceeds that of all the others listed here) says that the song was by Patrick Fennell, and that the ships involved were the _Persian_ and the _E. B. Allen_. He wrote an article on the subject for the December 1969 _New York Folklore Quarterly_
Walton/Grimm/Murdock generally agrees with Cohen, saying that there was a "persistent rumor" that the _Allen_ had had a collision, possibly with the _Persian_ (the name it uses) in 1869. The crew of eight, including captain and owner John Long, came from Oswego, New York. According to them, Patrick Fennell wrote the poem under the pen name Shandy Maguire, but later published it under his own name.  - RBW
File: LD04
===
NAME: Perthshire Pensioner, The: see references under The Forfar Soldier (File: FVS163)
===
NAME: Pesky Sarpent, The: see Springfield Mountain [Laws G16] (File: LG16)
===
NAME: Pete Knight
DESCRIPTION: "Pete Knight was a rider of horses, The best that I ever did see, But often a life in the saddle Is not what it's cracked up to be." "Ten thousand fans saw him carried Away from the field and the horse."
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: cowboy horse injury death
HISTORICAL_REFERENCES: 1937 - Death of Pete Knight
FOUND_IN: US
REFERENCES: (1 citation)
Ohrlin-HBT 31, "Pete Knight" (1 fragmentary text, 1 tune)
CROSS_REFERENCES:
cf. "Pete Knight, The King of the Cowboys"
cf. "Pete Knight's Last Ride"
NOTES: Pete Knight was born in Philadelphia, but lived for some years in Alberta, and seems to have been at least as famous in Canada as in the U.S.
Knight was one of the all-time horse-riding champions, and won top honors in 1932, 1933, 1935, and 1936. In 1937, however, he fell and was trampled by the horse "Duster," (not "Slow-Down," as the horse was called by Wilf Carter) and died of a punctured lung. - RBW
File: Ohr031
===
NAME: Pete Knight, the King of the Cowboys
DESCRIPTION: "List a while to my story 'Bout a lad from the wide open plain Who has won a great name the world over, Pete Knight of rodeo fame." Knight's success as a rider is detailed; the song ends with his marriage
AUTHOR: Wilf Carter (1937)
EARLIEST_DATE: 1937
KEYWORDS: cowboy horse marriage
HISTORICAL_REFERENCES: 1937 - Death of Pete Knight
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 32, "Pete Knight, the King of the Cowboys" (1 text)
CROSS_REFERENCES:
cf. "Pete Knight"
cf. "Pete Knight's Last Ride"
NOTES: For the history of Pete Knight, see "Pete Knight." - RBW
File: Ohr32
===
NAME: Pete Knight's Last Ride
DESCRIPTION: The singer reports "My whole life's full of heartaches and sighs... For I've just lost a pal, like a brother to me...." Expert rider Pete Knight falls and dies; the singer hopes to meet him "on that heavenly range"
AUTHOR: Wilf Carter
EARLIEST_DATE: 1939
KEYWORDS: cowboy horse injury death
HISTORICAL_REFERENCES: 1937 - Death of Pete Knight
FOUND_IN: 
REFERENCES: (1 citation)
Phrlin-HBT 33, "Pete Knight's Last Ride" (1 text)
CROSS_REFERENCES:
cf. "Pete Knight"
cf. "Pete Knight, The King of the Cowboys"
NOTES: For the history of Pete Knight, see "Pete Knight." - RBW
File: Ohr033
===
NAME: Peter Ambelay: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Peter Amberley [Laws C27]
DESCRIPTION: Peter Amberly leaves Prince Edward Island to go lumbering in New Brunswick. Fatally injured in a logging accident, he bids farewell to the father whose unkindness sent him away, to his mother, sweetheart, and home
AUTHOR: John Calhoun (sometimes attributed to Larry Gorman)
EARLIEST_DATE: 1903
KEYWORDS: logger death farewell father
HISTORICAL_REFERENCES: around Jan. 1881 - Peter Amberly is fatally wounded. He is eighteen years old, and has been in the woods less than a year
FOUND_IN: US(MA,NE) Canada(Mar,Newf,Ont)
REFERENCES: (20 citations)
Laws C27, "Peter Amberley"
Doerflinger, pp. 225-233, "Peter Emberley" (3 texts, 2 tunes)
Greenleaf/Mansfield 164, "Peter Hembly" (1 text)
Fowke/Johnston, pp. 80-81, "Peter Amberley" (1 text, 1 tune)
Fowke/MacMillan 27, "Peter Emberley" (1 text, 1 tune)
Creighton-NovaScotia 138, "Peter Rambelay" (1 text, 1 tune)
Creighton-SNewBrunswick 118, "Peter Emberley" (1 text, 1 tune)
Mackenzie 116, "Peter Ambelay" (1 text)
Dibblee/Dibblee, p. 33, "Peter Emberley" (1 text, 1 tune)
Ives-DullCare, pp. 235-236,252-253, "Peter Emberly" (1 text, 1 tune)
Ives-NewBrunswick, pp. 99-103, "Peter Emberley" (1 text, 1 tune)
Manny/Wilson 38, "Peter Emberley" (1 text, 1 tune)
FSCatskills 5, "Adieu to Prince Edward's Isle" (1 text, 1 tune)
Linscott, pp. 269-272, "Peter Emily" (1 text, 1 tune)
Scott-BoA, pp. 270-273, "Peter Emberly" (1 text, 1 tune)
Beck 9, "Peter Ambelay" (1 text)
Fowke-Lumbering #36, "Peter Emery" (2 texts, 1 tune)
BarryEckstormSmyth pp. 258-264, "Mary Hamilton" (the "C" fragment actually comes from a text of this song rather than a version of "Mary Hamilton")
Darling-NAS, pp. 181-182, "Peter Emberly" (1 text)
DT 608, PTRMBRLY* PTRMBRL2
Roud #668
RECORDINGS:
Omar Blondahl, "Peter Amberly" (on NFOBlondahl04)
Marie Hare, "Peter Emberley" (on MRMHare01)
Wilmot McDonald, "Peter Emberley" (on Miramichi1)
CROSS_REFERENCES:
cf. "The Farmer and the Shanty Boy" (tune)
cf. "The Farmer's Boy" [Laws Q30] (tune)
cf. "John Ladner" (plot)
NOTES: Details about this song are sketchy. The name of the youth was probably spelled "Amberley" but was generally pronounced "Emberly." (Paul Stamler points out that Louise Manny records the spelling "Amberley" on his tombstone, but it is not contemporary).
The original tune has also been lost; when John Calhoun asked Abraham Munn to set a tune, Munn also added a stanza, and Calhoun withdrew the modified text from circulation.
According to his tombstone Amberley was born in 1863. He died some time after Christmas Day, 1880. - RBW
Manny/Wilson has a detailed account of the accident and burial, the spelling and pronunciation of the name, and the replacement of the original grave marker with a monument. Warning: "A legend has grown up about the song -- that it is unlucky to sing it in the woods. If it is sung the night before a drive, the woodsmen say, someone is sure to be killed." - BS
File: LC27
===
NAME: Peter and I Went Down the Lane
DESCRIPTION: "Peter and I went down the lane, down the lane (x2), Peter and I went down the lane, And sister came behind." Both sisters love Peter. "Sister was bending over the well When splash, splash in she fell." The survivor marries Peter; he abandons her
AUTHOR: unknown
EARLIEST_DATE: 1931 (Gardner/Chickering)
KEYWORDS: love courting death murder betrayal sister
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Gardner/Chickering 2, "The Two Sisters" (2 texts, 2 tunes, but the "A" text is "Child #10, but the "B" text is this) {B=Bronson's #97}
Roud #8
NOTES: Gardner and Chickering file this as a version of "The Twa Sisters," and certainly it appears to be the same plot. But the tune approximates "London Bridge," and the story is simplified. While it's probably built upon "The Twa Sisters," I'd call it a separate song. - RBW
File: C010A
===
NAME: Peter Clarke
DESCRIPTION: Peter Clarke and Jimmy Clarke are stopped by a robber. Peter refuses to be robbed; rather than give up his valuables, he attacks the outlaw barehanded. The robber shoots Clarke, but Clarke has a hand on his throat. Clarke dies, but the robber is taken
AUTHOR: unknown
EARLIEST_DATE: 1960
KEYWORDS: outlaw fight death Australia
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 100-102, "Bold Peter Clarke" (1 text, 1 tune)
DT, PETECLRK
RECORDINGS:
John Greenway, "Peter Clarke" (on JGreenway01)
NOTES: The facts about this case are a bit uncertain. Folklore does not give a name to the bushranger (unusual indeed in Australia!), and claims that Peter and Jimmy Clarke were unrelated.
John Greenway, however, reports that the two were brothers, and (along with their brother Acton and some others) were overtaken near Warland's Range by twenty-year-old Harry Wilson. (The time was April, 1864.) Wilson shot several members of the party, but could not release himself from Peter Clarke's dying grip. Wilson was tried and hung on October 4, 1864. - RBW
File: MA100
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NAME: Peter Emberly: see Peter Amberley [Laws C27] (File: LC27)
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NAME: Peter Emery: see Peter Amberley [Laws C27] (File: LC27)
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NAME: Peter Emily: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Peter Fishing
DESCRIPTION: Peter catches a fish, which urges, "Take me home, Peter (x3), oh mah ding." Peter takes it hom; the fish says, "Kill me now." Then, "Clean me now," "Salt me now," "Cook me now," "Eat me now," "I got you now!" (and Peter vanishes)
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Mrs. Walter Scott Jr.)
KEYWORDS: fishing food devil
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 221-222, "Peter Fishing" (1 text)
NOTES: Henry's informant said that Peter was punished by the Devil for fishing on a Sunday. I'd be inclined to say that listening to a dead fish wasn't too smart, either. - RBW
File: MKAp221
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NAME: Peter Gray
DESCRIPTION: Peter Gray, of Pennsylvania, loves Lucy Annie Pearl. Her father sends her west; he considers suicide, but instead goes west himself and is scalped by Indians. She takes to her bed and dies. Chorus: "Blow ye winds of morning, blow ye winds heigh-o."
AUTHOR: unknown
EARLIEST_DATE: 1860 (Dime Song Book #2)
KEYWORDS: courting separation father Indians(Am.) death humorous
FOUND_IN: US
REFERENCES: (2 citations)
DSB2, p. 45, "Peter Gray" (1 text)
Silber-FSWB, p. 240, "Peter Gray" (1 text)
ST FSWB240C (Full)
Roud #4307
RECORDINGS:
Pete Seeger, "Johnny Gray" (on PeteSeeger07, PeteSeeger07a)
CROSS_REFERENCES:
cf. "Blow Ye Winds in the Morning" (chorus lyrics, tune)
ALTERNATE_TITLES:
Johnny Gray
NOTES: Yes, I said humorous [in the keywords]; this is a reworking of a classic ballad plot unto the absurd. - PJS
And the versions I've heard sung are performed with great bathos, just to make sure we get the point. - RBW
File: FSWB240C
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NAME: Peter Hembly: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Peter Murphy's Little Dog
DESCRIPTION: This teasing song involves Murphy giving his girl friend a dog that wants to poke its nose into the woman's privates.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy dog humorous
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 214-215, "Peter Murphy's Little Dog" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Teasing Songs" (specifically "Suzanne Was a Lady," "The Ship's in the Harbor," "There Once Was a Farmer," "Two Irishmen, Two Irishmen")
NOTES: As is common with teasing songs, this is a fragmentary ballad at best, each verse ricocheting off the previous into a new direction. - EC
File: RL214
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NAME: Peter Pullin' Blues
DESCRIPTION: "Papa caught me in the loft, I'd just finished jackin' off." The father orders the boy to cease. He takes the boy, whose only other sexual experience is with a cow, to a whorehouse, where he proves highly interested but unable to perform
AUTHOR: attributed to Tex Fletcher by Jack Steele
EARLIEST_DATE: 1989 (Logsdon)
KEYWORDS: bawdy whore warning animal sex
FOUND_IN: US
REFERENCES: (1 citation)
Logsdon 60, pp. 271-274, "Peter Pullin' Blues" (1 text)
Roud #10110
NOTES: Despite the title, this is clearly not a blues, either in form or in content. And I couldn't bring myself to tag it "humorous," either. It's too crude; a slightly lighter touch would have been much more amusing. - RBW
File: Logs060
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NAME: Peter Rambelay: see Peter Amberley [Laws C27] (File: LC27)
===
NAME: Peter Street: see The Shirt and the Apron [Laws K42] (File: LK42)
===
NAME: Peter Wheeler
DESCRIPTION: Peter Wheeler comes to "this foreign shore, He lived close by little Annie's door" in Nova Scotia. He asks Anne to marry and she refuses again. He clubs her and cuts her throat. He is convicted, gives us good advice and bids us "a last good-night"
AUTHOR: unknown
EARLIEST_DATE: 1960 (Creighton-SNewBrunswick)
KEYWORDS: courting rejection execution murder trial gallows-confessions
HISTORICAL_REFERENCES: 1895 - Anne Kempton murdered by Peter Wheeler at Bear River, Digby County (source: Mackenzie; Creighton says 1896)
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-SNewBrunswick 91, "Peter Wheeler" (1 text, 1 tune)
ST CrSNB091 (Partial)
Roud #2770
CROSS_REFERENCES:
cf. "The Bear River Murder" (subject: the same murder) and references there
File: CrSNB091
===