NAME: Titus Andronicus's Complaint: see references under Fortune My Foe (Aim Not Too High) (File: ChWI076)
===
NAME: To Anacreon in Heaven
DESCRIPTION: "To Anacreon in heav'n where he sat in full glee, A few sons of harmony sent in a petition." They ask the poet to be their patron, describe how they intend to drink and enjoy themselves, and wander off into sundry classical allusions
AUTHOR: Words: Ralph Tomlinson / Music: John Stafford Smith (?)
EARLIEST_DATE: 1778 (The Vocal Magazine)
KEYWORDS: drink nonballad gods
FOUND_IN: Britain(England)
REFERENCES: (3 citations)
Spaeth-ReadWeep, pp. 8-11, "To Anacreon in Heaven" (1 text, 1 tune)
Fuld-WFM, pp. 528-533, "The Star Spangled Banner"
DT, ANCREON, ANACRON2
CROSS_REFERENCES:
cf. "The Star-Spangled Banner" (tune) and references there
NOTES: Anacreon (c. 563-476 B.C.E.) was a Greek poet for whom the anacreonitic metre (^^-^-^--) was named. Only fragments of his poetry survive; what scraps remain are in praise of wine, love, and pleasure.
John Stafford Smith is most frequently listed as the author of this tune, and his name appears on the first dated sheet music (1799; the earliest printing, probably c. 1782, has no author listed). However, Samuel Arnold, who conducted the Anacreonitic Society's orchestra, has also been named.
This song was written for the Anacreonitic Society, devoted (like Anacreon's writings) to wine and pleasure. The society broke up in 1786.
For commentary on the various obscure allusions in this piece, the reader is referred to Spaeth's _Read 'Em and Weep_. Those who wish to see a list of all the (generally dreadful) lyrics set to the tune around the beginning of the nineteenth century, see Spaeth's _History of Popular Music in America_, p. 40. - RBW
Anyone who complains that our national anthem is bad poetry (and some do) should look at the lyrics to this song, its ancestor. They are immeasurably worse. The Library of Congress conducted a study of the song's origins in the early part of this century; among other issues, they considered (and rejected) a suggestion that the tune was composed by the Irish harper Turlough O'Carolan. - PJS
File: SRW008
===
NAME: To Be a Good Companion: see I'll Drink One (To Be a Good Companion, The Sussex Toast) (File: K285)
===
NAME: To Cheer the Heart: see Farewell He (File: FSC41)
===
NAME: To Coont My Kin an' Pedigree
DESCRIPTION: The singer is offended that his antagonist, in "the filthy stuff that ye composed [with help]," ridiculed "my kin an' pedigree ... ye are like Melchisedeck we dinna know your race." He notes his antagonist's name is shared by a hangman.
AUTHOR: Peter McCombie (source: GreigDuncan3)
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: accusation nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 674, "To Coont My Kin an' Pedigree" (1 text)
Roud #6098
NOTES: GreigDuncan3 quotes Charles Murray's conclusion that this is part of a battle between rhymers: one being McCombie and the other named Milne. The Melchisedeck reference, according to GreigDuncan3, is to Hebrews 7.3 [more likely 7.1-3]: "For this Melchsedec, king of Salem, priest of the most high God ... without father, without mother, without descent, ...." referring back to Genesis 14.18-20 and Psalms 110.4. - BS
While GreigDuncan3 quotes Hebrews 7:1-3, the actual reference in the song is indeed to Hebrews 7:3, which is the source of the statement that Melchizedek is without father or mother or genealogy. There is no hint of this in Genesis (which simply refers to him as king of [Jeru]salem) or in Psalm 110 (which calls him a "priest forever" -- although in fact the text of the verse is somewhat unclear and some think that it does not refer to Melchizedek). The reference to Hebrews is further supported by the spelling "Melchisedec," which is the form used in Hebrews 7:1 of the King James Bible; the Old Testament of the KJV, and most modern translations, spell the name "Melchizedek," which corresponds more closely to the Hebrew.
We might add that every New Testament reference to Melchizedek is in Hebrews: 5:6, 10, 6:20, 7:1, 10, 11, 15, 17.
There is an interesting twist here, in that the words used in Hebrews 7:3 for "without father" and "without mother" often refer to orphans or even illegitimate children -- a useful insinuation in a slanging contest. However, it seems unlikely that our author knew that.
In any case, the whole thing is probably overblown. Although the name "Melchizedek" does suggest "King [root 'melch'] of righteousness [root 'zadok']," it is likely that the name as used in Genesis is that of an actual Canaanite king; "Zedek" might even be his god. If Jerusalem had had Yahwist kings, there would have been no need for David to conquer it in the centuries after Abraham's encounted with Melchizedek. Hebrews is working from a legitimate Jewish tradition (hinted at in the Psalm and expanded in extra-canonical writings), but it is hardly based on actual history. - RBW
File: GrD3674
===
NAME: To Daunton Me (I)
DESCRIPTION: "To daunton [subdue] me, and me sae young, And gude King James's auldest son, O that's the thing that ne'er can be, For the man's unborn that will daunton me." The singer claims that only poverty can keep him down: "Now I hae scarce to lay me on"
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2)
KEYWORDS: exile nonballad Jacobites
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Hogg2 44, "To Daunton Me" (1 text, 1 tune)
Roud #6826
CROSS_REFERENCES:
cf. "To Daunton Me (II)" (tune, pattern)
cf. "To Daunton Me (III)" (tune, pattern)
NOTES: Here the singer plays the part of The Old Pretender, James [III and] VIII.
Like "The Shan Van Voght" in Ireland, "To Daunton Me" provides a theme to be adapted to different situations and dates. Hogg provides two other examples: the singer of "To Daunton Me (II)" is a supporter of The Old Pretender who would see "King James at Edinburgh cross, Wi' fifty thousand foot and horse"; the singer of "To Daunton Me (III)" is a supporter of the [Young] Pretender ("For Charles we'll conquer or we'll die"). Then there's the Robert Burns version pitting youth against wealth and age ("An auld man shall never daunton me.") The fragment GreigDuncan6 1134 may belong to any of these or to some other version entirely; the editor, Elaine Petrie, writes that "Volume 6, is the Heartbreak Hotel of the collection" [p. xvii]. Maybe so, but I would put the fragment either here, with "To Daunton Me (I)," (as would, apparently, Duncan [p. 551]), or the Burns version. - BS
I might add that this is song is utterly uncharacteristic of the Old Pretender; it seems to describe an optimistic, go-for-it sort of guy. But every book I can recall reading describes him as a pessimist, almost morose, unwilling to take risks even when the potential reward was great. The 1715 rebellion was an obvious example: It might have had a chance had he hurried to Scotland -- but he waited until after Sheriffmuir, came ashore just long enough to say he'd come, and left. Susan Maclean Kybett _Bonnie Prince Charlie_, Dodd Mead, 1988), p. 16. notes that James came to be called "Old Mr. Melancholy," and I have to say that the name fits. - RBW
File: Hogg2044
===
NAME: To Daunton Me (II)
DESCRIPTION: "D'ye ken the thing that wad daunton me? Eighty-eight and eighty-nine, And a'the dreary years sinsyne" The singer wants "banishment to a' the Whigs," the return of King James to Edinburgh, and "the usurper forc'd to flee"
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2)
KEYWORDS: nonballad Jacobites political
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Hogg2 46, "To Daunton Me" (1 text, 1 tune)
Roud #6826
CROSS_REFERENCES:
cf. "To Daunton Me (I)" (tune, pattern) and discussion there
cf. "To Daunton Me (III)" (tune, pattern)
NOTES: William of Orange came to England in 1688 and formally became William III of England and William II of Scotland in 1689. - BS
The dating of this depends very much on the meaning of the word "return." Does the author mean that he wants King James II and VIII to come *back* to Edinburgh, where he was once King? In that case, it must be from before 1701, when James II died. Or does the author merely want the Stuarts back, in which case the Old Pretender, James III and VIII could be meant, and the song could come from almost any time.
For background on the Glorious Revolution of 1688-1689, see e.g. the notes to "The Vicar of Bray"; for the aftermath, see "The Battle of the Boyne (I)." - RBW
File: Hogg2046
===
NAME: To Daunton Me (III)
DESCRIPTION: "At Moidart our young prince did land, With seven men at his right hand, And a' to conquer nations three: That is the lad that shall wanton me." Woe to those that exiled the king. "Raise the banner, raise it high; For Charles we'll conquer or we'll die"
AUTHOR: unknown
EARLIEST_DATE: 1821 (Hogg2)
KEYWORDS: rebellion exile return nonballad Jacobites royalty
HISTORICAL_REFERENCES: July 16, 1745 - Bonny Prince Charlie and "the seven men of Moidart" sail from Belle-Ile for Britain (source: Tim Robertson, "Bonnie Prince Charlie in Moidart, 1745-1746" at Moidart Local History Group site)
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Hogg2 45, "To Daunton Me" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "To Daunton Me (I)" (tune, pattern) and discussion there
cf. "To Daunton Me (II)" (tune, pattern)
File: Hogg2045
===
NAME: To Hear the Nightingales Sing: see One Morning in May (To Hear the Nightingale Sing) [Laws P14] (File: LP14)
===
NAME: To Huntsville: see The Boston Burglar [LawsL16] (File: LL16)
===
NAME: To London I Did Go: see Little Brown Dog (File: VWL101)
===
NAME: To Men
DESCRIPTION: Young men are are concerned with their clothes, their snuff, and drink while they slight lasses. When courting they are "puffed up with pride" and "gar the siller flee" but after marriage "the hoose it is tae build the siller is tae borrow"
AUTHOR: unknown
EARLIEST_DATE: 1910 (GreigDuncan3)
KEYWORDS: courting marriage warning clothes money drink drugs nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig 150, p. 1, "The Young Men" (1 text)
GreigDuncan3 649, GreigDuncan8 Addenda, "To Men" (5 texts, 2 tunes)
Roud #6078
CROSS_REFERENCES:
cf. "The Sheffield Apprentice" (tune, per GreigDuncan3)
ALTERNATE_TITLES:
What Means Now A' the Young Men?
I Wonder All Ye Young Men
Oh What Do All the Young Men Mean
File: GrD3649
===
NAME: To Morrow: see I Want to Go to Morrow (File: DTmorrow)
===
NAME: To Pad the Road wi' Me?: see Paddle the Road with Me (File: Wa032)
===
NAME: To Reap and Mow the Hay
DESCRIPTION: The singer is in Scotland, driven from Ireland by the landlord and bad times. He is invited to stay a week "putting in the hay" with a 1914 veteran. He marries the farmer's niece. They'll go to Ireland now but return yearly to Scotland to make the hay.
AUTHOR: unknown
EARLIEST_DATE: 1977 (recording, Paddy and Jimmy Halpin)
KEYWORDS: marriage war travel return farming hardtimes Ireland Scotland family
FOUND_IN: Ireland
REFERENCES: ()

Roud #12937
RECORDINGS:
James and Paddy Halpin, "To Reap and Mow the Hay" (on Voice20, IRHardySons)
File: RcTRAMTH
===
NAME: To Roll Her In My Plaidie
DESCRIPTION: "There lives a lass by yonder burn... And aft she gies her sheep a turn That feed amang the bracken." "Could I believe she'd woo wi' me... I'd afttimes slip out owre yon lea And roll her in my plaidie." The poor lovestruck lad tells how he would woo her
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love courting
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 420, "To Roll Her In My Plaidie" (1 text)
Roud #3948
File: Ord420
===
NAME: To the Beggin' I Will Go: see A-Begging I Will Go (File: K217)
===
NAME: To the Memory of the Late Captain Kennedy
DESCRIPTION: "Slowly today we wend our way To a grave in Belvedere Behind the corpse of a hero bold." The singer tells of Kennedy's voyages, and describes his heroism when the Viking caught fire.
AUTHOR: unknown
EARLIEST_DATE: 1936 (King, The Viking's Last Cruise)
KEYWORDS: ship fire rescue
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 105, "To the Memory of the Late Captain Kennedy" (1 text)
File: RySm105
===
NAME: To the Pines, to the Pines: see In the Pines (File: LoF290)
===
NAME: To the Spanish Main -- Slav Ho: see Saltpetre Shanty (Slav Ho) (File: Colc097)
===
NAME: To the Weaver's Gin Ye Go
DESCRIPTION: "My heart was ance as blythe and free As simmer days were lang," but a weaver "has gart me change my sang." Sent to the weaver, he "conveyed me through the glen." As for what happened after, "I fear the kintra soon Will ken as weel's mysel'."
AUTHOR: Words: Robert Burns
EARLIEST_DATE: 1788 (according to Kinsley, _Burns_)
KEYWORDS: weaving seduction sex pregnancy warning
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
MacColl-Shuttle, p. 23, "To the Weavers Gin Ye Go" (1 text, 1 tune)
DT, GINYOUGO*
File: MacCS23
===
NAME: To the West A While to Stay
DESCRIPTION: "As I sit here sad and lonely, Thinkin' of my dear old home, Of my home an' dear old mother, How much further must I roam?" The singer recalls the sad parting when he told mother he was leaving. Now he learns that mother died while he was far away
AUTHOR: unknown
EARLIEST_DATE: 1929 (Randolph)
KEYWORDS: death separation mother
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 191, "To the West Awhile to Stay" (1 text, 1 tune)
Randolph/Cohen, pp. 189-190, "To the West Awhile to Stay" (1 text, 1 tune -- Randolph's 191)
Roud #4050
CROSS_REFERENCES:
cf. "Ten Thousand Miles Away (On the Banks of Lonely River)" (plot)
NOTES: This song is item dB37 in Laws's Appendix II. - RBW
File: R191
===
NAME: To Wear a Green Willow: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: To Your Tents O Erins
DESCRIPTION: "In Union, blessed Union, will Freedom be found." Union's first year is ending. Union "fills the traitors with fear." "'Men to your Tents', now through Erin be sung ... Till Erin, loved Erin, from tyranny's freed."
AUTHOR: Theobald Wolfe Tone (1763-1798) (source: Moylan)
EARLIEST_DATE: before 1804 (_Paddy's Resource_, according to Moylan)
KEYWORDS: freedom Ireland nonballad patriotic political
HISTORICAL_REFERENCES: Oct 1791 - Society of United Irishmen founded in Belfast 
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 36, "To Your Tents O Erins" (1 text)
NOTES: Union, here, cannot be the Union of Ireland with Britain (which occurs in 1801, after Tone's death); it must be the formation of the United Irishmen, co-founded by Tone in 1791. The text begins by enthusiastically supporting "Union." It ends by repeating references to I Kings 12:16 in which deceased Solomon's kingdom is permanently split into the kingdoms of Israel and Judah; this, following Rehoboam's rejection of Israel's call for relief ("So when all Israel saw that the king hearkened not unto them, the people answered the king [Rehoboam], saying, What portion have we in David? neither have we inheritance in the son of Jesse [Rehoboam again]: to your tents, O Israel: now see to thine own house, David [Rehoboam once again, and/or Judah [actually the Davidic dynasty, as represented by Rehoboam, David's grandson and Jesse's great-grandson - RBW]]. So Israel departed unto their tents.") - BS
Like so much in Irish history, I personally would regard the "to your tents" phrase as words of ill omen, not good. Effectively the same phrase occurs in 2 Samuel 20:1 (slightly obscured in the King James rendering, it seems to me) as part of the rebellion of Sheba son of Bichri, which was quickly crushed. The rebellion of Israel against the Davidic dynasty was not crushed, but neither was Israel very successful; it took half a century before a dynasty was established which lasted for more than a year beyond the death of its founder, and the nation as a whole lasted only about 200 years.
The phrase "every man to his tent" occurs on a number of other occasions as well -- after battles in which the Israelites are defeated: The routed warriors flee to their own tents after the battle is lost. - RBW
File: Moyl036
===
NAME: Toad's Courtship, The: see Frog Went A-Courting (File: R108)
===
NAME: Toast to Beara, A
DESCRIPTION: "Let's drink a toast to Beara to the gallant sporting team: On the football fields of the County Cork today they reign supreme." Their victories are listed. The members of the team are named. "Here's success to all their followers"
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: sports moniker nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 86-87, "A Toast to Beara" (1 text, 1 tune)
NOTES: OCanainn: This song is about the 1933 Beara [Gaelic] football team. - BS
File: OCan086
===
NAME: Tobacco: see Tobacco's But an Indian Weed (File: Log262)
===
NAME: Tobacco Pipes and Porter
DESCRIPTION: "Tobacco pipes, tobacco pipes, tobacco pipes and porter Mony ane will sing a sang, but few will sing a shorter."
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: drink drugs nonballad
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 568, "Tobacco Pipes and Porter" (1 short text)
Roud #5894
NOTES: The current description is all of the GreigDuncan3 entry. - BS
File: GrD3568
===
NAME: Tobacco Plenty
DESCRIPTION: Singer has bad luck. He sat down to smoke but his pipe was empty. He tried to shave but, lacking a cake of soap, used a potato instead. He tripped over a hole in his socks and broke his nose ... If times improve he may pay the rent.
AUTHOR: unknown
EARLIEST_DATE: 1905 (GreigDuncan2)
KEYWORDS: hardtimes humorous drugs
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 285, "Tobacco Plenty" (3 texts, 3 tunes)
Roud #5856
ALTERNATE_TITLES:
One Day As I Sat on my Loom
File: GrD286
===
NAME: Tobacco Song, The
DESCRIPTION: "Ye fellows smokes tobacco, come pity my case, I'm here on this island without a damn taste." Desperate people without a draw or chaw are smoking tea and worse, or chewing wax. When the wind changes and the ice goes they'll get tobacco at St Peter's.
AUTHOR: unknown
EARLIEST_DATE: 1977 (Lehr/Best)
KEYWORDS: ordeal nonballad drugs
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 109, "The Tobacco Song" (1 text, 1 tune)
RECORDINGS:
Anita Best, "Tobacco" (on NFABest01)
File: LeBe109
===
NAME: Tobacco Union (Talking with the Social Union)
DESCRIPTION: "Come young and old and hear me tell / How strong tobacco smokers smell, / Who love to smoke the pipe so well. / For tobacco they will smell, To burn and smoke in union." A condemnation of tobacco, of those who spend money to buy it, and of its effects
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: drugs accusation
FOUND_IN: US(SE)
REFERENCES: (4 citations)
Randolph 508, "Tobacco Union" (1 text, 1 tune) (compare also the "B" fragment of 408, "The Little Brown Jug"))
Randolph/Cohen, pp. 378-380, "Tobacco Union" (1 text, 1 tune -- Randolph's 508)
Warner 91, "Talking with the Social Union" (1 text, 1 tune)
DT, TOBBACUN*
Roud #5721
NOTES: Apparently an adaption of the hymn "Heavenly Union." - RBW
File: R508
===
NAME: Tobacco's But an Indian Weed
DESCRIPTION: Tobacco is offered as a parable for life: "Grows green at morn, cut down at eve." "The pipe... Is broke with a touch -- man's life is such." "The smoke... shows us man's life must have an end." The moral: "Think on this when you smoke tobacco."
AUTHOR: unknown
EARLIEST_DATE: 1699  (Pills to Purge Melancholy); also in Trinity College (Dublin) MS. G.2.21 
KEYWORDS: nonballad drugs
FOUND_IN: Britain(England)
REFERENCES: (6 citations)
Beck 93, "A Peculiar Sermon for Shanty Boys" (1 text)
Logan, pp. 262-263, "Tobacco" (1 text)
Chappell/Wooldridge II, pp. 78-79, "Tobacco's But an Indian Weed" (1 text, 1 tune)
BBI, ZN2658, "Tobacco is but an Indian weed"
ADDITIONAL: Norman Ault, _Elizabethan Lyrics From the Original Texts_, pp. 56-57, "A Religious Use of Taking Tobacco" (1 text)
DT, INDNWEED*
ST Log262 (Full)
Roud #1457
NOTES: This also appears as a portion of a poem, "Smoking Spiritualized." The remaining portion is said to be "very inferior."  "Smoking Spiritualized" was published under the name of Rev. Ralph (or "Ebenezer") Erskine in a book of _Gospel Sonnets_. Although some have thought that the Erskine version is older than that in _Pills_, the fact that Erskine was born in 1685 argues that the song is older than his work.
Ault offers an even earlier claim, crediting the piece to "Wisdome" and dating the poem "before 1568" (I'm not sure if that is based on the Trinity College manuscript or the dates for Wisdome or just pure fancy; my suspicion is the last). - RBW
Beck credits this to "some moralizing shanty boy of 1892." Surprise! - PJS
File: Log262
===
NAME: Tobasco
DESCRIPTION: The singer notes, "You can talk about your cities... But the little place of Tobasco is good enough for me." Tobasco has no fancy buildings, ornate churches, or sidewalks, and is not right for everyone -- but it suits the singer just fine
AUTHOR: unknown
EARLIEST_DATE: 1982
KEYWORDS: nonballad home
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatkills 158, "Tobasco" (1 text, 1 tune)
ST FSC158 (Partial)
File: FSC158
===
NAME: Tobias Murphy and Tom Hann
DESCRIPTION: Two captains, Murphy and Hann, are on St Mary's banks in a September gale. Hann's boat runs aground rounding Cape St Mary's and all hands are lost. Murphy's boat heads for North Harbour but two men are swept overboard.
AUTHOR: Peter Leonard
EARLIEST_DATE: 1983 (Lehr/Best)
KEYWORDS: death sea ship storm wreck
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 110, "Tobias Murphy and Tom Hann" (1 text, 1 tune)
NOTES: Lehr/Best: "According to Aunt Carrie Brennan, this sea tragedy occurred in 1878" - BS
File: LeBe110
===
NAME: Tochineal
DESCRIPTION: "Come a' my young lads, ye'll mak haste and be ready... An' we ane and a'... Maun leave Tochineal, nae mair to come back." "Awa to the West we maun a' gang thegither." Many are forced to depart; the singer laments that the new home will not be Tochineal
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: home emigration
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
GreigDuncan3 374, "Tochineal" (1 text)
Ord, p. 353, "Tochineal" (1 text)
Roud #4591
NOTES: Nowhere does this song explain the reason for this mass emigration, but one has to suspect it is the result of the Highland Clearances.
Given the title and the metrical form, I suspect this of having been sung to "Teddy O'Neill," though neither Ord nor Grieg had a tune. - RBW
GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Tochineal (374) is at coordinate (h6-7,v5) on that map [roughly 45 miles NW of Aberdeen]. - BS
File: Ord353
===
NAME: Tocowa: see The State of Arkansas (The Arkansas Traveler II) [Laws H1] (File: LH01)
===
NAME: Toddlin' But and Toddlin' Ben (The Wee Little Totum)
DESCRIPTION: "Some say to live single it is the best plan, But I was ne'er happy till I got a man, When I got a man I soon got a wean...." "It gangs toddlin' but, and gangs toddlin' ben." The singer describes the toddler's cheerful rambles, and rejoices in her life
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: marriage love baby wife
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 137, "The Wee Totum" (1 text)
Roud #5551
File: Ord137
===
NAME: Toll Bar, The
DESCRIPTION: "Something cam' in" when the cart toll was twopence; at fourpence now it's "growin' vera thin; But I'll pay my rent when it comes to be due, Gin Providence send not something that's new"
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan3)
KEYWORDS: poverty farming nonballad commerce money
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 458, "The Toll Bar" (1 text, 1 tune)
Roud #5963
File: GrD3458
===
NAME: Tolliver Song, The: see The Rowan County Crew (Trouble, or Tragedy) [Laws E20] (File: LE20)
===
NAME: Tolliver-Martin Feud Song, A: see The Rowan County Crew (Trouble, or Tragedy) [Laws E20] (File: LE20)
===
NAME: Tom a Bedlam (Bedlam Boys)
DESCRIPTION: The singer is determined to find her Tom. She describes (his or her) visions. Chorus: "Still I sing bonny boys, bonny mad boys, Bedlam boys are bonny. For they all go bare, and they live by the air...."
AUTHOR: unknown
EARLIEST_DATE: 1720 (Pills to Purge Melancholy)
KEYWORDS: madness love separation
FOUND_IN: Britain(England)
REFERENCES: (4 citations)
Logan, pp. 172-189, "Tom a Bedlam" (there are eight texts in this section; the one labelled "Mad Maudlin" on pp. 181-182 is this one)
Chappell/Wooldridge I, pp. 175-178, "Tom a Bedlam" (7 fragmentary texts, at least one of which is this one; 1 tune; the next piece, "Gray's Inn Masque, or Mad Tom, or New Mad Tom of Bedlam," (for which see also BBI, ZN910, "Forth from my sad and darksome cell") appears to be an unrelated literary song, found also in Percy, pp. 344-347, "Old Tom of Bedlam," the first of six "Mad Songs")
DT, BEDLMBOY*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #310, "Tom O'Bedlam" (1 text)
ST Log172 (Full)
CROSS_REFERENCES:
cf. "A Maid in Bedlam" (theme)
NOTES: The Hospital of St. Mary of Bethlehem (Bedlam), in London, was the first hospital for insane men in England. Magdalene Hospital (Maudlin), mentioned in some versions of the song, was the first hospital for insane women. - PJS
"Bedlam songs" seem to have been a phenomenon in the eighteenth century and after. To make matters worse, they all seem to mix and match. Many of Percy's texts, e.g., resemble Logan's, which resemble Chappell's. It's very hard to tell them apart.
Under the circumstances, I've listed the most traditional-seeming of the bunch ("Tom a Bedlam") here, and hope cross-references in the "References" field will suffice for the others.
Aldington's _The Viking Book of Poetry of the English-Speaking World_  we find a Tom o' Bedlams Song starting
From the hag and  hungry goblin
That into rages would rend ye,
And the spirit that stands
By the naked man
In the book of moons defend ye....
It's not this piece (the chorus is different), but there is undeniable dependence. Aldington attributes the piece to Giles Earle (dates unknown but early seventeenth century). Granger's Index to Poetry, however, lists the author of this as unknown -- and it has plenty of supporting evidence, since it cites 18 different references. Nor does Granger's list any other works by this alleged Earle. - RBW
File: Log172
===
NAME: Tom Bird's Dog
DESCRIPTION: The singer goes bird hunting. Tom Bird's dog pursues. The singer escapes. "I don't know how many birds you got" but wishes someone had killed the dog.
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: escape hunting humorous dog
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 101-102, "Tom Bird's Dog" (1 text, 1 tune)
Roud #9959
File: Pea101
===
NAME: Tom Bo-lin: see Brian O'Lynn (Tom Boleyn) (File: R471)
===
NAME: Tom Boleyn: see Brian O'Lynn (Tom Boleyn) (File: R471)
===
NAME: Tom Bowline: see Tom Bowling (File: DTtombow)
===
NAME: Tom Bowling
DESCRIPTION: "Here a sheer hulk lies poor Tom (Bowling/Bowline), the darling of our crew." Tom, faithful, kind, virtuous, and beautiful, has now "gone aloft." His family and friends are mentioned. They hope he finds "pleasant weather" in heaven
AUTHOR: Charles Dibdin (1745-1815)
EARLIEST_DATE: 1910 (Eliot)
KEYWORDS: death sailor religious
FOUND_IN: 
REFERENCES: (3 citations)
Shay-SeaSongs, pp. 96-97, "Tom Bowline" (1 text, 1 tune)
DT, TOMBOWLI
ADDITIONAL: Charles W. Eliot, editor, English Poetry Vol II From Collins to Fitzgerald (New York, 1910), #305, p. 502, "Tom Bowling" (by Charles Dibdin)
Roud #1984
CROSS_REFERENCES:
cf. "Frank Fidd"
NOTES: As a folk song, this hasn't been very popular (I indexed it mostly for the parallels to "Frank Fidd," which see). But, like many Dibdin pieces, it was widely published in broadsides, and has also shown up in a number of modern anthologies; there are six citations in _Granger's Index to Poetry_. - RBW
File: DTtombow
===
NAME: Tom Brown: see The King Takes the Queen (File: FSWB232)
===
NAME: Tom Brown's Two Little Indian Boys: see Ten Little Injuns (File: OO2376)
===
NAME: Tom Cat
DESCRIPTION: "Funniest thing that ever I seen Was a tom cat stitchin' on a sewin' machine! O-ho, my baby, take a-one on me!" "Sewed so easy and he sewed so slow, Took ninety-nine stitches on the tom-cat's toe, O-ho, my baby...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: animal technology
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 91, "Tom Cat" (1 text, 1 tune)
ST ScaNF091 (Full)
CROSS_REFERENCES:
cf. "Take a Whiff on Me" (lyrics, form)
NOTES: Presumably from the same roots as "Take a Whiff On Me" or something like it. With only two verses, I can't really tell if it's a separate song or not -- but we're splitters, so we file it as if it is. - RBW
File: ScaNF091
===
NAME: Tom Cat Blues
DESCRIPTION: Singer praises old "Ring Tail Tom" for his sexual prowess: "I got an old tom cat; When he steps out All the pussy cats in the neighborhood, They begin to shout, 'Here comes Ring Tail Tom, He's boss around the town...." Etc.
AUTHOR: Probably Cliff Carlisle
EARLIEST_DATE: 1934 (recording, Cliff Carlisle)
KEYWORDS: sex bawdy humorous nonballad animal
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Cohen/Seeger/Wood, p. 213, "Tom Cat Blues" (1 text, 1 tune)
Silber-FSWB, p. 160, "Tom Cat Blues" (1 text)
DT, TOMCATBL*
RECORDINGS:
Cliff Carlisle, "Ringtail Tom" (Vocalion 02656, 1934); "Tom Cat Blues" (Vocalion 5492, 1940; on TimesAint04)
Jimmie Davis, "Tom Cat and Pussy Blues" (Bluebird B-6272, 1936)
New Lost City Ramblers, "Tom Cat Blues" (on NLCR01)
NOTES: I can't tell without hearing them whether the two Cliff Carlisle recordings are the same performance, but they're clearly the same song. - PJS
File: CSW213
===
NAME: Tom Cornealy
DESCRIPTION: Tom ships on board the Lighter Home, bound to Labrador. "At last we reached that awful land Where the snow and ice was beating" and head north to Ungava "Up in the Arctic Ocean ... the salmon was so thick" but all we found were starving "huskies"
AUTHOR: unknown
EARLIEST_DATE: 1950 (Creighton-Maritime)
KEYWORDS: fishing ordeal sea ship Eskimo
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-Maritime, p. 188, "Tom Cornealy" (1 text, 1 tune)
Roud #2716
File: CrMa188
===
NAME: Tom Corrigan
DESCRIPTION: Corrigan is racing on the horse "Waiter." He is just overtaking the leader when he is thrown and killed.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: death racing horse
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 138-139, "Tom Corrigan" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Donald Campbell" (theme)
cf. "The Death of Alec Robertson" (theme)
cf. "Alec Robertson (I)" (theme)
cf. "Alec Robertson (II)" (theme)
NOTES: "Banjo" Paterson wrote a piece, "Tommy Corrigan (Killed, Steeplechasing at Flemington)" -- but the two are not the same. - RBW
File: MA138
===
NAME: Tom Dixon
DESCRIPTION: "Tom Dixon runs a cathouse way down on Harlow street," a frequent destination for loggers. "The girls are not so pretty, but I guess they're not so slow." The singer talks of his trips back and forth between lumber camp and Dixon's establishment
AUTHOR: unknown
EARLIEST_DATE: 1951
KEYWORDS: logger whore bawdy
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Doerflinger, p. 251, "Tom Dixon" (1 text, 1 tune)
Roud #9423
File: Doe251
===
NAME: Tom Dooley  [Laws F36A]
DESCRIPTION: Tom Dula/Dooley has killed Laura Foster. He has few regrets except that he didn't get away with it. He curses Sheriff Grayson, who has captured him.
AUTHOR: unknown
EARLIEST_DATE: 1921 (Brown)
KEYWORDS: murder execution
HISTORICAL_REFERENCES: 1866 (probably January 25) - Murder of Laura Foster by Thomas C. Dula (and his new sweetheart Ann Melton). Dula apparently killed Foster because he had contracted a venereal disease from her, which she had reportedly caught from Grayson.
May 1, 1868 - Dula is hanged for the murder.
FOUND_IN: US(SE)
REFERENCES: (11 citations)
Laws F36A, "Tom Dooley"
Friedman, p. 228, "Tom Dooley" (1 text)
Warner 118, "Tom Dooley" (1 text, 1 tune)
BrownII 303, "Tom Dula" (3 texts, all very short; in addition, the "B" text of Brown's #304, "Tom Dula's Lament," is a single stanza found in the Proffitt version of "Tom Dooley")
Lomax-FSUSA 82, "Tom Dooley" (1 text, 1 tune)
Lomax-FSNA 139, "Tom Dula" (1 text, 1 tune)
Cohen/Seeger/Wood, p. 137, "Tom Dooley" (1 text, 1 tune)
Darling-NAS, pp. 207-208, "Tom Dooley" (1 text)
Arnett, p. 188, "Tom Dooley" (1 text, 1 tune)
Silber-FSWB, p. 225, "Tom Dooley" (1 text)
DT, TOMDOOLY*
Roud #4192
RECORDINGS:
Sheila Clark, "The Ballad of Tom Dula" (on LegendTomDula)
[G. B.] Grayson & [Henry] Whitter, "Tom Dooley" (Victor 40235, 1930; rec. 1929; on GraysonWhitter01)
Glenn Neaves & band, "Tom Dooley" (on GraysonCarroll1)
New Lost City Ramblers, "Tom Dooley" (on NLCR02) (NLCR12)
Frank Profitt, "Tom Dooley" [excerpt] (on USWarnerColl01)
CROSS_REFERENCES:
cf. "The Murder of Laura Foster" [Laws F36] (subject)
cf. "Tom Dula's Lament" (subject, lyrics)
ALTERNATE_TITLES:
Tom Dooly
NOTES: G. B. Grayson, who (along with Henry Whitter) made the earliest known recorded version of the song, was descended from the sheriff who captured Dula. - PJS
I know of no absolute confirmation of the story that Foster, Dula, and company suffered from a venereal disease, but the notes in Brown to "The Murder of Laura Foster" mention that Melton in later life is said to have admitted a part in the killing -- and that she later went blind. Blindness is a known side effect of syphilis.
According to court records, Dula was charged with the murder and Melton with being an accessory before the fact.
The trial was moved to a different venue, and after some maneuvering, Dula and Melton were tried separately. The trial was badly conducted, and Dula was granted a new trial by the state supreme court. The verdict did not change.
Dula, on his last day, wrote a statement to the effect that he was solely responsible for the murder. Belief at the time, and Melton's later testimony, both seem to contradict this.
Reading the accounts of Dula's behavior after the Civil War (where he fought with courage on the Confederate side) makes one wonder about some sort of post-traumatic disorder. I know of no studies on this point, but it's noteworthy that Michael Wallis (_Billy the Kid: The Endless Ride_ Norton, 2007, pp. 30-31) observes that crime statistics in the United States soared after the Civil War. He blames the increased availability and efficiency of firearms, but in fact all major weapons types available after the war had pre-war equivalents. All recent difficult wars, from Vietnam to Iraq, have left many veterans with post-traumatic stress problems. Surely the Civil War would have done the same!
At least one witness said that Melton would have hung with Dula had she not been so beautiful.
In 2001/2, an attempt was made in North Carolina to convince the governor to grant Dula a posthumous pardon. This seems rather far-fetched. Dula may not have been guilty of murder, but he *did* abandon Foster (possibly after getting her pregnant, though of course that could have been the man who gave her the venereal disease), and was at the very least an accessory after the fact to murder by Melton. - RBW
File: LF36A
===
NAME: Tom Dula: see Tom Dooley  [Laws F36A] (File: LF36A)
===
NAME: Tom Dula's Lament
DESCRIPTION: "I pick my banjo now, I pick it on my knee, This time tomorrow night, It'll be no more use to me." Dula says that Laura (Foster) loved his banjo playing, and says he never knew how true her love was. He bids Ann (Melton) to kiss him goodbye
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: death execution music love
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownII 304, "Tom Dula's Lament" (2 texts, but the second is a single-stanza fragment, not found in the "A" text, and is included in the "Tom Dooley" text sung by Frank Profitt)
ST BrII304 (Full)
Roud #6645
RECORDINGS:
 Sheila Clark, "Tom Dula's Own Ballad" (on LegendTomDula)
CROSS_REFERENCES:
cf. "The Murder of Laura Foster" [Laws F36] (subject)
cf. "Tom Dooley" [Laws F36A] (plot, lyrics)
NOTES: This song may possibly be a rewritten version of "Tom Dooley" (or vice versa); they share lyrics, and can be sung to the same tune. But this one is in the first person, "Tom Dooley" mostly in third person. Plus this one shows Dula lamenting his errors. They look separate to me, as they did to the editors of Brown. - RBW
File: BrII304
===
NAME: Tom Halyard
DESCRIPTION: Tom Halyard, mortally wounded, asks his ship's captain if he has done his duty. Assured that he has, he asks the captain to send his love a lock of his hair. He dies with Kate's name on his lips
AUTHOR: unknown
EARLIEST_DATE: 1950
KEYWORDS: battle death farewell hair
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
McNeil-SFB1, pp. 42-43, "Tom Halyard" (1 text, 1 tune)
Roud #4773
File: MN1042
===
NAME: Tom Kelly's Cow
DESCRIPTION: Tom Kelly brews poteen "that exceeds them all." John's cow drinks up the still and wakes drunk with a broken horn. She makes a deal with Tom: if he won't tell John about her drinking she "will bring [him] against Lammas a fine heifer calf."
AUTHOR: John Maguire (source: Morton-Maguire)
EARLIEST_DATE: 1973 (Morton-Maguire)
KEYWORDS: promise drink humorous animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
Morton-Maguire 8, pp. 17,103,158, "Tom Kelly's Cow" (1 text, 1 tune)
Roud #2924
CROSS_REFERENCES:
cf. "The Cow that Drank the Poteen" (theme: cow hides drinking problem)
NOTES: Morton-Maguire: John Maguire wrote the song on request of the schoolmaster who had kept John after school one day to inquire about John's cow and Tom Kelly's poteen. - BS
File: MoMa008
===
NAME: Tom O'Bedlam: see Tom a Bedlam (Bedlam Boys) (File: Log172)
===
NAME: Tom O'Neill [Laws Q25]
DESCRIPTION: A rich girl tries to convince Tom O'Neill to leave the priesthood and marry her. When he refuses, she claims that Tom got her pregnant. He is sentenced to transportation. He is reprieved when another man admits he fathered the child for money
AUTHOR: unknown
EARLIEST_DATE: before 1853 (broadside, Bodleian Harding B 26(189))
KEYWORDS: money clergy pregnancy trick trial punishment transportation lie sex
FOUND_IN: Canada(Mar) Ireland
REFERENCES: (5 citations)
Laws Q25, "Tom O'Neill"
Creighton-NovaScotia 87, "Tom O'Neil" (1 text, 1 tune)
O'Conor, pp. 8-9, "Father Tom O'Neil" (1 text)
McBride 29, "Father Tom O'Neill" (1 text, 1 tune)
DT 534, TOMONEIL
Roud #1013
BROADSIDES:
Bodleian, Harding B 26(189), "Father Tom O'Neale," J. Moore (Belfast), 1846-1852; also 2806 b.11(240), "Father Tom O'Neale"; Harding B 26(574), "The Rev'd Father Tom O'Neil"
File: LQ25
===
NAME: Tom Pearce (Widdicombe Fair I)
DESCRIPTION: The singer asks Tom Pearce to lend his old mare to go to the fair. Tom wants the horse back soon, but it is slow in returning, for it has taken sick and died. (Now the horse's ghost can be seen haunting the moors at night)
AUTHOR: unknown
EARLIEST_DATE: 1889
KEYWORDS: horse ghost travel
FOUND_IN: Britain(England) Canada(Ont)
REFERENCES: (5 citations)
Kennedy 308, "Tom Pearce" (1 text, 1 tune)
OBB 171, "Widdicombe Fair" (1 text)
Silber-FSWB, p. 398, "Tam Pierce" (1 text)
DT, WIDDECOM* TAMPRCE*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #80, "Widicombe Fair" (1 text)
Roud #137
RECORDINGS:
Tom Brown, "Widdlecombe Fair" (on Voice07)
George Maynard, "Lansdown Fair" (on FSB10)
Bill Westaway, "Widdicombe Fair" (on FSB10, FieldTrip1)
CROSS_REFERENCES:
cf. "Widdicombe Fair (II)" (lyrics)
ALTERNATE_TITLES:
Bedford Fair
John Jones's Old Mare
Stow Fair
File: K308
===
NAME: Tom Potts [Child 109]
DESCRIPTION: A high-born lady loves Tom Potts, a serving man. She refuses Lord Phoenix's offer of marriage but her father overrides her. She sends word to Tom, who, aided by his master, challenges Phoenix. After several forms of contest he wins her.
AUTHOR: unknown
EARLIEST_DATE: 1657 (broadside)
KEYWORDS: nobility servant courting contest father
FOUND_IN: 
REFERENCES: (2 citations)
Child 109, "Tom Potts" (3 texts)
BBI, ZN3263, "All you lords of Scotland fair"
Roud #66
File: C109
===
NAME: Tom Redman: see Bold Ranger, The (File: R076)
===
NAME: Tom Sherman's Barroom: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Tom Twist
DESCRIPTION: "Tom Twist was a wonderful fellow; No boy was so nimble and strong." Shipwrecked among cannibals, he escapes; he rides a condor to China and is made a mandarin; he at last returns home, then somersaults out the window and far away
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders and Brown)
KEYWORDS: travel ship cannibalism talltale
FOUND_IN: US(NE)
REFERENCES: (2 citations)
Flanders/Brown, pp. 173-176, "Tom Twist" (1 text, tune referenced)
DT, TOMTWIST*
Roud #5448
File: FlBr173
===
NAME: Tom, He Was a Piper's Son: see O'er the Hills and Far Away (I) (File: Arn017)
===
NAME: Tom, Tom, the Piper's Son: see O'er the Hills and Far Away (I) (File: Arn017)
===
NAME: Tom's Gone to Hilo: see Tommy's Gone to Hilo (File: Doe030)
===
NAME: Tom's Gone to Ilo: see Tommy's Gone to Hilo (File: Doe030)
===
NAME: Tomah Stream
DESCRIPTION: The singer warns against drinking and hiring out to Tomah Stream. Instead of the easy work and good food he was promised, he finds mud roads, thin shelters, and poor and inadequate rations. He ends by exchanging insults with the boss Natty [Lamb].
AUTHOR: attributed to Larry Gorman
EARLIEST_DATE: 1951
KEYWORDS: logger work drink hardtimes boss
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Doerflinger, pp. 216-217, "Tomah Stream" (1 text, 1 tune)
Roud #4074
NOTES: Tomah stream is in eastern Maine, not far from the Canadian border.
This song is item dC53 in Laws's Appendix II. - RBW- RBW
File: Doe216
===
NAME: Tomahawking Fred (Tambaroora Ted)
DESCRIPTION: The singer is "just about to cut for the Lachlan To turn a hundred out...." He shears for the money, not for pleasure: "Give me sufficient cash and you'll see me make a splash, for I'm (Tambaroora Ted), the ladies' man." He boasts of his shearing skills
AUTHOR: unknown
EARLIEST_DATE: "Tomahawking Fred" prined 1912 by Jack Bradshaw; collected in 1974 from Joe Watson by Warren Fahey
KEYWORDS: sheep work Australia bragging
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 138-139, "Tambaroora Ted" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 198-200, "Tambaroora Ted" (1 text)
NOTES: To "tomahawk" was to sheer a sheep too close to the skin, and was a common result when a poor shearer tried to shear too fat. - RBW
File: FaE138
===
NAME: Tommy: see Somebody's Tall and Handsome (File: R380)
===
NAME: Tommy Jones: see Row Boat (Ride About) (File: R678)
===
NAME: Tommy Murphy was a Soldier Boy
DESCRIPTION: Tommy Murphy leaves Katy to join a marching regiment. He loses a leg. It is replaced by a hickory limb. He can't help marching when he hears the band. Katy sees him "after six months or more of adventures in war" but he marches away when the band plays
AUTHOR: unknown
EARLIEST_DATE: 1928 (for USBallinsloeFair, according to site irishtune.info, Irish Traditional Music Tune Index: Alan Ng's Tunography, ref. Ng #2614)
KEYWORDS: war injury humorous soldier separation
FOUND_IN: 
REFERENCES: (0 citations)
RECORDINGS:
Dinny (Jimmy) Doyle and Larry Griffin, "Tommy Murphy was a Soldier Boy" (on USBallinsloeFair)
File: RcTMWaSB
===
NAME: Tommy o'Lin, and His Wife, and Wife's Mother: see Brian O'Lynn (Tom Boleyn) (File: R471)
===
NAME: Tommy Robin: see Who Killed Cock Robin? (File: SKE74)
===
NAME: Tommy Song, The: see Old Roger is Dead (Old Bumpy, Old Grimes, Pompey) (File: R569)
===
NAME: Tommy Tompkins and Polly Hopkins
DESCRIPTION: "Howdy do, Mr. Tommy Tomplins, Howdy do, Howdy do?" "Howdy do, Miss Polly Hopkins." "Oh, say, Mr. Tommy Tompkins, Won't you buy a broom?" "Oh, yes, Miss Polly Hopkins, I will buy a broom... If you'll be my bride And sweep the room."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry, from Elsie Burnett)
KEYWORDS: courting marriage
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 227, "Tommy Tompkins and Polly Hopkins" (1 text)
NOTES: I can't prove it, but I would guess that this has something to do with the custom of marrying by jumping over a broom. - RBW
File: MHAp227
===
NAME: Tommy's Gone Away: see Tommy's Gone to Hilo (File: Doe030)
===
NAME: Tommy's Gone to Hilo
DESCRIPTION: Shanty. Characteristic line: "Away, (H)ilo... Tommy's gone to (H)ilo!" The girl complains that her Tommy has left her and gone to Liverpool, Baltimore, Bombay, or wherever it is that she least wants him to be. She may offer/threaten to follow
AUTHOR: unknown
EARLIEST_DATE: 1917 (Robinson)
KEYWORDS: shanty separation sailor
FOUND_IN: US(MA,MW,NE) Ireland
REFERENCES: (13 citations)
Doerflinger, p. 30, "Tommy's Gone to Hilo" (1 text, 1 tune)
Walton/Grimm/Murdock, pp. 67-68, "Tommy's Gone to Hilo" (1 text, 1 tune)
Bone, pp. 61-62, "Tom's Gone to Hilo" (1 text, 1 tune)
Colcord, p. 71-72, "Tom's Gone to Hilo" (1 text, 1 tune)
Harlow, p. 73-74, 260, "Tommy's Gone to Hilo" (1 text, 1 tune)
Hugill, pp. 261-264, "Shiloh Brown," "Tom's Gone to Hilo," "Tommy's Gone Away" (5 texts, 3 tunes - 1st text is only a fragment that might appear to be a variant of "Shallo Brown" due to the first chorus of "Shiloh, Shiloh Brown," but all the rest of it is "Tommy's Gone to Hilo") [AbEd, pp. 191-194]
Sharp-EFC, LX, p. 64, "Tommy's Gone Away" (1 text, 1 tune)
Linscott, pp. 150-151, "Tommy's Gone to Hilo" (1 fragment, 1 tune)
Shay-SeaSongs, pp. 36, "Tommy's Gone to Hilo" (1 text, 1 tune)
SHenry H53d, p. 96, "Tom's Gone to Ilo" (1 text, 1 tune)
Silber-FSWB, p. 92, "Tommy's Gone to Hilo" (1 text)
DT, TOMMYHLO*
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 "My Tom's Gone to Hilo!" is in Part 3, 7/28/1917.
Roud #481
CROSS_REFERENCES:
cf. "Hieland Laddie" (floating lyrics)
ALTERNATE_TITLES:
Johnny's Gone to Hilo (Ilo)
NOTES: Most versions of the song use the name "Hilo" (Hugill says all; this was before the Henry collection was published), but the town, according to Doerflinger, Shay, etc., is not the village in Hawaii but the port of Ilo in southern Peru, a major source of nitrates.
That's nitrates as in "saltpeter." As in "gunpowder." Gunpowder consists of sulfur, charcoal, and saltpeter -- with the mixes used in the nineteenth century requiring 75% saltpeter and just a handful of the other two components (see, e.g.Simon, Quellen Field, _Why There's Antifreeze in Your Toothpaste_, Chicago Review Press, 2008, p. 171). And saltpeter was the hardest component to find -- since ancient times, a little had been made from human urine, and Europe had set up major factories in India starting around the eighteenth century (see Stephen R. Bown, _A Most Damnable Invention: Dynamite, Nitrates, and the Making of the Modern World_, Dunne, 2005, p. 40). But it still wasn't enough. (For background on this, see the notes to "Chamber Lye.")
It was Friedrich Wilhelm Heinrich Alexander Baron von Humboldt (1769-1859) who made the next key step. According to _Isaac Asimov's Biographical Encyclopedia of Science & Technology_. revised edition, Equinox Books, 1972, entry #334, he went on a world tour in 1799 in which he explored the west coast of Latin America and discovered the nitrate deposits of Chile and Peru.
Bown, p. 143, notes that the Latin American coast is washed by a cold current from Antarctica (the "Humboldt Current"). This carries much organic material, and since the water is cold, it also has much oxygen. As a result, it is full of fish and other life forms which attract birds. The birds nest on the shores nearby, leaving their droppings behind. And the major component of those droppings is urea -- a good source of nitrates. (So much so that the Incas apparently rationed the guano as a fertilizer among their various provinces; Bown, p. 145).
A curiosity of the climate in the area is that. due to peculiar air circulation patterns, it almost never rains. So there is absolutely nothing to disturb the heaps of guano. They just kept on piling higher (Bown, pp. 144-145).
Chile had a slightly different source of nitrate. Its deserts were never home to much life; according to Isaac Asimov, _The Building Blocks of the Universe_, revised edition, Lancer, 1972, p. 47, the nitrates there were the residue from dried-up ancient lakes.
According to Floyd L. Darrow, _The Story of Chemistry_, Chautauqua Press, 1928, exports of Chilean nitates began in 1830. At this time they were presumably used mostly for explosives -- though the Chilean deposits, known as "caliche," were largely sodium nitrate, with about a 50% mixture of miscellaneous dirt, so they had to be purified and then converted to potassium nitrate (Bown, pp. 148-149). But, once it was learned how to convert sodium nitrate and potassium chloride into saltpeter (a process discovered in 1846), caliche became a fully viable product (Bown, p. 156). In addition, methods were eventually discovered to keep sodium nitrate from absorbing moisture, so it could be made into a fairly reliable gunpowder (Bown, p. 156).
The Peruvian guano also found another use: It was one of the main sources of dyes in the early eighteenth century; it wasn't until 1856 that William Henry Perkin found the first of the analine dyes (see Joe Schwartz, _That's the Way the Cookie Crumbles_, ECW press, 2002, pp. 218-222, p. 225), which eventually eliminated the need for organic hues.
Shortly before the discovery of the caliche conversion process, Justus von Liebig (1803-1873) conducted his experiments in soil fertility which proved that nitrogen was a necessary fertilizer. So the demand for nitrates, already high, took another jump. And the guano was organic, and made a better fertilizer than caliche, and was coveted as such. (Though caliche too would be used for fertilizer in time.) Plus the caliche, though readily accessible, was inland, and shipping it to the coast was tricky (Bown, p. 149). This made the guano, available right at the coast, that much more valuable. Indeed, for some decades, fees on the trade provided the vast majority of revenue for Peru, and were all that kept that nation solvent (Bown, pp. 153-154).
Liebig went so far as to predict future wars over fertilizers and other resources, noting that Great Britain was consuming more than its share (see John Buckingham, _Chasing the Molecule_, Sutton Publishing, 2004, p. 64). Buckingham poo-poos the notion of wars over resources -- but let's not forget the Persian Gulf War. What's more there was a war fought over nitrates, though it did not involve a major power; the participants were Bolivia, Chile, and Peru. The problems went back to the period of Spanish rule. According to Hubert Herring, _A History of Latin America from the Beginnings to the Present_, Alfred A. Knopf, 1964, p. 585, "The War of the Pacific (1879-83) was a contest for possession of the bleack Atacama Desert reaching six hundred miles from Chilean Copiapo to Peruvian Arica.... In disdain for this sorry land, Spain had never bothered to establish a boundary between Peru (which in colonial days included Bolivia) and Chile."
When the war began, Chile was much smaller. The region from roughly Talta in what is now Chile to the mouth of the rive Loa north of Tocopilla was in Bolivian hands, giving Bolivia a large chunk of the Andean nitrates as well as access to the sea. The region north or that, including the town of Iquique, was part of Peru, and it too contained nitrate beds, though they were not as large as those in Bolivia (for a map of this, see Geoffrey Barraclough, editor, _The Times Concise Atlas of World History_. revised edition, Hammond, 1991, p. 97). But it was Chile which was exploiting the beds, backed by European capital, though they paid royalties to Bolivia and Peru. It was an attempt by Peru and Bolivia to increase these royalties that led to the war.
William Spence Robertson, _History of the Latin-American Nations_, D. Appleton and Company, 1932, p. 422, tells how Bolivia and Chile had already been involved in diplomatic wrangles over the caliche beds; Bolivia at that time had very poor access to its seacoast due to the Andes. A dictator in Bolivia set aside the fragile agreement between the two countries, and Chile promptly attacked (though the declaration of war came slightly later; Robertson, p. 423). Peru (which also had only tenuous links to its nitrate region, according to Bown, p. 160) soon joined the Bolivian side, but as Bolivia dissolved in internal squabbles, the allies were utterly defeated by Chile, which conquered the entire nitrate region, and even occupied Lima from 1881 to 1884 (Herring, p. 586). A peace treaty was finally made in 1884. Robertson, p. 426, notes that "This treaty embodied a thinly veiled cession of the nitrate desert to the victor in the War of the Pacific." It also left Bolivia entirely landlocked, and largely lacking in natural resources that could be exploited at the time; little wonder that the nation remained poor and subject to frequent revolutions! (To this day, they want the land back, according to Bown, p. 162, and maintain a navy of sorts on Lake Tititcaca in hopes they will someday have an ocean fleet again.)
It is reported that, in the 1850s and 1860s, guano was mined from Peru at an average rate of four hundred thousand tons per year, with about a quarter of that going to the United States and the rest to various ports served by British ships. The guano trade was messy, smelly, and sometimes led to outbreaks of illness, but even so, the profits were high -- according to Bown, p. 146, the demand for South American guano consistently outstripped supply in the mid- to late nineteenth century, and Herring, p. 586, says that it supplied two-thirds of the Chilean government's revenue in the 1890s. The jingoistic American governments of the period went so far as to capture some of the islands, according to Bown, p. 147.
The need to bring as much guano as possible to market produced terrible abuses. Heaven help the sailor who got drunk in Callao or Ilo or even Chilean Valparaiso and ended up working the Chincha islands (the best source of guano, off the Peruvian coast not too far from Lima and Callao). Bown, pp. 150-151 describes slavery conditions worse than even those in the American south. The workers sometimes worked 100 hours a week, were given inadequate shelter, limited and poor food, were driven by merciless overseers -- and, of course, had to breath the extraordinary fumes of ammonia and other dangerous chemicals; many also contracted diseases carried by the bird feces. Suicide was common.
Bown, p. 152, says that most of the workers were Chinese brought in on five year "contracts" which few of them survived. Others came from the Pacific Islands. This form of slavery was not controlled until the 1870s.
Although the quality of guano declined after the 1870s, when the best beds were used up (there was lots of guano left, but it wasn't as high quality due to rain leaching out the nitrates, according to Bown, p. 154), demand for nitrates did not really start to decline until the early twentieth century, when the Haber process and its successors allowed artificial nitrates to be generated, and the guano trade was still strong going into the 1920s -- but Darrow, p. 233, notes its collapse in that period. In particularly, in the year 1926, the nitrate companies had a market value of 3,578,000 British pounds at the beginning of 1926, but only 1,634,000 pounds at the end of the year.
According to Shay, even ships not carrying guano (e.g. whalers) were likely to stop at Ilo; there were periods when Chilean ports were closed to foreigners, leaving Ilo as the major watering-port for ships rounding Cape Horn. The Panama Canal would have cut into that trade also, starting in 1914. Little wonder, then, that Ilo is now just another medium-sized town in Peru.
Incidentally, though effectively all nitrate fertilizer is now artificial, the Chilean nitrate beds are now used as a source for iodine. John Emsley, _Nature's Building Blocks: An A-Z Guide to the Elements_ (Corrected edition, Oxford, 2003), p. 198, notes that roughly 40% of the world's current iodine needs are supplied by Chile. (According to David L. Heiserman, _Exploring Chemical Elements and their Compounds,_ TAB Books, 1992, p. 195, the compounds involved are sodium iodate, NAIO3, and calcium iodate, Ca(IO3)2.) Emsley also observes, p. 197, that the element iodine was actually discovered during the Napoleonic Wars by French scientists who were trying to increase saltpetre manufacture. - RBW
File: Doe030
===
NAME: Tommy's on the Tops'l Yard: see Sally Brown (File: Doe074)
===
NAME: Tone de Bell Easy: see Jesus Gonna Make Up My Dyin' Bed (Tone the Bell Easy) (File: LxA605)
===
NAME: Tons of Bright Gold
DESCRIPTION: "Down by the Launey" the singer meets "a handsome and charming young dame ... herding her kine." If he owned many fine lands he would give them all "to obtain her." "For tons of bright gold, of course, I won't tell her name" until their wedding day
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: love marriage animal
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 88-89, "Tons of Bright Gold" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Pride of Kilkee" (motif: hiding a sweetheart's name) and references there
cf. "Ar Eirinn Ni Neosfainn Ce hi (For Ireland I Will Not Tell Whom She Is)" (motif: hiding a sweetheart's name)

NOTES: OCanainn: "[This song's] text is clearly related to the Maigue poem "Ar Eirinn ni neosfainn ce hi" (For Ireland I'd not tell her name)." [In this song the promise not to tell, or to tell, her name is the last line of each verse; that is also the pattern of "Ar Eirinn Ni Neosfainn Ce hi."] - BS
File: OCan088
===
NAME: Tony Went Walking
DESCRIPTION: Tony goes walking on a summer day and finds an apple tree. He climbs, to pick some apples, but the branch breaks and "down came Tony, apples and all"
AUTHOR: unknown
EARLIEST_DATE: 1961 (recording, Stanley G. Triggs)
KEYWORDS: food injury
FOUND_IN: Can(West)
REFERENCES: (0 citations)
RECORDINGS:
Stanley G. Triggs, "Tony Went Walking" (on Triggs1)
CROSS_REFERENCES:
cf. "Rock-A-Bye Baby" (lyrics)
NOTES: Talk about a minimal plot. But a plot it is. - PJS
File: RcTonWWa
===
NAME: Too Late: see The Last Farewell (The Lover's Return) (File: R761)
===
NAME: Too Much of a Name
DESCRIPTION: "Some people are anxious for honor and fame And they strive all their lifetime in getting a name. But too much of a name is a possible thing" As a practical joke my parents named me Jonathan Joseph Jeremiah ... Jehosaphat." So long a name causes problems
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: wedding humorous nonballad talltale clergy
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Greenleaf/Mansfield 170, "Longest Name Song" (1 text)
Pankake-PHCFSB, p. 201, "Too Much of a Name" (1 text)
DT, TOONAME
Roud #7041 and 4824
NOTES: Greenleaf/Mansfield states that this is "a variant of a once popular music-hall song 'Jonathan, Joseph, Jeremiah.'" - BS
File: GrMa170
===
NAME: Too Much Time for the Crime I've Done
DESCRIPTION: "I got too much time, buddy... for the crime I done.... If I had just a-knowed it, could a broke and run." The singer thinks he should have gotten two or three years, but got ten or more. He wishes he had a gun, and thinks about what to do if free
AUTHOR: unknown
EARLIEST_DATE: 1965 (recorded from J. B. Smith by Jackson)
KEYWORDS: prison hardtimes violence
FOUND_IN: US(So)
REFERENCES: (1 citation)
Jackson-DeadMan, pp. 151-154,"Too Much TIme for the Crime I've Done" (2 texts, both from the same informant; 1 tune)
NOTES: This song, and several others by J. B. Smith, brilliantly illustrates the problem of classifying Black prison songs. This is clearly a personal song by Smith, who was serving a life term for killing his girlfriend, but the themes and many of the words come from other songs. Given the extent of Smith's rewriting, I classified it separately, but there is no good way to file such things. - RBW
File: JDM151
===
NAME: Too Rally
DESCRIPTION: This quatrain ballad of naval origins describes the special privileges accorded to officers of increasingly high rank.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: scatological sailor humorous
FOUND_IN: Britain(England) US
REFERENCES: (1 citation)
Cray, pp. 400-403, "Too Rally" (1 text, 1 tune)
Roud #10300
CROSS_REFERENCES:
cf. "Botany Bay (I)" (tune)
NOTES: This was collected by Pete Seeger in the Pacific theater during the Second World War. - EC
File: EM400
===
NAME: Too Young: see Pretty Little Miss [Laws P18] (File: LP18)
===
NAME: Too Young to Marry
DESCRIPTION: Dance tune with slight lyrics: "I'm my mammy's youngest child (youngest son, darling child), I am my mother's (baby), I'm my mammy's youngest child, I am too young to marry."
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: youth marriage nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 107, "Too Young to Marry" (3 texts)
Roud #16864
NOTES: I have to suspect that this is the mnemonic lyric to some well-known fiddle tune. But there is no way to tell *which* tune. - RBW
File: Br3107
===
NAME: Too-ra-loo-ra-loo-ral, That's an Irish Lullaby
DESCRIPTION: The singer remembers a quiet, peaceful home and the lullaby his mother sang: "Too-ra-loo-ra-loo-ral, Too-ra-loo-ra-li, Too-ra-loo-ra-loo-ral, hush now don't you cry. Too-ra-loo-ra-loo-ral... That's an Irish lullaby."
AUTHOR: J. R. Shannon
EARLIEST_DATE: 1913 (sheet music)
KEYWORDS: nonballad lullaby
FOUND_IN: 
REFERENCES: (2 citations)
Fuld-WFM, p. 585, "Too-ra-loo-ra-loo-ral, That's an Irish Lullaby"
DT, LULLBY
SAME_TUNE:
Study Oft on Sunday (Pankake-PHCFSB, p. 98)
NOTES: This, obviously, is not a folk song -- and it's not a lullaby! (It contains one, but there is a song around it.) But people think it's a folk song, so here it is.... - RBW
File: DTlullby
===
NAME: Too-Ril-Te-Too (The Robin and the Cat)
DESCRIPTION: "Oh! Too-ril-te-too was a bonny cock robin, He tied up his tail with a piece of blue bobbin, His tail was no bigger than the tail of a flea, Too-ril-te-too Thought it pretty as a tail could be." The bird flies to a rail to show off and is eaten by a cat
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: bird food death animal
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 293-294, "Too-Ril-Te-Too" (1 text, 1 tune)
ST Lins293 (Full)
Roud #3745
CROSS_REFERENCES:
cf. "Rory O'More" (tune)
File: Lins293
===
NAME: Took My Gal a-Walkin'
DESCRIPTION: "I took my gal a-walking', it was on one Saturday night... I asked her if she's marry me... She said she wouldn't marry me If the rest of the world was dead." The lonely singer vows he will "milk the cows and chickens" on the farm if he can't find a girl
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Charlie Poole)
KEYWORDS: courting farming love nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Rorrer, p.81, "Took My Gal a Walkin'" (1 text)
Roud #11550
RECORDINGS:
Charlie Poole and the North Carolina Ramblers, "Took My Gal a Walkin'" (Columbia 15672-D, 1931, rec. 1928; on CPoole01, CPoole05)
CROSS_REFERENCES:
cf. "Going Across the Sea" (floating lyrics)
ALTERNATE_TITLES:
I Ain't Got Nobody
NOTES: Rorrer observes that there is no known source for this recording; Charlie Poole may well have created the piece. It has, however, proved to be popular with Old-Time performers, and for this reason I include it here.
The key verse, about the girl not marrying "if the rest of the world were dead" *is* traditional; a variant is found in the southeastern banjo tune "Italy." - RBW
File: RcTMGAW
===
NAME: Toolie Low
DESCRIPTION: "Toolie low, toolie low, toolie low, I am Mammy's little black baby chile. Toodie noodie, mammy's baby, Toodie noodie, mammy's child. Toodie, noodie, toodie."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: love children nonballad lullaby
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, p. 153, (no title) (1 short text)
File: ScNF153B
===
NAME: Top Hand
DESCRIPTION: "While you're all so frisky I'll sing a little song... It's all about the Top Hand when he's busted flat." The Top Hand/top screw boasts of his prowess as a cowhandler, but it's all boasting and lies. The cowboys try to expose him, and label him a Jackass
AUTHOR: (Credited by Thorp to Frank Rooney, c. 1877)
EARLIEST_DATE: 1899
KEYWORDS: cowboy bragging lie trick
FOUND_IN: US(SW)
REFERENCES: (1 citation)
Thorp/Fife V, pp.  61-65 (17-18), "Top Hand" (2 texts)
Roud #8050
ALTERNATE_TITLES:
Top Screw
Waddie Cowboy
File: TF05
===
NAME: Top Loader
DESCRIPTION: Recitation; Bill Kirk is top loader. One day he's knocked off the load by a "cannon." His comrades rush to save him, but he's wedged into a crack. They pull the log out, and by a miracle he's not hurt, but he curses because his new pipe is cracked.
AUTHOR: Probably Marion Ellsworth
EARLIEST_DATE: 1941 (Beck)
LONG_DESCRIPTION: Recitation; Bill Kirk is top loader at Pollock's camp; one day he's knocked off the load by a "cannon" (a log that pivots sideways on top of the load). His comrades, thinking him crushed, rush to save him, but he's wedged into a crack. They pull the log out, and by a miracle he's not hurt, but he curses because his new pipe is cracked.
KEYWORDS: lumbering work logger recitation rescue
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 100, "Top Loader" (1 text)
Roud #8880
NOTES: Top loaders were always in danger, trying to get the maximum number of logs on the load.
This, like the other pieces probably written by Ellsworth, does not seem to have entered oral tradition. - PJS
File: Be100
===
NAME: Top of Mount Zion
DESCRIPTION: "On the top of Mount Zion is a city" -- the city of salvation. The singer briefly describes it and makes plans to go there.
AUTHOR: unknown
EARLIEST_DATE: 1966 (recorded from Buna Vista Hicks)
KEYWORDS: Bible religious nonballad
FOUND_IN: US(SE)
REFERENCES: ()

Roud #7133
RECORDINGS:
Buna Hicks, "Top of Mt. Zion" (on USWarnerColl01)
NOTES: In secular usage, the name "Zion" and "Mount Zion" referred to the more eastern of the hills on which Jerusalem rested -- the name first occurs in the Bible in 2 Samuel 5:7, where David attacks the "stronghold of Zion," the key to the city of the Jebusites, which became the City of David -- i.e. the citadel of the Davidic capital. The term is generally used in the Psalms to include the broader area around the Temple -- i.e. the City on Mount Zion is the whole city of Jerusalem.
The name is not common in the New Testament, and six of the eight New Testament usages to be Old Testament citations -- most notably, Romans 11:16 (citing Isaiah) says that the deliverer comes from Zion. But the two uses of the name not derived from the Hebrew Bible are noteworthy: Hebrews 11:22 refers to coming to "Mount Zion and the city of the living God, while Revelation 14:1 says that the lamb stood on Mount Zion. Thus Mount Zion is an accepted, though not a common, name for the heavenly city. - RBW
File: RcToMZi
===
NAME: Topsail Shivers in the Wind, The
DESCRIPTION: "The topsail shivers in the wind, Our ship she casts to sea, But yet my soul, my heart, my mind, Are, Mary, moored with thee." The singer touches on the difficulties of the voyage and thinks constantly of his return home
AUTHOR: unknown
EARLIEST_DATE: 1776 (Journal from the Ann)
KEYWORDS: sailor home love
FOUND_IN: 
REFERENCES: (1 citation)
Huntington-Whalemen, pp. 59-60, "The Topsail Shivers in the Wind" (1 text plus part of another, 1 tune)
Roud #2017
ALTERNATE_TITLES:
The Sailor's Adieu
File: SWMS059
===
NAME: Tornado Blues
DESCRIPTION: "I uster own the Chickabee farm, I'm washing dishes today, Becaws a tornado comes along And takes my farm away." "It takes the cows, and the gelding... The doggone thing leaves me nothing But the wife and the mortgage due."
AUTHOR: unknown
EARLIEST_DATE: 1933 (Cambiaire)
KEYWORDS: disaster storm farming hardtimes
HISTORICAL_REFERENCES: March 7, 1933 - "[A] terrible tornado caused great damage in East Tennessee (Cambiaire)
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Cambiaire, p. 10, "Tornado Blue" (1 text)
Roud #12636
File: Camb010
===
NAME: Toronto Volunteers, The
DESCRIPTION: "In the year of Eighty-five Sure the tidings did arrive.... From the snowy plains afar Where those roving Indians are...." "Oh those volunteers did go And face the storms and snow... And when the drums did beat How the rebels did retreat"
AUTHOR: unknown
EARLIEST_DATE: 1957
KEYWORDS: battle Canada soldier
HISTORICAL_REFERENCES: May 12, 1885 - Battle of Batoche. Defeat of the Metis under Louis Riel
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 130-131, "The Toronto Volunteers" (1 text, 1 tune)
Roud #4515
CROSS_REFERENCES:
cf. "Riel's Song" and references there (subject)
NOTES: For the history of Louis Riel and the Metis Uprising, see "Riel's Song." Edith Fowke's informant claims to have had this piece from soldiers who had actually campaigned in Saskatchewan. - RBW
File: FMB130
===
NAME: Torramh an Bhairille (Wake of the Barrel)
DESCRIPTION: Irish. It's a delight to be at a Ballymacoda wake. No one is turned away without a drink in that pub. "The poor wretch without food or purse will get the cask free To drink without stint"
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: foreignlanguage drink death nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 68-69, "Torramh an Bhairille" (1 text, 1 tune)
NOTES: The description follows O Canainn's "rough guide to what it's all about." - BS
File: OCan068
===
NAME: Toss the Turk
DESCRIPTION: "One evening lately I dressed up nately, With Sunday clothes, plug had and all." The singer meets a gang which intends to rob him. But he backs up against a wall, and beats them off using tricks he learned at Donegal.
AUTHOR: Tom Cannon
EARLIEST_DATE: 1877 (sheet music)
KEYWORDS: fight
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 114-115, "Toss the Turk" (1 text)
Roud #21718
NOTES: Eric Partridge's _A Dictionary of Slang  and Unconventional English_ lists "Turk" as a gutter word for an Irishman, though it cannot trace it before 1949. This song gives evidence that it is much older, since "Toss the Turk" seems to mean "rob the Irishman." - RBW
File: Dean114
===
NAME: Tossed and Driven (The Poor Pilgrim)
DESCRIPTION: "I am a poor pilgrim of sorrow, I am left in this wide world to roam... I've started to make Heaven my home." "Sometimes I'm so tossed and driven. Sometimes I know not where to roam." The singer has left his family; after death he hopes to see them again
AUTHOR: unknown
EARLIEST_DATE: 1926 (Randolph)
KEYWORDS: religious death travel
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 610, "Tossed and Driven" (2 text plus a fragment, 1 tune)
BrownIII 643, "Tossed and Driven" (1 text, a seemingly-simplified form with the same chorus but the verses consist of advice from relatives: "(Father/Mother/Sister/Brother) told me when he was dying... Dear daughter, live for Jesus; This world is not my home")
Roud #5425
RECORDINGS:
I. D. Beck & congregation, "Poor Pilgrim of Sorrow" (on LomaxCD1704)
CROSS_REFERENCES:
cf. "I Am a Pilgrim"
NOTES: This song instantly made me think of "Man of Constant Sorrow," and also of "Wayfaring Stranger," but I cannot tell if there is any connection. And "pilgrim" songs all sound alike somehow. - RBW
George Pullen Jackson sees a resemblance between this song and the one we've indexed as "Green Mossy Banks of the Lea". Maybe. - PJS
File: R610
===
NAME: Tossing of the Hay
DESCRIPTION: The singer goes out on a summer morning and sees a beautiful girl tossing her hay alone. She reports that her brother has left her alone. He kisses her; she screams; he promises that if she marries him, there will be time to mow the hay
AUTHOR: unknown
EARLIEST_DATE: 1929 (Karpeles-Newfoundland)
KEYWORDS: love courting marriage work
FOUND_IN: Canada(Newf) Ireland
REFERENCES: (2 citations)
SHenry H635, pp. 455-456, "The Tossing o' the Hay" (1 text, 1 tune)
Karpeles-Newfoundland 80, "The New Mown Hay" (1 text, 1 tune)
Roud #2940
RECORDINGS:
Eddie Butcher, "Tossing the Hay" (on Voice05, IREButcher01)
ALTERNATE_TITLES:
The Raking of the Hay
NOTES: Why do I get the feeling that this happened somewhere along the Banks of the Bann?
According to Purslow, this occurs as a broadside called "Joy After Sorrow," but the text of that title I've seen does not appear to be the same piece. - RBW
File: HHH635
===
NAME: Tottenham Toad, The: see Fox and Hare (They've All Got a Mate But Me) (File: FlBr121)
===
NAME: Touch Not the Cup
DESCRIPTION: "Touch not the cup, it is death to the soul... Many I know that have quaffed from that bowl... Little they thought that a demon was there, Blindly they drank and were caught in the snare...." A sermon, without illustrations, on the evils of drink
AUTHOR: Words: J.H. Aikman (?) / Music: T.H. Bayley?
EARLIEST_DATE: 1885 (Franklin Square Song Collection 3)
KEYWORDS: drink virtue
FOUND_IN: US(NE,So)
REFERENCES: (2 citations)
Randolph 330, "Touch Not the Cup" (1 text)
Warner 76, "Touch Not the Cup" (1 text, 1 tune)
ST R330 (Partial)
Roud #6951
NOTES: Yes, this piece is as obnoxiously moralizing as it sounds... and I say that as a teetotaler. - RBW
File: R330
===
NAME: Toura for Sour Buttermilk
DESCRIPTION: "Toura for sour buttermilk Belleek for the brandy The Commons was the divil's hole But Mulleek was the dandy"
AUTHOR: unknown
EARLIEST_DATE: 1979 (Tunney-StoneFiddle)
KEYWORDS: Ireland nonballad drink
FOUND_IN: Ireland
REFERENCES: (1 citation)
Tunney-StoneFiddle, p. 52, "Toura for Sour Buttermilk" (1 fragment)
CROSS_REFERENCES:
cf. "The Fermoy Lasses" (tune, according to Tunney-StoneFiddle)
NOTES: The current description is all of the Tunney-StoneFiddle fragment. 
Mulleek, Belleek and Toura are in County Fermanagh. Commons may be in Belleek. 
The words of the Tunney-StoneFiddle fragment remind me of "Coffee Grows" and "Weavily Wheat" though its reel tune is not at all similar. - BS
File: TSF052
===
NAME: Tout Pitit Negresse
DESCRIPTION: Creole French: "Tout pitit Negresse en bas bayou, A-pe laver chimise ye' mama! A, alla, mamselle, les blanchiseuses! (x2)" A very small black woman washes shirts on the bayou; a boy washes underclothes
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: worker
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 212-213, "Tout Pitit Negresse" (1 text, 1 tune)
File: ScaNF212
===
NAME: Tower of Babel, The: see The Plumb and Level (File: GrD3472)
===
NAME: Town I Loved So Well, The
DESCRIPTION: The singer recalls growing up in hard times in "the town I loved so well." He formed a band and married. The music is gone but he hopes for peace and a bright new day "in the town that I loved so well"
AUTHOR: Phil Coulter (source: notes to IRHardySons)
EARLIEST_DATE: 1980 (IRHardySons)
LONG_DESCRIPTION: "In my memory I can always see The town that I loved so well" The singer recalls playing school ball by the smoky, smelly, gas yard wall and "running up the dark lane By the jail." Mothers were called from Creggan, the Moor, and the Bog to work in the shirt factory early in the morning. Men on the dole minded the children and trained the dog without complaining. The singer formed a band and married. Now the music is gone. He hopes for peace. "We can only pray for a bright new day, In the town that I loved so well"
KEYWORDS: poverty violence unemployment work hardtimes Ireland
FOUND_IN: Ireland
REFERENCES: (1 citation)
DT, TWNLVD*
RECORDINGS:
Big John Maguire and daughter Kate, "The Town I Loved So Well" (on IRHardySons)
NOTES: Notes to IRHardySons: "This is a contemporary song written by Phil Coulter in the early 1970s that has been sucked into the tradition and altered somewhat in the process. Recorded by The Dubliners."
Wikipedia re "The Town I Loved So Well": "'The Town I Loved So Well's a song written by Phil Coulter about his childhood in Derry, Northern Ireland. The first three verses are about the simple lifestyle he grew up with in Derry, while the final two deal with the Troubles, and lament how his placid hometown had become a major military outpost, plagued with sectarian violence."
"The Town I Loved So Well" at Triskelle site, dated Dec. 13, 2005: "After 21 June 1972, Bloody Friday, the British army started a huge scaled military operation known as Operation Motorman. Army units with tanks and bulldozers cleared the barricades surrounding the so-called no-go areas in Creggan, Bogside and Andersontown. Northern Ireland really had become a war-zone." - BS
The mention of the Dole is, in many ways, even more indicative of Ulster's situation in this period than are the references to the Troubles. Violence in Ulster was not as high as we sometimes think -- the murder rate was lower than most big American cities in the same period (according to the chart on p. 260 of Ruth Dudley Edwards, _An Atlas of Irish History_, second edition, Routledge, 1981, even the worst year of the Troubles, 1972, saw fewer than 400 killed, and no other year witnessed as many as 300 deaths -- dreadful, yes, but not so high as to automatically destabilize a society. Northern Ireland's population at this time was about one and a half million, so we have a murder rate of about 25 per 100,000. Comparing this to the data for the United States (as found in the _Statistical Abstract of the United States 2000_, which covers the year 1998 -- the lowest crime rate year I found in a quick and incomplete sample), the murder rate in Detroit was 43.0 per 100,000; that in Baltimore was 47.1; that in New Orleans 48.8; that in Washington, DC, 49.7. In all, there are at least *nine* American cities which, in that good year, had higher murder rates than Ulster in its *worst* year.
But the decline of the British merchant fleet, and of the whole British economy, doomed the Belfast shipbuilding industry. The region's other major industry was textiles, and that too faded in the period. And the small size of Ulster made it economically inefficient, and the Irish Republic was an economic basket case due to the inefficiencies of the de Valera period, and the border regions were generally worst of all. Unemployment in Northern Ireland rose steadily in the 1970s to levels well above 10% -- by 1980, half the regions of Ulster had unemployment rates exceeding 15% (Edwards, p. 263); in perhaps a fifth of the country, it exceeded 20%. Edwards shows the Derry area as being in the 15-20% unemployment range. - RBW
File: RcTTILSW
===
NAME: Town o' Arbroath, The
DESCRIPTION: "Although far awa frae my ain native heather, And thousands o' miles across the blue sea," the singer still dreams of his home in Arbroath. He recalls the lessons his parents taught him. Now rich, he intends to return to his home.
AUTHOR: Words: Charles Myles ?
EARLIEST_DATE: 1905 (GreigDuncan3); 19C (broadside, NLScotland L.C.Fol.70(29b))
KEYWORDS: home emigration return
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (3 citations)
Greig #136, p. 2, "The Town o' Arbroath" (1 text) 
GreigDuncan3 520, "The Toon o' Arbroath" (3 texts, 1 tune)
Ord, p. 345, "The Town o' Arbroath" (1 text)
Roud #3946
BROADSIDES:
NLScotland, L.C.Fol.70(6b), "Toon of Arbroath," Poet's Box (Dundee), c. 1880-1900
File: Ord345A
===
NAME: Town of Antrim, The
DESCRIPTION: The singer bids farewell to Ireland; he will wander "far from Paddy's green countrie."He recalls the beauties of County Antrim, his birthplace. He promises to remember all these things in his new home
AUTHOR: unknown
EARLIEST_DATE: 1921 (JIFSS)
KEYWORDS: emigration home
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H632, p. 203, "Paddy's Green Countrie" (1 text, 1 tune)
OLochlainn 20A, "The Town of Antrim" (1 text, 1 tune)
Hayward-Ulster, p. 25, "The Town of Antrim" (1 text)
Roud #2746
File: HHH632
===
NAME: Town of Oranmore, The (If You Ever Go Over to Ireland)
DESCRIPTION: Singer, possibly American, warns against women of Ireland; one of them has made a fool of him. He picks her up; she asks him to take her to dinner at Cleary's; he wraps her in his cloak; she scratches his nose, tears his clothes, and, apparently, robs him
AUTHOR: Shaun O'Nolan
EARLIEST_DATE: 1955 (sung by Margaret Barry on Voice04)
KEYWORDS: request warning travel theft humorous
FOUND_IN: Ireland
REFERENCES: ()

Roud #5277
RECORDINGS:
Margaret Barry, "If You Ever Go Over to Ireland" (on Voice04)
Margaret Barry w. Michael Gorman, "If You Ever Go Over to Ireland (The Town of Oranmore)" (on Pubs1)
NOTES: The plot is somewhat confused. Oranmore is located at the extreme east of Galway Bay, and it was a popular place for Travellers to part their caravans, especially around the time of the Galway race meeting. The song originated in the Irish music-halls. - PJS
Hall, notes to Voice04: "in the McNulty Family's original it is his bank roll she swipes." - BS
File: RcToOran
===
NAME: Town of Passage (I), The
DESCRIPTION: "The town of Passage is neat and spacious, All situated upon the sea." The boats, sailors, bathers, lovers, and ferry to Carrigaloe are described. Molly Bowen has a lodging house where "often goes in one Simon Quin" to his bed among the fleas.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: sea ship shore humorous nonballad bug
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 254-256, "The Town of Passage" (1 text)
CROSS_REFERENCES:
cf. "The Town of Passage (II), (III)" (subject)
NOTES: Croker-PopularSongs: "The town of Passage ... is situated between Cork and its Cove...."
Croker-PopularSongs: "This song was introduced, with considerable effect, upon the London stage by the late Mr Charles Connor, in Lord Glengall's very amusing farce of the 'Irish Tutor.'" - BS
File: CrPS254
===
NAME: Town of Passage (II), The
DESCRIPTION: "Passage town is of great renown." Steamboats on Lough Mahon, whale-boats "skipping upon the tide," prison ships bound for Botany Bay, foreign ships, ferries, and fishing boats are described. The women hunt snails, shrimp, and cockles at low tide.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: commerce fishing sea ship shore nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Croker-PopularSongs, pp. 256-258, "The Town of Passage" (1 text)
CROSS_REFERENCES:
cf. "The Town of Passage (I), (III)" (subject)
NOTES: Croker-PopularSongs: "The town of Passage ... is situated between Cork and its Cove...."
Croker-PopularSongs points out that "The Town of Passage (II)" quotes "The Town of Passage (I)" and must therefore be "a subsequent composition to No. I." - BS
File: CrPS256
===
NAME: Town of Passage (III), The
DESCRIPTION: "The town of Passage ... situated Upon the say, 'Tis nate and dacent." Ships at anchor, ferries to Carrigaloe, but also mud cabins, melodious pigs and dead fish abound. Foreign ships deal in whisky-punch. Convicts are bound for Botany Bay.
AUTHOR: Father Prout [Rev Francis Sylvester Mahony (1804-1866)] (source: Croker-PopularSongs)
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: sea ship shore humorous nonballad
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 258-260, "The Town of Passage" (1 text)
Dean, pp. 99-100, "The Town Passage" (1 text)
Roud #9574
CROSS_REFERENCES:
cf. "The Town of Passage (I), (II)" (subject)
NOTES: Croker-PopularSongs: "The town of Passage ... is situated between Cork and its Cove...."
Croker-PopularSongs notes Father Prout's comment on his "The Town of Passage (III)" as a parody of I and II: "Its reverend author, or rather concocter, has described it as 'manifestly an imitation of that unrivalled dithyramb, 'The Groves of Blarney,' with a little of its humour, and all its absurdity.'" - BS
Father Prout, however, did not compose "The Groves of Blarney"; his great work is "Bells of Shandon." - RBW
File: CrPS258
===
NAME: Town Passage, The: see The Town of Passage (III) (File: CrPS258)
===
NAME: TP and the Morgan
DESCRIPTION: Work song for tie-tamping: "TP throwed the water, Water in Morgan's eye...."
AUTHOR: unknown
EARLIEST_DATE: 1940
KEYWORDS: worksong railroading
FOUND_IN: US(So)
REFERENCES: (1 citation)
Botkin-RailFolklr, p. 448, "TP and the Morgan" (1 text)
File: BRaF448
===
NAME: Trace-Boy on Ligoniel Hill, A
DESCRIPTION: The singer recalls with pride the days of the horse trams when he was a trace-boy on Ligoniel Hill. Today his "friends all departed, and work now so scarce," he sleeps on open brick kilns. "The only thing left is a ride in a hearse"
AUTHOR: Hugh Quinn (1884-1956) (source: Leyden)
EARLIEST_DATE: 1978 (Hammond-Belfast)
KEYWORDS: age poverty pride unemployment hardtimes nonballad
FOUND_IN: Ireland
REFERENCES: (4 citations)
Leyden 16, "A Trace-Boy on Ligoniel Hill" (1 text, 1 tune)
Hammond-Belfast, p. 50, "A Trace Boy on Ligoniel Hill" (1 text, 1 tune)
DT, LIGONIEL*
Bell/O Conchubhair, Traditional Songs of the North of Ireland, pp. 78-80, "A Trace-Boy on Ligoniel Hill" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Green Gravel" (tune)
NOTES: Leyden: Two horses were added to a Belfast horse-drawn tram team for the pull up steep inclines. "This task was done by trace-boys who waited at the bottom of steep hills such as Ligoniel.... The Ligoniel Tramway system started up in the summer of 1885." The kiln reference is to open kilns at brick manufacturing companies: "After a day's firing the kilns retained their heat for a considerable time so that many tramps and paupers took advantage of the free heat for the night." - BS
File: Leyd016
===
NAME: Track Lining Song: see Can'cha Line 'Em (File: LxU078)
===
NAME: Track to Knob Lake, The
DESCRIPTION: The singer signs a contract to spike three months on the Knob Lake track. Food is awful. After a month 18 men quit. Each day the first to finish has lots of food but none is left for the last. He still hopes to come back the next year.
AUTHOR: Albert Roche
EARLIEST_DATE: 1961 (Peacock)
KEYWORDS: railroading worker food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, pp. 797-798, "The Track to Knob Lake" (1 text, 1 tune)
Roud #9811
ALTERNATE_TITLES:
cf. "Twin Lakes" (lyrics)
NOTES: First verse -- only -- is stolen from "Twin Lakes." Peacock says "the track to Knob Lake [is] a railroad pushed through the wilderness of central Quebec to rich deposits of iron ore." The track was laid in the 1950s. "In ballads of this type it is customary to complain about working and living conditions, and the composer does his best....  However, with planes flying the workers in and out I suspect that most Newfoundlanders never had it so good." - BS
File: Pea797
===
NAME: Trader, The
DESCRIPTION: The singer tells of the wreck of the Trader, bound from Galway to London. A dream warns the Captain of disaster. A storm blows up; the rudder is wrecked; the ship goes aground; seven of the crew are drowned. The singer hopes they will be remembered
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection; reportedly found in an 1827 broadside)
KEYWORDS: ship death storm wreck disaster dream
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H11, pp. 110-111, "The Trader" (1 text, 1 tune)
Roud #2952
CROSS_REFERENCES:
cf. "Ye Banks and Braes of Bonnie Doon" (tune)
File: HHH011
===
NAME: Trading-Out Blues
DESCRIPTION: "In the middle of the night if you hear a scream And there's a flame burnin'... the road... It's just a bunch of cowboys Tradin' out at the next rodeo." The song describes the wild driving cowboys do as they travel from rodeo to rodeo
AUTHOR: Johnny Baker
EARLIEST_DATE: 1973
KEYWORDS: cowboy travel technology
FOUND_IN: 
REFERENCES: (1 citation)
Ohrlin-HBT 97, "Trading-Out Blues" (1 text, 1 tune)
NOTES: According to Ohrlin, professional rodeo cowboys would often rearrange their riding schedules so that they could appear at two events simultaneously. This was known as "trading out." Not all rodeos permit trading out, but some do in order to increase the number of top-flight cowboys entered. But, of course, it leaves the riders having to really make time between events. Hence this song.
File: Ohr097
===
NAME: Tragedia de Heraclio Bernal
DESCRIPTION: Spanish: "Ano de noventa y quatro en la ciudad de Mazatlan...." Bernal is a robber who steals from the rich, gives to the poor, kills the police (and uses their skin for boots). But he is killed by treachery in Mazatlan in 1894.
AUTHOR: unknown
EARLIEST_DATE: 1934
KEYWORDS: foreignlanguage outlaw robbery death police funeral
FOUND_IN: 
REFERENCES: (1 citation)
Lomax-ABFS, pp. 368-371, "Tragedia de Heraclio Bernal" (1 text plus prose translation, 1 tune)
File: LxA368
===
NAME: Tragic Romance
DESCRIPTION: Singer recalls a girl he loved long ago; he left her her in the arms of another man. Many years later he meets the girl's brother. He learns she died awaiting his return, never knowing why he left. (The brother was the man who was in her arms.)
AUTHOR: Louis M. "Grandpa" Jones
EARLIEST_DATE: 1946 (recording, Morris Bros.)
KEYWORDS: infidelity love rambling abandonment death family
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 41, "Tragic Romance" (1 text with variants, 1 tune)
RECORDINGS:
Morris Brothers, "Tragic Romance" (RCA Victor 20-1905, 1946)
CROSS_REFERENCES:
cf. "Poor Omie (John Lewis) (Little Omie Wise)" [Laws F4] (tune)
cf. "After the Ball" (plot)
cf. "Fatal Rose of Red" (theme)
NOTES: When this song first came to my attention, I refused to accept the attribution to "Grandpa" Jones, since the plot is straight from "After the Ball" and the tune is "Omie Wise." Jones, however, confesses, "I had been singing the old 1890s song, After the Ball, and I borrowed the story from that and the tune from the old folk song Naomi Wise and began to work it out."  - RBW
File: CSW041
===
NAME: Tragical Death of an Apple Pie, The: see A Is for Apple Pie (File: R874)
===
NAME: Trail to Mexico, The [Laws B13]
DESCRIPTION: The singer is hired by A.J. Stinson to drive a herd to Mexico. While away, his sweetheart has left him for a richer man. Though she asks him to remain at home and safe, he sets out for the trail again and swears to spend the rest of his life on the trail
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax)
KEYWORDS: cowboy rejection poverty
FOUND_IN: US(So)
REFERENCES: (9 citations)
Laws B13, "The Trail to Mexico"
Larkin, pp. 61-63, "Trail to Mexico" (1 text, 1 tune)
Sandburg, pp. 285-286, "The Trail to Mexico" (1 text, 1 tune)
Fife-Cowboy/West 66, "The Trail to Mexico" (5 texts, 1 tune, of which only the "A" and "B" texts go here; "C" and "D" are "Early, Early in the Spring" and "E" is "Going to Leave Old Texas")
Botkin-AmFolklr, pp. 858-859, "Trail to Mexico" (1 text, 1 tune)
Ohrlin-HBT 62, "Trail to Mexico" (2 texts, 2 tunes)
Saffel-CowboyP, pp. 197-199, "The Trail to Mexico" (1 text)
DT 380, TRAILMEX
ADDITIONAL: _Sing Out_ magazine, Volume 25, #4 (1977), pp, 22-23, "Following the Cowtrail" (1 text, 1 tune, the Carl T. Sprague version)
Roud #152
RECORDINGS:
Len Nash & his Country Boys, "The Trail to Mexico" (Brunswick 354, 1929; Supertone S-2069, 1930)
Harry "Mac" McClintock, "The Trail to Mexico" (Victor V-40016, 1929; Montgomery Ward M-4469 [as Harry "Mac" McClintock and his Haywire Orchestra], 1934)
Pete Seeger, "Trail to Mexico" (on PeteSeeger07, PeteSeeger07a)
Carl T. Sprague, "Following the Cow Trail" (Victor 20067, 1925; Montgomery Ward M-4468, 1934; on AuthCowboys)
Texas Rangers, "The Trail to Mexico" (Decca 5183, 1936)
CROSS_REFERENCES:
cf. "Early, Early in the Spring" [Laws M1] (plot)
cf. "Buffalo Skinners" [Laws B10a] (a few overlapping lyrics)
NOTES: Cox and Fife both consider this to be derived from "Early, Early in the Spring" [Laws M1], and even Laws concedes kinship. Roud in fact lumps the songs. However, as Laws also notes, "the cowboy ballad... shows considerable reworking." - RBW
It's also worth noting that this song, "Boggy Creek," and "Buffalo Skinners" share enough lyrics, plot elements, etc. to make life interesting and confusing. - PJS
File: LB13
===
NAME: Train 45: see Reuben's Train; also Nine Hundred Miles (File: Wa133)
===
NAME: Train Is A-Coming, The
DESCRIPTION: "The train is a-coming, oh, yes! Train is a-coming, oh, yes! Train is a-coming, train is a-coming, Train is a-coming, oh, yes!" "Better get your ticket...." "King Jesus is conductor...." "I'm on my way to heaven...."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: train religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 253-254, "The Train Is A-Coming" (1 text, 1 tune)
Roud #11618
File: ScaNF253
===
NAME: Train on the Island (June Apple/June Appal)
DESCRIPTION: Floating verses, "Train on the island, thought I heard it blow, Go tell my true love, I'm sick and I can't go."  "Train on the island, listen to it squeal, Go and tell my true love how happy I do feel." Verses mostly about courting and separation
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, J. P. Nestor)
KEYWORDS: courting separation floatingverses separation abandonment nonballad music
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Asch/Dunson/Raim, p. 97, "Train on the Island" (1 text, 1 tune)
DT, TRAINIS
RECORDINGS:
Charlie Higgins et al, "June Apple" [instrumental] (on LomaxCD1702)
J. P. Nestor, "Train on the Island" (Victor 21070A, 1927; on AAFM3, TimesAint01)
New Lost City Ramblers, "Train on the Island" (on NLCR13)
Crockett Ward & his Boys "Train on the Island" (OKeh, unissued, 1927); Fields Ward, Glen Smith & Wade Ward, "Train on the Island" (on HalfCen1)
CROSS_REFERENCES:
cf. "Going Across the Sea" (floating lyrics)
NOTES: As a rule of thumb, this seems to be called "Train on the Island" when it is sung but "June Appal" when played as a fiddle tune. There are exceptions, of course. - RBW
File: ADR97
===
NAME: Train Run So Fast
DESCRIPTION: "Train, train, train, train run so fast, Couldn't see nothing but de trees go past." "Don't tell mama where I'm gone, Cause I'm on my way back home." ""Mister, Misters, I don't want to fight, I got de heart disease, don't feel just right."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: train disease floatingverses home nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 466, "Train ... Run So Fast" (1 short text, probably a mixture of several songs)
Roud #11786
NOTES: This has a good deal in common with Darby and Tarlton's recording "Captain Won't You Let Me Go Home" ("Show Me the Way to Go Home," emphatically not the same as the other Brown fragment, "Show Me the Way to Go Home, Babe"); there is clearly dependence one way or the other. But the recording uses a different stanza form and is all about war service; I tentatively treat them as separate songs. - RBW
File: Br3466
===
NAME: Train That Carried My Girl from Town, The
DESCRIPTION: Singer asks about the train that's just left; "if I knew the number I'd flag her down." He wishes it would wreck and kill the crew; "some low rounder stole my jelly roll." He asks if there's a woman a man can trust.
AUTHOR: possibly Frank Hutchison
EARLIEST_DATE: 1926 (recording, Frank Hutchison)
LONG_DESCRIPTION: Singer asks about the train that's just left; "if I knew the number I'd flag her down." He wishes it would wreck and kill the crew; "some low rounder stole my jelly roll." He asks if there's a woman a man can trust. Chorus: "Hate that train that carried my girl from town/Hey, hey, hey"
KEYWORDS: grief jealousy loneliness infidelity sex train travel abandonment railroading floatingverses lover hate
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
Cohen-LSRail, pp. 426-430, "The Train That Carried My Girl from Town" (1 text plus a text of Maynard Britton's "I Wish That Train Would Wreck"; 1 tune)
Roud #7027
RECORDINGS:
Frank Hutchison, "The Train That Carried the Girl from Town" (OKeh 45064, 1926) (OKeh 45111 [45114?], 1927); "Train That Carried My Girl from Town" (OKeh 45114, 1927)
Doc Watson, "The Train That Carried My Girl From Town" (on Watson01)
ALTERNATE_TITLES:
Hate the Train the Carried My Girl from Town
NOTES: A white blues; it's possible Hutchison composed this, but he also may have learned it from black musicians. Certainly his performance, with knife-slide guitar, sounds very African-American. - PJS
Cohen speculates that Hutchison had it from an acquaintance, Bill Hunt. It's not clear to me why Cohen lists Hunt rather than Hutchison; in any case, the song resembles other blues in that it has many floating lines. - RBW
File: RcTTCMGF
===
NAME: Train That Never Returned, The
DESCRIPTION: A train sets out, but "Did she ever return? No, she never returned, Though the train was due at one. For hours and hours the watchman stood waiting For the train that never returned." The song describes some of those who waited for it
AUTHOR: Music by Henry Clay Work
EARLIEST_DATE: 1928 (recording, Fiddlin' John Carson)
KEYWORDS: train railroading separation death derivative
FOUND_IN: US(SE,So)
REFERENCES: (3 citations)
Randolph 694, "The Train that Never Returned" (1 text)
BrownII 215, "The Ship That Never Returned" (1 text, filed as "c" under the parodies)
Spaeth-WeepMore, p. 139, "The Train that Never Returned" (1 text, tune referenced)
Roud #775
RECORDINGS:
Fiddlin' John Carson, "Did He Ever Return" (OKeh 45176, 1928)
CROSS_REFERENCES:
cf. "The Ship that Never Returned" [Laws D27] (tune & meter) and references there
cf. "The Wreck of Old 97" (tune & meter)
cf. "The Rarden Wreck of 1893" (tune & metre, theme)
cf. "The Flying Colonel" (tune)
SAME_TUNE:
Whitey Johns, "The Train That Never Arrived" (Romeo 1205, 1930)
NOTES:  I am assigning the Whitey Johns recording to this title, without having heard it, but I'm calling it a SAME TUNE to be on the safe(r) side. - PJS
File: R694
===
NAME: Train Whistle Blues
DESCRIPTION: "When a woman gets the blues, she hands her little head and cries... When a man gets the blues, he grabs a train and rides." The singer wishes the train would take him home. His whole world is blue; he can't find a job
AUTHOR: Jimmie Rodgers (but based on much traditional material)
EARLIEST_DATE: 1929 (recording, Jimmie Rodgers)
KEYWORDS: train home travel
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 452-455, "Train Whistle Blues" (1 text, 1 tune)
RECORDINGS:
Jimmie Rodgers, "Train Whisle Blues" (Victor 22379, 1930; rec. 1929)
File: LSRai452
===
NAME: Tramp (I), The
DESCRIPTION: The hobo has been wandering till his shoes are worn to pieces. He asks a woman for work; she replies, "Tramp, tramp, tramp, keep on a-tramping, There is nothing here for you." Everywhere he tries, he is threatened with prison if he returns
AUTHOR: Joe Hill
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work hardtimes poverty prison hobo unemployment IWW
FOUND_IN: US(Ro)
REFERENCES: (4 citations)
Sandburg, p. 185, "Tramp, Tramp, Tramp, Keep On a-Tramping" (1 text)
Darling-NAS, pp. 281-282, "The Tramp" (1 text)
Silber-FSWB, p. 52, ""The Tramp (1 text)
DT, THETRMP*
RECORDINGS:
Frank Crumit, "Tramp, Tramp, Tramp, Keep On A'Tramping" (Victor V-40214, 1930)
CROSS_REFERENCES:
cf. "Tramp! Tramp! Tramp!" (tune) and reference there
NOTES: For the life of Joe Hill, see "Joe Hill." - RBW
File: San185
===
NAME: Tramp (II), The
DESCRIPTION: "I'm a broken-down man without money or friends... I wisht I had never been born." The tramp reports that people constantly tell him to get a job, but none will offer a job. He recalls another tramp thrown off a train and killed on the track
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, McGee Brothers); a version was printed c. 1880 in _De Marsan's Singer's Journal_
KEYWORDS: hobo death hardtimes unemployment
FOUND_IN: US(MW,So) Canada(Newf)
REFERENCES: (4 citations)
Cohen-LSRail, pp. 347-350, "Because He Was Only a Tramp" (2 texts, 1 tune)
Dean, p. 71, "The Tramp's Lament" (1 text)
Randolph 843, "The Tramp" (1 text, 1 tune)
Greenleaf/Mansfield 48, "Broken-Down Sport" (1 text)
Roud #4305
RECORDINGS:
Jack Edwards, "The Tramp" (Supertone 9711, 1930)
McGee Brothers, "The Tramp" (Vocalion 5171, 1927)
CROSS_REFERENCES:
cf. "Remember the Poor Tramp Has to Live" (plot)
NOTES: Cohen theorizes that this started as two songs, one about a tramp who can't find work, the other about a tramp thrown from a train and killed. As evidence he prints a version which lacks the dying tramp stanzas. This seems not unlikely, but until we find a version of the song with the tramp thrown from the train *without* the other part, there isn't much point in splitting. - RBW
File: R843
===
NAME: Tramp (III), The: see Can I Sleep in Your Barn Tonight? (File: R841)
===
NAME: Tramp Song, The: see Remember the Poor Tramp Has to Live (File: RcRtPTHL)
===
NAME: Tramp the Bushes of Australia: see True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man) (File: MA062)
===
NAME: Tramp, Tramp, Tramp, Keep On a-Tramping: see The Tramp (I) (File: San185)
===
NAME: Tramp! Tramp! Tramp!
DESCRIPTION: The prisoner cries as he recalls mother and home. He recalls the battle where he was taken. But then he recalls that the troops are coming, and cheers his fellows: "Tramp, tramp, tramp, the boys are marching, Cheer up comrades they will come...."
AUTHOR: George F. Root
EARLIEST_DATE: 1864
KEYWORDS: Civilwar prisoner freedom
FOUND_IN: US
REFERENCES: (6 citations)
RJackson-19CPop, pp. 214-217, "Tramp! Tramp! Tramp! or The Prisoner's Hope" (1 text, 1 tune)
Silber-CivWar, pp. 86-87, "Tramp! Tramp! Tramp!" (1 text, 1 tune)
Darling-NAS, pp. 347-348, "Tramp! Tramp! Tramp!" (1 text)
Silber-FSWB, p. 66, "Tramp! Tramp! Tramp!" (1 text)
Fuld-WFM, p. 588+, "Tramp! Tramp! Tramp!"
DT, TRMPTRMP*
ST RJ19214 (Full)
RECORDINGS:
S. H. Dudley, "Tramp Tramp Tramp" (Berliner 0157-Y, rec. 1898)
Frank J. Gaskin, "Tramp Tramp Tramp" (Berliner 0157-Z, rec. 1896)[
Arthur] Harlan & [Frank] Stanley, "Tramp, Tramp, Tramp" (Victor 5021, 1907) (CYL: Edison 9439, 1907) (CYL: Edison [BA] Special E [as Harlan & Stanley w. chorus], n.d.)
Frank C. Stanley, "Tramp! Tramp! Tramp!" (CYL: Edison 5002, c. 1898)
Unknown baritone "Tramp Tramp Tramp" (Berliner 0157, rec. before 1895)
CROSS_REFERENCES:
cf. "The Tramp (I)" (tune)
cf. "An Anti-Fenian Song" (tune)
cf. "The Bounty Jumper's Lament" (tune)
cf. "God Save Ireland" (tune)
cf. "The Salutation" (tune)
SAME_TUNE:
The Wallaby Brigade (File: FaE186)
File: RJ19214
===
NAME: Tramp's Lament, The: see The Tramp (II) (File: R843)
===
NAME: Tramp's Story, The
DESCRIPTION: The tramp asks to sit and rest. Tramps have to live, "though folks don't think we should."  He used to be a blacksmith. Then a stranger led his love Nellie astray. She died soon after he abandoned her. The tramp intends to find and punish the stranger
AUTHOR: Edward Harrigan?
EARLIEST_DATE: 1930
KEYWORDS: hobo love abandonment betrayal death revenge
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
Randolph 844, "The Tramp's Story" (1 text)
BrownIII 358, "Tale of a Tramp" (1 text)
Roud #7448
CROSS_REFERENCES:
cf. "Can I Sleep In Your Barn Tonight?" (plot)
cf. "The Lehigh Valley" (plot)
cf. "Remember the Poor Tramp Has to Live" (plot)
cf. "The Deserted Husband" (theme)
NOTES: This is a difficult conundrum: It is unquestionably related to "The Lehigh Valley," with which it shares a plot and occasional words. The question is, which is original?
The natural inclination, of course, is to think that "Lehigh Valley," which is more firmly traditional and, in its crude way more vigorous, is the source. And yet, "The Tramp's Story" is *so* much more feeble that it's hard to imagine "Lehigh Valley" being expurgated so far.
It is worth noting that Brown's version contains a reference to the Lehigh Valley.
Plus, this song adds the moralizing conclusion about the girl's death. It's really a bit thick -- as any half-decent songwriter would surely recognize. So I'm just not sure.
The original by Edward Hannigan is said to be from the 1882 play "Squatter Sovereignty."
Milburn prints no fewer than six songs on this theme. Obviously the plot proved popular.
For background on Edward Harrigan, see the notes to "Babies on Our Block." - RBW
File: R844
===
NAME: Tramps and Hawkers
DESCRIPTION: "Come a' ye tramps and hawker lads and gaitherers o' blaw... I'll tell tae ye a rovin' tale, an' places I hae been, Far up intae the snowy north or sooth by Gretna Green." The singer describes his travels, sights he has seen, worries he hasn't had
AUTHOR: unknown
EARLIEST_DATE: 1909 (GreigDuncan3)
KEYWORDS: rambling
FOUND_IN: Britain(Scotland)
REFERENCES: (3 citations)
GreigDuncan3 487, "Come All Ye Tramps and Hawkers" (2 texts, 1 tune)
Kennedy 358, "Tramps and Hawkers" (1 text, 1 tune)
DT, HAWKRS*
Roud #1874
RECORDINGS:
Jimmy MacBeath, "Come All Ye Tramps And Hawkers" (on Lomax43, LomaxCD1743, Voice20)
CROSS_REFERENCES:
cf. "Davy Faa (Remember the Barley Straw)" (tune)
cf. "Paddy West" (tune)
ALTERNATE_TITLES:
The Jolly Beggar
NOTES: This song is best known not for its banal lyrics but for its widely-recognized and used tune (also known as "Paddy West"). - RBW
Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 20" - 15.1.04: "It was first collected from both James Angus and James Morrison in 1909 and appears in the Greig-Duncan Collection Vol 3 p.271."
GreigDuncan3: "Hamish Henderson mentions in the notes to the record _Come A' Ye Tramps and Hawkers_(Collector Records,Jes 10) that the song 'is reputed to have been composed by 'Besom Jimmy,' a much travelled Angus-born hawker of the last century." - BS
File: K358
===
NAME: Tramway Line, The
DESCRIPTION: "Men are toiling night and day" to finish the Belfast Tramway. "Red Roger he's to be a guard ... to keep people from falling out." Lord Lurgan and Lord Lieutenant Went looked it over. A Belfast girl "says she knows Red Roger" who may get her a ticket.
AUTHOR: unknown
EARLIEST_DATE: 1989 (Leyden)
KEYWORDS: commerce humorous nonballad
FOUND_IN: 
REFERENCES: (1 citation)
Leyden 18, "The Tramway Line" (1 text, 1 tune)
NOTES: Leyden: "This song recalls the opening of [the Belfast tramway system service to Balmoral] ... in the early 1890s. It is very much in the music hall idiom with its sing-along chorus and light-hearted content."
Leyden's tune is close to that of "The Crummy Cow"/"The Bigler." SHenry p. 25, about that tune: "The air is a 'stock' Irish air to which many old songs were sung ...." Unlike the SHenry tune, Leyden's includes the chorus ("Pipe it, twig it, it is a gorgeous show...."). - BS
File: Leyd018
===
NAME: Tranent Muir
DESCRIPTION: "The Chevalier, being void of fear, did march up Birslie brae, man," and prepares for battle against John Cope. The battle results in a complete win for the Jacobites. Many soldiers taking part in the battle are listed.
AUTHOR: "Mr. Skirving" (source: Hogg2)
EARLIEST_DATE: 1797 (Scots Musical Museum #102)
KEYWORDS: Jacobites battle moniker humorous
HISTORICAL_REFERENCES: Sept 21, 1745 - Battle of Prestonpans. Bonnie Prince Charlie's Highland army routs the first real Hannoverian force it encounters
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Hogg2 62, "The Battle of Prestonpans" (1 text)
DT, TRANMUIR
SAME_TUNE:
Praelium Gillicrankianum (Scots Musical Museum, appendix to #102; a Latin piece along the same lines but apparently about Killiecrankie)
NOTES: Hogg2: "This popular song was made by Mr. Skirving, a Lothian farmer...."
The tune is Hogg1 17, "The Battle of Killicrankie." - BS
This has been recorded by Archie Fisher (on "The Fate o' Charlie," under the title "The Battle of Prestonpans"), so it's perhaps worth indexing.
Despite the quality of the source, I rather doubt it's traditional; I know no field recordings, and the only printed version prior to Hogg seems to be that in the _Scots Musical Museum_. Which is extremely long (15 8-line stanzas), and quite dull unless you're a Jacobite trying to recall all the officers at Prestonpans. Whoever chopped the song down to the length recorded by Fisher did everyone a favor.
On the other hand, the _Scots Musical Museum_ tune isn't the same as Fisher's, so maybe there has been some oral tradition in there somewhere.
I checked three sources to try to understand the battle: Stuart Reid, _1745: A Miliitary History of the Last Jacobite Rising_, Sarpedon, 1966, pp. 29-34; Clennell Wilkinson _Bonnie Prince Charlie_, Lippincott, no copyright listed but after 1932, pp. 95-108; and Magnus Magnusson, _Scotland: The Story of a Nation_, Atlantic Monthly Press, 2000, pp. 592-596. These sources can only be reconciled by assuming that the map on pl 103 of Wilkinson is printed with north and south reversed. But the general story is clear.
In September, the newly-assembled Jacobite army arrived in Edinburgh. Even as this was happening, Lt. General John Cope was landing his force at Dunbar (Wilkinson, p. 95). Cope's force was small (Reid, p. 32, give estimates on the order of 2000 soldiers), mostly inexperienced (though many of the troops were from famous regiments, including the Black Watch, they were generally reserve companies and new formations), and ill-equipped. Still, that description applied to the Jacobite army also; they had, according to Magnusson, p. 593, "no artillery and not many muskets." Although Cope's plan to defend Edinburgh had failed, he still decided to advance.
When he learned that the Jacobite army had marched out to meet him, he took up a strong position on the road from Haddington to Edinburgh. He was on a height, and his right was protected by the sea (Firth of Forth), while his left was guarded by a broad, boggy meadow known as the Meadow or Moor of Tranent. (The hamlet of Tranent was to the south of the meadow. Preston and Prestonpans, the town for which the battle was named, was west of the battle site -- had the Highlanders followed the main road, they would have passed through Prestonpans to attack Cope.)
Unfortunately for Cope, a local led the Jacobite army by a track through the Tranent Moor (Wilkinson, p. 100; Magnusson, p. 593). Cope learned of this early enough to reface his army east (so the map in Magnusson, p. 595) or southeast (so Wilkinson and Reid), but his positional advantage was lost. Plus the sun was in the defenders's eyes. And he didn't have enough artillery to slow a Highland Charge.
Prestonpans was hardly a battle; it was an almost instant rout. The conflict is typically said to have lasted only then minutes (Magnusson, p. 594). It ended with Cope's entire army in flight, with the general eventually carried away himself.
The Highlanders had no cavalry with which to pursue, so Cope's losses were relatively light -- Reid, p. 38, and Magnusson, p. 594, both accept that about 150 were killed. But over a thousand were taken prisoner, and the Jacobites also picked up a fair number of muskets, Cope's handful of artillery, and some cash. Plus, of course, they gained a huge morale boost.
For more details on Prestonpans, see the notes to "Johnnie Cope."
Incidentally, the reference to Charles as a Chevalier was more than just poetry; one of his father's titles was "Chevalier de Saint George." - RBW
File: DTtranmu
===
NAME: Travel On (Trabel On)
DESCRIPTION: "Sister Rosy, you get to heaven before I go, Sister, you look out for me, I'm on the way, Trabel on, trabel on, you heaven-born soldier, Trabel on, trabel on, Go hear what my Jesus say."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 31, "Travel On" (1 text, 1 tune)
Roud #11986
File: AWG031
===
NAME: Traveling Coon: see Traveling Man (Traveling Coon) (File: RcTMTC)
===
NAME: Traveling Man (Traveling Coon)
DESCRIPTION: Protagonist, a trickster, makes his living stealing chickens/money; he's arrested, shot, sent home for burial, but escapes his coffin, etc. Cho: "He was a travelin' man, certainly was a travelin' man/Travelin'est coon that ever come through the land..."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
LONG_DESCRIPTION: The protagonist is a trickster who makes his living stealing chickens and money; he's arrested, shot, and sent home for burial, but escapes from his coffin; he sails on the Titanic, but when it sinks he's found shooting dice in Liverpool. Carrying water ten miles from a spring, he stumbles, but runs home for another bucket and catches the water before it hits the ground. Chorus: "He was a travelin' man, certainly was a travelin' man/Travelin'est coon that ever come through the land...."
KEYWORDS: rambling travel crime theft punishment resurrection burial death gambling ship wreck England humorous talltale thief
FOUND_IN: US(SE,So)
REFERENCES: (1 citation)
BrownIII 428, "The Traveling Coon" (1 text plus mention of 1 more)
Roud #11771
RECORDINGS:
Smilie Burnett, "He Was a Travelling Man" (Perfect 13011/Melotone 13046, 1934)
Virgil Childers, "Traveling Man" (Bluebird B-7487, 1938)
Sid Harkreader, "Travelling Coon" (Paramount 3101, 1928)
Tony Hollins, "Traveling Man Blues" (OKeh 06523, 1941)
Prince Albert Hunt's Texas Ramblers, "Travelling Man" (OKeh 45446, 1930; rec. 1928)
Jim Jackson, "Traveling Man" (Victor V-38617, 1930; rec. 1928)
Coley Jones, "Traveling Man" (Columbia 14288-D, 1928; rec. 1927)
Luke Jordan, "Traveling Coon" (Victor 20957, 1927)
Charlie & Bud Newman, "The Old Travelling Man" (OKeh 45431, 1930)
Phineas [or 'Finious'] "Flat Foot" Rockmore, "Traveling Man" (AFS 3988 B1, 1940; on LomaxCD1821-2)
Dock Walsh, "Travelling Man" (Columbia 15105-D, 1926)
Washboard Sam, "Traveling Man" (Bluebird B-8761, 1941)
Henry Whitter, "Travelling Man" (OKeh 40237, 1924)
CROSS_REFERENCES:
cf. "Didn't He Ramble" (lyrics)
NOTES: This was the theme song of the East Coast medicine show singer Pink Anderson. - PJS
The oldest version, in the Brown collection, bears an interesting relation to "Didn't He Ramble"; in this text, the chorus runs, "Well, he travelled and was known for miles around, And he didn't get enough, he didn't get enough Till the police shot him down." - RBW
File: RcTMTC
===
NAME: Traveling Shoes
DESCRIPTION: Death comes to the door of the sinner, the gambler, the Christian, etc., asking if they are "ready to go." The sinner says, "I'm not ready to go; I ain't (got/put on) my travelin' shoes." The Christian, by contrast, is ready and eager to go
AUTHOR: unknown
EARLIEST_DATE: 1939 (recording, Selah Jubilee Quartet)
KEYWORDS: religious death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, p. 70, "(Got No Travellin' Shoes)" (1 text); p. 233, "Traveling Shoes" (1 tune, partial text)
Roud #10968
RECORDINGS:
Selah Jubilee Quartet, "Traveling Shoes" (Decca 7628, 1939)
Vera Hall Ward, "Travelling Shoes" (on NFMAla5)
File: CNFM070A
===
NAME: Travelling Candyman, The
DESCRIPTION: Singer Pat O'Flanagan sails to Glasgow, can't find work, so becomes a "candyman" -- a rag dealer. A woman accuses him of stealing her frock from the line; he denies it, and she hits him. Chorus: "For I take in old iron/I take in old bones and rags..."
AUTHOR: unknown
EARLIEST_DATE: 1954 (recorded from Jennie Davison)
LONG_DESCRIPTION: Singer, Pat O'Flanagan, sails from Belfast to Glasgow, can't find work, so as a last resort becomes a "candyman" -- a rag dealer. A woman accuses him of stealing her frock from the line; he denies it, and she hits him. Chorus: "For I take in old iron/I take in old bones and rags...My name is Pat O'Flanagan/I'm a travelling candyman"
KEYWORDS: poverty accusation violence rambling travel theft clothes commerce work worker Gypsy migrant
FOUND_IN: Ireland
REFERENCES: (1 citation)
Kennedy 359, "The Travelling Candyman" (1 text, 1 tune)
Roud #2163
RECORDINGS:
"Rich" Johnny Connors, "Rambling Candyman" (on IRTravellers01)
NOTES: Not to be confused with the American blues song "Candy Man." While ragpicking was usually considered to be a last resort among Travellers, in fact several seem to have made considerable fortunes at the trade. - PJS
The version on IRTravellers01, "made and sung by 'Rich' Johnny Connors," describes an event that happened to the singer. Instead of the frock episode, his episode is about an old man who tried to sell him a sack weighted with "bricks you could plainly see" with which he could not fool "any rambling candy man." - BS
File: K359
===
NAME: Travelling Down the Castlereagh: see The Castlereagh River (File: MA045)
===
NAME: Treadmill, The
DESCRIPTION: "The stars are rolling in the sky, The earth rolls on below, And we can feel the rattling wheel Revolving as we go." The singer urges others to take their turns at the treadmill, and praises the pleasures of life among the mill workers
AUTHOR: unknown
EARLIEST_DATE: 1892 (Trifet's Budget of Music)
KEYWORDS: work technology
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 497, "The Treadmill" (1 text, 1 tune)
Roud #7587
File: R497
===
NAME: Treat Me Right
DESCRIPTION: "If you treat me right, I'd sooner work than play; If you treat me mean, I won't do neither way."
AUTHOR: unknown
EARLIEST_DATE: 1934 (Henry)
KEYWORDS: work nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 197, "Treat Me Right" (1 text)
File: MHAp197
===
NAME: Treat My Daughter Kindly (The Little Farm)
DESCRIPTION: The singer meets and falls in love with a girl. Her father asks him to "Treat my daughter kindly, never do her harm. When I die I'll leave you my little house and farm." The two are happily married and live a contented life
AUTHOR:  James Bland
EARLIEST_DATE: 1878 (sheet music for "The Farmer's Daughter, or The Little Chickens in the Garden" published)
KEYWORDS: courting marriage father
FOUND_IN: US(MW,NE,SE,So) Britain(England) Ireland
REFERENCES: (5 citations)
Gardner/Chickering 119, "I Once Did Know a Farmer" (1 text plus an excerpt)
Randolph 668, "The Little Chickens in the Garden" (1 text plus a fragment, 1 tune)
BrownII 175, "The Farmer's Daughter" (1 text)
Warner 77, "Treat My Daughter Kindly (or, The Little Farm)" (1 text)
McBride 68, "Treat My Daughter Kindly" (1 text, 1 tune)
ST R668 (Partial)
Roud #2552
RECORDINGS:
Riley Puckett, "Farmer's Daughter" (Columbia 15686-D, 1931; rec. 1928)
Arthur Smith Trio, "The Farmer's Daughter" (Bluebird B-7893, 1938)
BROADSIDES:
NLScotland, L.C.Fol.70(62a), "The Chickens in the Garden," Poet's Box (Dundee), c. 1890
File: R668
===
NAME: Tree in Paradise: see All My Trials (and others) (File: FSWB359B)
===
NAME: Tree in the Wood (I), The: see The Rattling Bog (File: ShH98)
===
NAME: Tree in the Wood (II), The: see Little Bird (File: Fus089)
===
NAME: Tree of Liberty, The
DESCRIPTION: "Sons of Hibernia, attend to my song, Of a tree call'd th' Orange." Barbarians and Frenchmen are joined against the tree. "Hundreds they've burn'd of each sex, young and old". Exit Sheares and other traitors. "Derry down, down, traitors bow down"
AUTHOR: "by J.B. Esqu, of Lodge No. 471" (Source: Zimmermann)
EARLIEST_DATE: 1798 (Zimmermann)
KEYWORDS: rebellion execution Ireland patriotic
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 95, "The Tree of Liberty" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Brothers John and Henry Sheares" (subject of the Sheares Brothers)
cf. "Croppies Lie Down (I/II)" (tune)
NOTES: Zimmermann: "John and Henry Sheares, who were United Irishmen -- and Protestants --, were hanged in Dublin in July 1798." - BS
Very many leaders of the 1798 -- including Wolfe Tone -- were in fact Protestant; they had the education and the income to be in position to form such conspiracies. And Ireland was not yet so polarized over religion as it later became; as Robert Kee points out (see _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 99):
"This whole system of torture [and repression of the rebellion] was being carried out on the Irish population largely by Irish soldiers, a great proportion of them Catholics of the poorest class in the milition, who were ready enough to do their duty against their fellow-countrymen as unworthy rebels. Of all the troops available for the government in Ireland before and during the coming rebellion, over four-fifths were Irish."
The Sheares brothers were lawyers (Kee, p. 54), who succeeded to high places in the United Irish leadership after the arrests of the initial leadership council in March 1798. They themselves were in custody on May 21 (Kee, pp. 100-101). Thus they played no real part in the rebellion, but they were hung as what we might call accessories before the fact.
In any case, they don't seem to have been very well equipped for their role; Thomas Pakenham, _The Year of Liberty_, p. 59, says they were "hardly the stuff to lead a revolutionary army," and they were far too trusting, bringing an informant into their confidence based simply on his taste in literature (p. 78). Maybe it was because John Sheares, at least, was given to bombast himself; Pakenham (p. 96) prints a proclamation he was found to have written at the time of his arrest, and it's way over the top. - RBW
File: Zimm095
===
NAME: Tree Toad, The
DESCRIPTION: "A tree toad loved a she toad... She was a three-toed tree toad, A two-toed tree toad he." The male toad courts the female because she lives in a beautiful tree. But "He couldn't please her whim... The she toad vetoed him."
AUTHOR: unknown
EARLIEST_DATE: 1987
KEYWORDS: animal wordplay love recitation
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Covell/Brown, p. 169, "The Tree Toad" (1 text)
File: MCB169
===
NAME: Tree, The: see The Rattling Bog (File: ShH98)
===
NAME: Trees So High, The: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Trees They Do Be High, The: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Trees They Do Grow High, The: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Trees They Grow So High, The: see A-Growing (He's Young But He's Daily A-Growing) [Laws O35] (File: LO35)
===
NAME: Trenton Town: see The Farmer and the Shanty Boy (File: Wa033)
===
NAME: Trial of John Twiss, The
DESCRIPTION: Twiss bids sister Jane farewell from the scaffold. He is innocent of the murder of Donovan. "Paid spies and informers, my life they swore away." At the Cork assizes he is tried, convicted, and sentenced. He blesses the mayor of Cork and other supporters.
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: execution murder trial
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 44-45, "The Trial of John Twiss" (1 text, 1 tune)
NOTES: OCanainn: "John Twiss from Castleisland was sentenced to death at the Cork assizes for the murder of James Donovan and was hanged in Cork in 1895." - BS
File: OCan044
===
NAME: Trial of Willy Reilly, The: see William (Willie) Riley (Riley's Trial) [Laws M10] (File: LM10)
===
NAME: Trifling Woman
DESCRIPTION: "Oh, Lord, I been working like a dog all day, Just to make another dollar for you to throw away." The husband (?) complains of his wife's profligacy; she won't cook or work, but wants fine clothes to look good in. He wishes she would leave or he would die
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: clothes husband wife poverty work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 136, "Trifling Woman" (1 text, 1 tune)
ST Wa136 (Partial)
Roud #4626
File: Wa136
===
NAME: Trimble's Crew
DESCRIPTION: "Oh, it's of a pair of jobbers who had a jolly time All in some old log shanty where the jobbers settle down." A disjointed song describing the work in Trimble's camp and how hard the life is: "A man who'd work for Trimble might better be in jail."
AUTHOR: unknown
EARLIEST_DATE: 1965 (Fowke)
KEYWORDS: logger lumbering work hardtimes
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #8, "Trimble's Crew" (1 text, tune referenced)
ST FowL08 (Partial)
Roud #4467
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme, tune)
File: FowL08
===
NAME: Trinity Bay Tragedy
DESCRIPTION: The small boats out sealing in Trinity Bay on February 27, 1892, are caught in wind and sleet. Some make shore at Heart's Delight the next morning but most freeze to death.
AUTHOR: unknown
EARLIEST_DATE: 1960 (Leach-Labrador)
KEYWORDS: death fishing sea storm
HISTORICAL_REFERENCES: Feb 28, 1892 - the Trinity Bay tragedy
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Leach-Labrador 71, "Trinity Bay Tragedy" (1 text, 1 tune)
Ryan/Small, pp. 37-38, "Trinity Bay Tragedy" (1 text, 1 tune)
ST LLab071 (Partial)
Roud #9983
NOTES: Leach-Labrador reprints a detailed account from D. W. Prowse _History of Newfoundland_ (London, 1896), p. 520.
Heart's Delight is on the northwest corner of the Avalon Peninsula, which is separated from the main body of Newfoundland by Trinity Bay - BS
The extent of this disaster is somewhat unclear. The Northern Shipwrecks Database says 250 men perished. Prowse's account, as cited by Leach, lists a much smaller total: 215 men out sealing, most of whom survived; 24 froze or otherwise died of exposure. - RBW
File: LLab071
===
NAME: Trinity Cake (Mrs. Fogarty's Cake)
DESCRIPTION: "As I leaned o'er the rail of the Eagle The letter boy brought unto me A little gilt edged invitation Saying the girls want you over to tea" for "a slice of the Trinity Cake." Everyone tries the inedible cake and "all of them swore they were poisoned"
AUTHOR: Johnny Burke ?
EARLIEST_DATE: 1922 (Dean); a probable version is from the Golden Gate Songster of 1888
KEYWORDS: party food humorous moniker nonballad talltale
FOUND_IN: Canada(Newf) US(MW)
REFERENCES: (2 citations)
Doyle3, p. 62, "Trinity Cake" (1 text, 1 tune)
Dean, pp. 43-44, "Mrs. Fogarty's Cake" (1 text)
Roud #5000
RECORDINGS:
Omar Blondahl, "Trinity Cake" (on NFOBlondahl05)
ALTERNATE_TITLES:
Mrs. Fogarty's Cake
Miss Fogarty's Cake
NOTES: According to GEST Songs of Newfoundland and Labrador site the author died in 1930. - BS
The above presumably refers to Johnny Burke. Given the likely songster version, I doubt Burke wrote the original. He may well have created the Newfoundland ("Trinity Cake") version. - RBW
File: Doyl3062
===
NAME: Trip on the Erie, A (Haul in Your Bowline)
DESCRIPTION: "You can talk about your picnics and trips on the lake, / But a trip on the Erie you bet takes the cake!" A summary of life on the Erie canal, ending with comments about the cook: "A dumpling, a pet, / And we use her for a headlight at night on the deck!"
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected from E. W. Armstrong and Edward Navin by Walton)
KEYWORDS: cook canal humorous
HISTORICAL_REFERENCES: 1825 - Erie Canal opens (construction began in 1817)
FOUND_IN: US(MA,MW) Canada(Ont)
REFERENCES: (5 citations)
Walton/Grimm/Murdock, pp. 167-168, "The E-ri-o Canal" (1 text)
FSCatskills 94, "Haul in Your Bowline" (1 text+fragments, 1 tune)
Warner 35, "A Trip on the Erie" (1 text, 1 tune)
Lomax-ABFS, pp. 455-457, "Ballad of the Erie Canal" (1 text, composite and probably containing stanzas from other Erie Canal songs); pp. 459-463, "The Erie Canal Ballad" (8 texts, some fragmentary, most of which belong here though at least one is "The E-ri-e"); pp. 465-466, "A Trip on the Erie" (1 text)
DT, TRIPERIE*
Roud #6555
CROSS_REFERENCES:
cf. "The E-ri-e" (theme) and references there
cf. "The Erie Canal"
NOTES: The Erie Canal, as originally constructed, was a small, shallow channel which could only take barges. These vessels -- if such they could be called -- were normally hauled along by mules or, in a few cases, oxen ("horned breezes").
The Lomaxes, in _American Ballad and Folk Songs_, thoroughly mingled many texts of the Erie Canal songs (in fairness, some of this may have been the work of their informants -- but in any case the Lomaxes did not help the problem). One should check all the Erie Canal songs for related stanzas.
It does appear that, of all the Erie Canal songs, this is the most amorphous. The Walton text (which may also be composite) has an eight--line chorus, starting with the "Haul in your bo'lin" chorus characteristic of this song, then tacking on the "For the Erie she's a-rising" chorus of "The E-ri-e." The verses are also a mix: The crew thinks they've spotted a pirate in the fog; they hit a lump of coal; they end up in jail. I've tagged the song "humorous" mostly based on that wild text.
I really wish Walton had obtained a tune for his version. It must have been interesting.- RBW
File: Wa035
===
NAME: Trip on the George C. Finney, A
DESCRIPTION: "Come all you bold sailors who follow the Lakes And in a canaller your living do make." The singer tells of sailing the Finney on the Great Lakes, starting in the Erie Canal and traveling up the Lakes to Chicago. Many ports are mentioned
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected from John S. Parsons by Walton)
KEYWORDS: sailor ship travel
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 124-125, "A Trip on the George C. Finney" (1 text)
NOTES: The notes to Walton/Grimm/Murdock think this is based on "Red Iron Ore," which it obviously resembled thematically. The difficulty is that its form is more typical of "The Dreadnought" [Laws D13]. Of course, Walton/Grimm/Murdock's version of "Red Iron Ore" seems to use the tune of "The Dreadnought." But at least one other Great Lakes version of "Red Iron Ore," Dean's, uses the Derry Down tune. So we have a complicated question of dependence here, which Walton/Grimm/Murdock ignore. - RBW
File: WGM124
===
NAME: Trip on the Lavindy, A
DESCRIPTION: "Cone all you yoiung sailors and landlubbers too, An' listen to a song that I'll sing to you, It's about the Lavindy, the schooner of fame." The ship leaves Port Huron and heads for Mackinac. They cross the big lake (Superior) in record time
AUTHOR: probably J. Sylvester "Ves" Ray
EARLIEST_DATE: 1934 (collected from "Ves" Ray by Walton)
KEYWORDS: sailor ship travel
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 139-142, "A Trip on the Lavindy" (1 text, 1 tune)
NOTES: Walton lists this as being sung to "The Cumberland Crew" [Laws A18]. However, it is not the tune I know for that song. Many "Cumberland Crew" versions are in minor, and use eight lines stanzas; "A Trip on the Lavindy" is in major, and the stanzas are four lines long. Metrically, it does match the first half of "The Cumberland Crew." - RBW
File: WGM139
===
NAME: Trip on the Schooner Kolfage, A
DESCRIPTION: "We shipped aboard the Kolfage at Chatham, County Kent, The fourth day of October, for Johnson's Harbor bent. Commanded by MacDonald...." The Vick takes her onto the lake. They bump a sreamer, then win a race with it. The singers quit the ship.
AUTHOR: Jack MacCosh and Herb Pettigrew?
EARLIEST_DATE: 1934 (collected from John MacDonald b Walton)
KEYWORDS: ship sailor separation
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 147-149, "A Trip on the Schooner Kolfage" (1 text)
NOTES: According to John "Red" MacDonald, his father Captain John MacDonald, when short-handed, had brought in the two untrained men, Jack MacCosh and Herb Pettigrew, to help man the _Kolfage_. They soon wanted out, but were not permitted to leave the ship until they composed this song. One wonders what they would have written had they not been trying to butter up Captain MacDonald. - RBW
File: WGM147
===
NAME: Trip Over the Mountain, The
DESCRIPTION: The singer comes to his girlfriend's door at midnight. He asks if she will come with him over the mountain. (After some hesitation,) she consents; they sneak off while her parents are still asleep. She never regrets her decision
AUTHOR: Hugh McWilliams (source: Moulden-McWilliams)
EARLIEST_DATE: 1831 (according to Moulden-McWilliams)
KEYWORDS: courting elopement
FOUND_IN: Ireland
REFERENCES: (3 citations)
SHenry H161a+b, pp. 459-460, "I'm from over the Mountain" (1 text, 1 tune)
Tunney-SongsThunder, pp. 27-28, "The Trip We Took Over the Mountain" (1 text)
ADDITIONAL: John Moulden, Songs of Hugh McWilliams, Schoolmaster, 1831 (Portrush,1993), p. 9, "The Trip o'er the Mountain"
Roud #9632
BROADSIDES:
Bodleian, Harding B 11(2794), "The Truelover's Trip O'er the Mountain" ("One night as the moon illumined the sky"), H. Such (London),1863-1885; also Firth c.18(281), 2806 c.15(129), Harding B 19(92), 2806 b.9(262), "The Truelover's Trip O'er the Mountain"; Firth c.14(377), Harding B 17(319a), "Trip O'er the Mountain"
ALTERNATE_TITLES:
Come With Me Over the Mountain
NOTES: The Bodleian broadsides do not agree on some interesting details. She says, in considering elopement, that "it might be attended with danger": her friends or parents would frown. Then, what happened after the trip over the mountain to "the alter of Hymen"?
So now in contentment we spend the long day,
Tho' the anger of marriage was soon blown away,
We oftimes chat when we've little to say,
On the trip we took over the mountain. [Harding B 11(2794), Firth c.18(281), 2806 c.15(129), Harding B 19(92), 2806 b.9(262)]
or
The danger of marriage was soon blown to an end,
And often times talk when with a friend. [Firth c.14(377)]
or
And the pleasure of it is not soon stole away; [Harding B 17(319a)]
but
The anger of parents it soon wore away [Tunney-SongsThunder]
Moulden-McWilliams' original has "the anger of marriage...." and, quoting a local source, speculates "that McWilliams' wife married without parental blessing...." - BS
File: HHH161
===
NAME: Trip to the Grand Banks, A
DESCRIPTION: When spring comes, "The Penobscot boys are anxious their money for to earn." They set out for the Grand Banks and send out their dories. They persist through summer, despite bad conditions; at last they get to head for home
AUTHOR: Amos Hanson ?
EARLIEST_DATE: 1932
KEYWORDS: ship fishing work
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Doerflinger, pp. 179-180, "A Trip to the Grand Banks" (1 text, 1 tune)
Roud #9430
RECORDINGS:
Omar Blondahl, "Off to the Grand Banks" (on NFOBlondahl04)
NOTES: Blondahl04 has no liner notes confirming that this song was collected in Newfoundland. Barring another report for Newfoundland I do not assume it has been found there. There is no entry for "A Trip to the Grand Banks" in _Newfoundland Songs and Ballads in Print 1842-1974 A Title and First-Line Index_ by Paul Mercer. - BS
File: Doe179
===
NAME: Triplett Tragedy, The
DESCRIPTION: On Christmas the Triplett brothers are drinking Marshall Triplett's wife tries to stop a fight, but Lum Triplett stabs him to death. Lum meets Marshall's son Gran and confesses. Gran beats him; he dies. Gran is  sentenced to 18 months on the chain gang.
AUTHOR: Lyrics: Ed Miller/tune: traditional
EARLIEST_DATE: 1962 (recorded by Sophronie Miller)
LONG_DESCRIPTION: On Christmas the Triplett brothers are drinking together when a fight breaks out. Marshall Triplett's wife tries to stop them, but Lum Triplett stabs him to death. Lum goes away, intending to surrender, but he meets Marshall's son Gran, a deputy, and confesses the murder. Gran beats him severely and takes him to jail, where his injuries become inflamed and he dies. The brothers are buried together; Gran is arrested and sentenced to 18 months on the chain gang. Listeners are warned about the perils of drink
KEYWORDS: fight violence abuse crime murder law prison punishment revenge death drink brother family
HISTORICAL_REFERENCES: Dec. 25, 1909: Marshall Triplett of Elk, NC is stabbed to death by his brother, Columbus (Lum) Triplett during a fight over whiskey. Lum attempts to surrender to Marshall's son Granville, a deputy; despite Lum's pleas for mercy and refusal to fight back, Granville beats and kicks him and takes him to the jail at Boone, where he dies, either as a result of his injuries or possibly from a heart attack.
Mar. 20, 1910: After Sophronie Triplett, Lum's widow, testifies that her husband was subject to heart trouble, which might have caused his death rather than the beating, Granville Triplett is sentenced to 18 months on the chain gang; he seems to have served only 3 months of his sentence.
FOUND_IN: US(SE)
REFERENCES: (0 citations)
RECORDINGS:
Sophronie Miller, "The Triplett Tragedy" (on Watson01)
CROSS_REFERENCES:
 cf. "Claude Allen" (tune)
NOTES: The singer, Sophronie Miller, was the widow of Columbus Triplett; this is the only ballad of which I'm aware that was verifiably collected from one of the principals in the story it relates. - PJS
I don't know if this is the Ed(ward B.) Miller who is also credited with "The Rich Man and Lazarus," but time and place make it possible. - RBW
File: RcTripTra
===
NAME: Tripping Over the Lea [Laws P19]
DESCRIPTION: The singer sees a pretty girl on a (May) morning. (Even though she is very young,) he seduces her, then tells her he has no interest in marriage. She is left alone to await the birth of her baby.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Scots Musical Museum)
KEYWORDS: seduction pregnancy abandonment age
FOUND_IN: Ireland Britain(England(South))
REFERENCES: (6 citations)
Laws P19, "Tripping Over the Lea"
SHenry H794, pp. 385-386, "Under the Shade of a Bonny Green Tree" (1 text, 1 tune)
OLochlainn-More 10, "The Bonny Green Tree" (1 text, 1 tune)
McBride 12, "The Bonnie Green Tree" (1 text, 1 tune)
MacSeegTrav 69, "The Bonnie Green Tree" (1 text, 1 tune)
DT 501, AEMAYMRN
Roud #2512
RECORDINGS:
Louis Killen, "One May Morning" (on BirdBush2)
CROSS_REFERENCES:
cf. "Willie Archer (The Banks of the Bann)" (plot)
File: LP19
===
NAME: Trois Mois d'Campagne (Three Months in the Country)
DESCRIPTION: French. Three months in the country, I'll never do more. My wife is drunk and I have more to drink. Chorus: "P'tits pois, p'tits pois fayot, c'est la musique, sique, sique, c'est la musique tchqu'emploi" meaning "Peas, bean peas, the music of work"
AUTHOR: unknown
EARLIEST_DATE: 1959 (Peacock)
KEYWORDS: foreignlanguage drink food humorous nonballad
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Peacock, p. 799, "Trois Mois d'Campagne" (1 text, 1 tune)
File: Pea799
===
NAME: Trois Navires de Ble (Three Wheat Ships)
DESCRIPTION: French. Three wheat ships are blown to land. The youngest daughter of the king asks a sailor the price of wheat. She asks him to give up sailing and play here with her. She says she hears her children crying. He says she has no children yet.
AUTHOR: unknown
EARLIEST_DATE: 1972 (Lehr/Best)
KEYWORDS: foreignlanguage courting bargaining sea ship shore storm sailor food
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 111, "Trois Navires de Ble" (1 text, 1 tune)
File: LeBe111
===
NAME: Trooper and Maid [Child 299]
DESCRIPTION: A trooper comes to a girl's door and convinces her to sleep with him. In the morning he is called to the colors; she follows and begs him to return or let her come with him. He will not let her come and will not promise to return
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: courting soldier abandonment
FOUND_IN: Britain(England(West),Scotland(Aber,Bord,High)) Ireland Canada US(Ap,MW,NE,SE,So)
REFERENCES: (16 citations)
Child 299, "Trooper and Maid" (4 texts, 1 tune) {Bronson's #3}
Bronson 299, "Trooper and Maid" (27 versions)
SharpAp 45, "The Trooper and the Maid" (3 short texts, 3 tunes) {Bronson's #11, #12, #10}
BarryEckstormSmyth pp. 371-373, "The Trooper and the Maid" (1 text, 1 tune) {Bronson's #14}
Randolph 41, "A Soldier Rode From the East to the West" (1 text, 1 tune) {Bronson's #8}
Randolph-Legman I, pp. 209-212, "A Soldier Rode" (2 texts, 1 tune)
Davis-Ballads 51, "Trooper and Maid" (2 texts, 1 tune entitled "The Trooper and Maid") {Bronson's #16}
Davis-More 46, pp. 356-360, "Trooper and Maid" (1 fragment, probably this but short enough that it might be something else)
BrownII 49, "Trooper and Maid" (1 text)
Brewster 27, "Trooper and Maid" (1 text, 1 tune) {Bronson's #9}
Leach, pp. 684-686, "The Trooper and Maid" (1 text)
Kennedy 121, "As I Roved Out" (1 text, 1 tune)
Ord, pp. 365-366, "The Trumpet Sounds at Burreldales; or, The Trooper and the Maid" (1 short text)
Niles 65, "Trooper and Maid" (2 texts, 2 tunes)
Silber-FSWB, p. 161, "The Trooper And The Maid" (1 text)
DT 299, TROOPRMD (TROOPRM2*) LGHTDRAG
Roud #162
RECORDINGS:
Harry List, "The Light Drag'on" (on FSB2, FSB2CD)
Dillard Chandler, "The Soldier Traveling from the North" (on OldLove)
Ewan MacColl and Peggy Seeger, "The Trooper and the Maid" (on SCMacCollSeeger01) {the text is Bronson's #18, but the tune is different}
Jimmy McBeath, "The Trooper and the Maid" (on FSB5 [as "The Trooper Lad"], FSBBAL2) {Bronson's #17}
CROSS_REFERENCES:
cf. "I Love My Love (I) (As I Cam' Owre Yon High High Hill)" (lyrics)
cf. "Ung Sjoman Forlustar Sig, En (A Young Seaman Enjoys Himself)" (theme)
ALTERNATE_TITLES:
The Trooper and the Maid
The Bugle Britches
The Bugle Boy
The Soldier and His Lady
The Soldier Travelling From the North
NOTES: Randolph's are the first bawdy versions of the venerable ballad to see the light of print. - EC
Many versions of this have mixed with the "Seventeen Come Sunday" [Laws O17], the result may be known as "As I Roved Out" (so, e.g., the version in Kennedy), and you should probably check the references under both songs. It is often difficult to decide where to file such a piece (indeed, I managed to file the Kennedy text under both songs!). - RBW
Verse 3 of Child 299.B and verse 9 of Child 299.D is close to Opie-Oxford2 180, "Wine and cakes for gentlemen" (earliest date in Opie-Oxford2 is 1898)
Child 299.D: "Bread and cheese for gentlemen, An corn and hay for horses, Pipes and tobacco for auld wives, And bonnie lads for lasses." [For this see also Baring-Gould-MotherGoose #173, p. 127, ("Cheese and bread for gentlemen") -- though they describe it as "a fragment of a harvest song." - RBW]
Opie-Oxford2 180: "Wine and cakes for gentlemen, Hay and corn for horses, A cup of ale for good old wives, And kisses for young lasses." - BS
File: C299
===
NAME: Trooper and the Tailor, The
DESCRIPTION: The trooper is away on duty, so his wife goes to bed with the tailor. When their business is done, they go to sleep. When the trooper shows up, the tailor hides in a cabinet. The chilly trooper wants to burn the cabinet, and finds the hidden tailor.
AUTHOR: unknown
EARLIEST_DATE: 1889
KEYWORDS: infidelity husband wife soldier humorous hiding
FOUND_IN: US(MA) Britain(England(South,Lond)) Canada(Newf) Ireland
REFERENCES: (9 citations)
FSCatskills 139, "The Trooper and the Tailor" (1 text, 1 tune)
Copper-SoBreeze, pp. 270-271, "The Trooper" (1 text, 1 tune)
Kennedy 200, "The Game-Cock" (1 text, 1 tune)
Morton-Ulster 45, "The Wee Croppy Tailor" (1 text, 1 tune)
Morton-Maguire 50, pp. 144-145,174-175, "The Wee Croppy Tailor" (1 text, 1 tune)
Peacock, pp. 243-248, "The Bold Trooper" (3 texts, 3 tunes)
Leach-Labrador 116, "Tiddy, the Tailor" (1 text, 1 tune)
PBB 86, "The Bold Trooper" (1 text)
DT, TRPRTAIL*
Roud #311
RECORDINGS:
Nora Cleary, "The Bold Trooper" (on Voice06)
Harry Cox, "The Groggy Old Tailor" (on HCox01)
BROADSIDES:
Bodleian, 2806 c.17(414), "Tailor and Trooper," unknown, n.d.
CROSS_REFERENCES:
cf. "The Boatsman and the Chest" [Laws Q8] (plot) and references there
ALTERNATE_TITLES:
The Cropped Tailor
NOTES: This and similar songs are sometimes traced back to a story in Boccaccio (seventh day, second story: Gianella, Peronella, and her husband). But the story is really one of the basic themes of folktale, and doubtless predates Boccaccio as well as these songs. - RBW
The Morton-Ulster text ends when the trooper "caught hold of the tailor just by the two ears, And he clean cut them off with his own little shears...." That explains that text's title: "The Wee Croppy Tailor." Notes to IRClare01 give as one of the explanations of the politically charged term "Croppy," "the practice of punishing convicted felons by cutting off the tops of their ears." - BS
File: FSC139
===
NAME: Trooper and the Turk, The: see John Thomson and the Turk [Child 266] (File: C266)
===
NAME: Trooper Cut Down in His Prime, The
DESCRIPTION: The singer sees a trooper "wrapped up in flannel yet colder than clay." He dies as "the bugles were playin'," and details of the burial are given. His gravestone warns, "Flash-girls of the city have quite ruined me."
AUTHOR: unknown
EARLIEST_DATE: 1979
KEYWORDS: death disease whore burial funeral soldier
FOUND_IN: 
REFERENCES: (1 citation)
Darling-NAS, p. 6, "The Trooper Cut Down In His Prime" (1 text)
Roud #2
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Unfortunate Rake" (tune & meter, plot)
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime)" [Laws Q26] (tune & meter, plot)
cf. "The Sailor Cut Down in His Prime" (tune & meter, plot)
NOTES: One of the large group of ballads ("The Bard of Armagh," "Saint James Hospital," "The Streets of Laredo") ultimately derived from "The Unfortunate Rake." All use the same or similar tunes and meter, and all involve a person dying as a result of a wild life, but the nature of the tragedy varies according to local circumstances. - RBW
File: DarNS006
===
NAME: Trooper Watering His Nag, The
DESCRIPTION: Euphemistically, a man and a woman describe their sexual organs as a horse (pony) and a fountain. The horse drinks at the fountain, "An' I reckon you know what I mean."
AUTHOR: unknown
EARLIEST_DATE: 1707 (Pills to Purge Melancholy)
KEYWORDS: bawdy sex
FOUND_IN: Canada Britain(England) US(MA,So)
REFERENCES: (3 citations)
Randolph-Legman I, pp. 44-52, "The Trooper Watering His Nag" (9 texts, 2 tunes)
Gilbert, p. 71, "You Know Very Well What I Mean" (1 partial text)
DT, TROOPNAG* TRPHORSE*
Roud #1613
CROSS_REFERENCES:
cf. "The Shoemaker's Kiss" (chorus lyrics)
cf. "Ye Ken Pretty Well What I Mean, O" (lyrics, style)
ALTERNATE_TITLES:
I Reckon You Know What I Mean
NOTES: I'm tempted to lump this with "Ye Ken Pretty Well What I Mean, O" -- the lyric and sly tone are obviously quite close. But Roud and Ben Schwartz both leave them separate, so I am very tentatively doing the same. - RBW
File: RL044
===
NAME: Trooper, The: see The Trooper and the Tailor (File: FSC139)
===
NAME: Trouble for the Range Cook (The Chuck Wagon's Stuck)
DESCRIPTION: "Come wrangle your broncos and saddle them quick, For the chuck wagon's boggin' down there by the crick." The riders make every effort to free the wagon, for "There's nothing to eat when the chuck wagon's mired."
AUTHOR: Earl Alonzo Brinistool
EARLIEST_DATE: 1914
KEYWORDS: cowboy food disaster cook
FOUND_IN: US(MW)
REFERENCES: (2 citations)
Ohrlin-HBT 98, "The Chuck Wagon's Stuck" (1 text, 1 tune)
Saffel-CowboyP, p. 114, "Trouble For The Range Cook" (1 text)
File: Ohr098
===
NAME: Trouble in Mind
DESCRIPTION: "Troubled in mind, I'm blue, but I won't be blue always; The sun's gonna shine in my back do' some day." "I'm gonna lay my head on some lonesome railroad line...." "I love all you pretty women, I love you all the same...."
AUTHOR: Richard Jones
EARLIEST_DATE: 1926 (copyright)
KEYWORDS: courting hardtimes floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Lomax-FSNA 313, "Troubled in Mind" (1 text, 1 tune)
RECORDINGS:
Bertha "Chippie" Hill, "Trouble in Mind" (OKeh 8312, 1926/Conqueror 8937, 1937; Vocalion 04379, 1938) (Circle J-1003, n.d.) (Vocalion 1248, 1929)
Roscoe Holcomb, "Trouble in Mind" (on Holcomb-Ward1, HolcombCD1)
Karl Jones, "Trouble in Mind" (Mercury 2002, 1945)
R. M. Jones: "Trouble in Mind" (Bluebird B-6569, 1936; Bluebird B-6963, 1937)
Lone Star Cowboys, "Trouble in Mind" (Decca 5340, 1937)
Jane Lucas [pseud. for Victoria Spivey] "Trouble in Mind" (Vocalion 03346, 1936)
Lucky Millinder & his Orch.; Rosetta Tharpe, vocalist, "Trouble in Mind" (Decca 48053, rec. 1941)
Jesse Rodgers, "Troubled in Mind and Blue" (Bluebird B-6924, 1937)
Georgia White, "Trouble in Mind" (Decca 7192, 1936), "Trouble in Mind Swing" (Decca 7521, 1938)
Bob Wills & his Texas Playboys, "Trouble in Mind" (Vocalion 03343, 1936; Columbia 20109, n.d.; Conqueror 9041, 1938; Columbia 37306, 1947)
SAME_TUNE:
Jack & Lesllie, "Trouble in Mind #3" (Decca 5561, 1938)
Shelton Brothers, "New Trouble in Mind" (Decca 5339, 1937)
Georgia White, "New Trouble in Mind" (Decca 7332, 1937)
File: LoF313
===
NAME: Trouble of the World, The
DESCRIPTION: "I want to be my Father's children (x3), Roll, Jordan, roll." "Ah, say, ain't you done with the trouble of the world (x3), Roll, Jordan, roll." "I ask my father how long I held them (x3), held them to the end." "My sins are so heavy I can't get along...."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad sin
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 8, "The Trouble of the World" (1 text, 1 tune plus a (partial?) variant)
Roud #11855
NOTES: Allen, Ware, and Garrison admit that it is "impossible to represent in notes" the strange timing of this piece. I suspect it is sort of a patter song inspired by "Roll, Jordan, Roll." - RBW
File: AWG008
===
NAME: Troubled in Mind: see Trouble in Mind (File: LoF313)
===
NAME: Troubled In My Mind
DESCRIPTION: "I'm troubled (x3) in my mind; If (trouble doesn't kill me, I'll live a long long time.") Remainder is mostly floating verses: "My cheeks were as red as the red blooming rose." "I'll build me a cabin on the mountain so high." "I'm sad and I'm lonely."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: nonballad loneliness floatingverses
FOUND_IN: US(SE)
REFERENCES: (3 citations)
Lomax-FSNA 102, "I'm Troubled" (1 text, 1 tune)
Greenway-AFP, pp. 98-99, "I'm Troubled In Mind"
BrownIII 290, "Troubled in Mind" (2 texts); also 250, "The Wagoner's Lad" (3 texts plus 3 fragments; the texts "A"-"C" are "The Wagoner's Lad," and "D" has an associated verse, but "E" and "F" are fragments of a love song, perhaps "Farewell, Charming Nancy" or "Omie Wise," both of which have similar lyrics; "D" also shares this single verse, and "E" adds a "Troubled in Mind" chorus); also 443, "I Had a Banjo Made of Gold," a fragment of this song or something related)
Roud #12091
RECORDINGS:
Blue Sky Boys, "I'm Troubled, I'm Troubled" (Bluebird B-6538, 1936)
Rufus Crisp, "Trouble on my Mind"  (on Crisp01)
Doc Watson & Arnold Watson, "I'm Troubled, I'm Troubled" (on Watson01)
CROSS_REFERENCES:
cf. "I'm Sad and I'm Lonely" (floating verses)
cf. "Going Across the Sea" (floating verses)
cf. "I Wish That Girl Was Mine" (theme, floating lyrics)
NOTES: Other than the tune, and perhaps the first verse, the Lomax text seems to be composed entirely of floating verses from songs such as "The Wagoner's Lad (On Top of Old Smokey)" and "The Cuckoo." But it has so many floating lyrics that it can hardly be associated with any particular song. (Plus Paul Stamler tells me it's quite similar to Rufus Crisp's version.) And the Brown texts, of impeccable ancestry, is also composed mostly of floating material. - RBW
File: LoF102
===
NAME: Troubled Soldier, The: see The Rebel Soldier (File: R246)
===
NAME: Troubles, The
DESCRIPTION: Orange and Green fight. "Corney" ended the terror; Humbert ended peace. "Orange for Croppies went grousing." "Paddies completely divided" let John Bull adopt Union: "I'll take from them Commons and Peers" leaving "shackles and chains to the slave"
AUTHOR: James Hope (?-1847) (source: Moylan)
EARLIEST_DATE: 1887 (Madden's _Literary Remains of the United Irishmen of 1798_, according to Moylan)
KEYWORDS: rebellion Ireland nonballad political
HISTORICAL_REFERENCES: May-June 1798 - Irish rebellion against British rule
June 1798-March 1801 - Cornwallis is Viceroy of Ireland after the uprising (source: "Charles Cornwallis" at the site of the Grand [Masonic] Lodge of British Columbia and Yukon)
August-September 1798 - A French force under General Jean-Joseph-Amable Humbert lands in Ireland and is defeated.
January 1801 - Act of Union of Ireland and Great Britain
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 148, "The Troubles" (1 text)
NOTES: "This piece ... was written by Jemmy Hope, one of the Northern United Irish leaders. Hope survived the rising and died in 1847."
The ballad makes a hero of Cornwallis as viceroy and commander-in-chief sent to Ireland to keep the peace after the 1798 uprising. Then it blames the Orangemen for the revival of terror after Humbert's defeat. After discussing Union it retells Aesop's fable in which a fox [England] steals the prize [Ireland] for which a lion and bear [Orange and Green] fight. It ends with a sarcastic tribute to "our gracious good monarch ... And also our free Constitution, And shackles and chains to the slave." - BS
Lord Lieutenant Camden, who was in charge in Ireland when the 1798 rebellion started -- and he had no idea what to do. The British came up with a typically bad compromise: They put the dreadful General Lake in charge of the army, but appointed Cornwallis to be Lord Lieutenant.
Despite his failure in America, Cornwallis had done good service in the fifteen years prior to his appointment; he had spent six years in India, and had demonstrated (and would demonstrate again in Ireland) that he had none of the self-importance of the typical British politician (see Thomas Pakenham, _The Year of Liberty_, pp. 263-264).
Cornwallis was clearly more humane than most of the alternatives. Peter and Fiona Somerset Fry, in _A History of Ireland_, p. 206, write that "He overrode Lake: troops were certainly not to be let loose on the countryside and there would be no punishment without trial."
He also issued written pardons (called "Cornys") to rank and file rebels who surrendered quickly (see Robert Kee, _The Most Distressful Country_, being Volume I of _The Green Flag_, p. 123)
When Humbert invaded, Cornwallis organized the pursuit that captured him (Fry/Fry, p. 207; Kee, p. 140).
Cornwallis and his secretary Lord Castlereigh also helped arrange the Act of Union, but this was based on Orders From On High; for himself, Terry Golway (_For the Cause of Liberty_, p. 90; also Kee, p. 159) quotes his statement, "I despise and hate myself for every hour engaging in such work." But he and (especially) Castlereigh bought enough peers to eventually pass Union (Fry/Fry, p. 211).
The religious conflicts in Ulster to which this song refers actually began even before 1798; see such songs about the Defenders, the Peep o' Day Boys, and the Orangemen as "The Noble Ribbon Boys," "Bold McDermott Roe," "The Boys of Wexford," and "Lisnagade."
Most of the sources I checked do not mention James Hope, but he is all over the pages of Jim Smyth's _The Men of No Property_. He is said (p. 30) to have had only 15 weeks of formal schooling. In 1796, he travelled from Belfast to Dublin to spread the United Irish messaage (p. 152), and also visited Armagh, Monaghan, Cavan, and Leitrim (p.158) to bring the Defenders into the United framework. After the arrests of 1796-1797 he became one of the few remaining United Irish leaders coordinating the activities of the various local chapters (p. 160); perhaps his travels made him harder to catch. It appears that Smyth regards him as a radical inclined toward socialism (p. 165).
The _Oxford Companion to Irish History_ lists Hope's birth date as 1764, and says hewrote his memoris in 1843; they were published in 1846. It does not know his death date; it appears that Moylan's date is a conjecture from the fact that Hope was still alive when the memoirs were published, but made little further impression. - RBW
File: Moyl148
===
NAME: True and Trembling Brakeman, The: see The Dying Mine Brakeman (The True and Trembling Brakeman) [Laws G11] (File: LG11)
===
NAME: True Love: see Oxford City [Laws P30] (File: LP30)
===
NAME: True Love from the Eastern Shore
DESCRIPTION: Singer tells sweetheart who spurned him/her that s/he "would not serve you as you served me." Singer plans to mourn and weep, and tells sweetheart to grieve over his/her tombstone. (Singer vows to "court the girl, the old lady ain't in")
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cecil Sharp collection)
KEYWORDS: courting rejection death mourning burial lover
FOUND_IN: US(SE)
REFERENCES: (1 citation)
SharpAp 187, "True Love from the Eastern Shore" (2 texts, 2 tunes)
Roud #3610
NOTES: Sharp's "A" version doesn't define the sex of the singer or sweetheart. The "B" version is a fragment, which doesn't really overlap the "A" version; Sharp may have been using this as a catchall. - PJS
File: ShAp2187
===
NAME: True Lover of Mine, A: see The Elfin Knight [Child 2] (File: C002)
===
NAME: True Lover's Farewell (II): see My Dearest Dear (File: SKE40)
===
NAME: True Lover's Farewell, The: see Who Will Shoe Your Pretty Little Foot (plus related references, e.g. The Lass of Roch Royal [Child 76]) (File: C076A)
===
NAME: True Lovers' Departure, The: see The Noble Duke [Laws N15] (File: LN15)
===
NAME: True Lovers' Discoursion, The: see The Two Lovers' Discussion (U) (File: HHH164)
===
NAME: True Lovers' Discussion (I), The
DESCRIPTION: The boy asks the girl why she has changed her mind about him. She explains. He offers counter-arguments, elaborately reasoned. They quarrel. He prepares to leave her. She grows sad and begs him to stay. 
AUTHOR: unknown
EARLIEST_DATE: 1901 (O'Conor); before 1900 (broadside, Bodleian Harding B 19(102))
KEYWORDS: love courting rejection accusation
FOUND_IN: Ireland Canada(Mar)
REFERENCES: (4 citations)
SHenry H164, pp. 362-364, "The True Lovers' Discussion" (1 text, 1 tune)
Creighton-SNewBrunswick 39B, "The True Lovers' Discoursion" (1 text, 1 tune)
Manny/Wilson 96, "The True Lovers' Discussion" (1 text, 1 tune)
O'Conor, pp. 77-79, "The True Lover's Discussion" (1 text)
ST HHH164 (Partial)
Roud #2948
RECORDINGS:
Robert Cinnamond, "The True-Lover's Discussion" (on IRRCinnamond02)
BROADSIDES:
Bodleian, Harding B 19(102), "The True Lover's Discussion," J.F. Nugent & Co. (Dublin), 1850-1899; also 2806 b.9(228)[some words illegible], 2806 c.15(65), 2806 c.15(43)[many illegible words], "[The] True Lover's Discussion"
NOTES: The notes to Sam Henry credit it to a "schoolteacher M'Kittrick," at a date before 1860, and it certainly seems likely enough that it is composed. But I cannot prove the authorship.
The notes to Henry/Huntington/Herrmann list several other versions of this song, so I suppose it must have had some oral currency. But I can't believe it really had much popularity (despite Sam Henry's claims that he had many requests). It is dense, talkative, repetitive, foolish, and *long* (18 8-line stanzas in the Henry text, 20 8-line stanzas in Creighton and in Manny/Wilson). It is also much too fond of elaborate words to be a good folk song.
I wonder if Henry wasn't confusing this with "Two Lovers Discoursing" [Laws O22] (a confusion Creighton also suffered; see Ben Schwartz's note); they share a title, and a theme, but the forms are utterly different. - RBW
Creighton-SNewBrunswick: "There must be some relation between 39A and B. The former seems to have originated with the folk and the latter to have been a literary composition taken over by the folk. They are placed together because of subject matter and also because singers give variants of the same title." If so they have grown so far apart that there is no hint in the words that they are related. For 39A see "Two Lovers Discoursing" [Laws O22].
On IRRCinnamond02, Cinnamond sings the first two and last verse [of "32"] that are very close to SHenry H164. He points out that the last verse claims "In Magheratimpan [near Ballynahinch], if you inquire, you will find the author of these simple lines"; that corresponds to the note in SHenry about authorship. - BS
File: HHH164
===
NAME: True Lovers' Discussion (II), The: see Two Lovers Discoursing [Laws O22] (File: LO22)
===
NAME: True Paddy's Song, The: see The Kerry Recruit [Laws J8] (File: LJ08)
===
NAME: True Sweetheart, The: see Pretty Fair Maid (The Maiden in the Garden; The Broken Token) [Laws N42] (File: LN42)
===
NAME: True Tale of Robin Hood, A [Child 154]
DESCRIPTION: The Earl of Huntington, incomparable archer, consumes his wealth and is outlawed due to indebtedness to an abbot. Renamed Robin Hood, he is cruel to clergy and kind to the poor. Several adventures and his death by bloodletting are recounted.
AUTHOR: Martin Parker (1632)
EARLIEST_DATE: 1632 (Stationer's Register)
KEYWORDS: Robinhood poverty outlaw clergy death
HISTORICAL_REFERENCES: 1198 - ninth year of Richard I, which the cover of the broadsheet reports as Robin's death date
FOUND_IN: 
REFERENCES: (1 citation)
Child 154, "A True Tale of Robin Hood" (1 text)
Roud #3996
NOTES: For background on the Robin Hood legend, see the notes on "A Gest of Robyn Hode" [Child 117]. - RBW
File: C154
===
NAME: True Tammas: see Tam Lin [Child 39] (File: C039)
===
NAME: True Thomas: see Thomas Rymer [Child 37] (File: C037)
===
NAME: True to the Gray: see The Southern Girl's Reply (True to the Gray) (File: Wa156)
===
NAME: True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man)
DESCRIPTION: The singer arrives in (Australia/Philadelphia) from Ireland and sets out to ramble. The girls rejoice at his presence. (A tavern-keeper's daughter) is scolded by her mother for wanting to follow him. She is determined to do so anyway
AUTHOR: unknown
EARLIEST_DATE: before 1839 (broadside, Bodleian Harding B 11(3353))
KEYWORDS: rambling emigration mother courting
FOUND_IN: Australia US(MA,Mw) England(Lond,South) Ireland Canada(Mar)
REFERENCES: (10 citations)
Meredith/Anderson, pp. 62, 122, "Dennis O'Reilly"; p. 138, "Tramp the Bushes of Australia" (3 texts, 3 tunes)
FSCatskills 126, "The Roving Irishman" (1 text, 1 tune)
Dean, pp.124-125, "The Roving Irishman" (1 text)
Fahey-Eureka, pp. 76-77, "Denis O'Reilly" (1 text, 1 tune)
Kennedy 353, "The Roving Journeyman" (1 text, 1 tune)
Manifold-PASB, pp. 36-37, "With My Swag All on My Shoulder (Denis O'Riley)" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 125-127, "With My Swag All On My Shoulder" (1 text)
Smith/Hatt, pp. 86-88, "The Rambling Irishman" (1 text)
Creighton-SNewBrunswick 15, "The Roving Journeyman" (1 text, 1 tune)
DT, DENNOREI* ROVJOURN*
Roud #360
RECORDINGS:
Paddy Doran, "The Roving Journeyman" (on FSB3)
Tom Willett, "The Roaming Journeyman" (on Voice20)
BROADSIDES:
Bodleian, Harding B 11(3353), "Roving Journeyman," J. Catnach (London), 1813-1838; also Harding B 11(1229), Harding B 11(1479), Johnson Ballads 2807, Harding B 11(3354), Harding B 11(3355), 2806 b.11(33), Firth c.18(249), Harding B 11(3352), Harding B 11(804), 2806 d.31(40), Harding B 11(1228), 2806 b.11(203), Firth c.26(218), Harding B 25(1671), "[The] Roving Journeyman"
LOCSinging, sb40459b, "The Roving Journeyman," J. Andrews (New York), 1853-1859
CROSS_REFERENCES:
cf. "The Roving Gambler (The Gambling Man)" [Laws H4] (plot)
cf. "The Union Boy" (floating lyrics)
cf. "Neuve Chappelle" (tune)
SAME_TUNE:
Neuve Chappelle (File: HHH526)
NOTES: The popular version of this piece, "With My Swag All on My Shoulder," is by A.B. "Banjo" Paterson, but the song appears to be older. Perhaps more characteristic than any particular plot is the second half of the first verse, which often becomes a chorus:
With my (swag/bundle) on my shoulder,
My (stick/billy) in my hand,
I'll travel round (the country/Australia/etc.)
(Like/I'm) a (true-born Irishman/true-born native man/roving journeyman). - RBW
Broadside LOCSinging sb40459b: J. Andrews dating per _Studying Nineteenth-Century Popular Song_ by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: MA062
===
NAME: Trumpet Sounds at Burreldales, The: see Trooper and Maid [Child 299] (File: C299)
===
NAME: Trusty
DESCRIPTION: Trusty, a mastiff, bites a boy. The boy's mother hires an assassin to take revenge. The dog is shot to death[?]. Mother regrets her action: "at even when I'm wakin' and weary Oh wha will bark an keep me cheery"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
LONG_DESCRIPTION: "There was a tyke, a tyke o' fame An Trusty was the doggie's name." Trusty bites a boy whose mother takes the boy to a doctor. Expecting her son to die she wants "the venimous beast" killed. She takes her complaint to a judge who claims that, with the law as it stands, "nae judge nor jury upon earth Can gar the doggie gie his aith." Mother hires a lad who "laid the doggie fairly deed" "wi' a round spouter." The deed done, she repents and mourns the murder. "Tho' baith [mother and son] were deid, there's nae great scaith The dog was better than them baith." [The story ends here but we were promised at the beginning that Trusty's "coat o' guid black hair ... His coat o' mail, it did him save"]
KEYWORDS: revenge death humorous dog mother doctor judge
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 496, "Trusty" (1 text)
Roud #5981
File: GrD3496
===
NAME: Trusty Lariat, The (The Cowboy Fireman)
DESCRIPTION: An ex-cowboy, now a railway fireman, sees a child on the track. He throws his lariat around a pole, ties the end to the smokestack. The train is jerked off the track, crushing him. "He killed two hundred passengers/But, thank God, he saved that child"
AUTHOR: Attributed to Harry "Mac" McClintock
EARLIEST_DATE: 1930 (recording, Harry "Mac" McClintock)
LONG_DESCRIPTION: A former cowboy is working as a railway fireman because the pay is better. He sees a child on the track ahead. With great presence of mind he throws his trusty lariat around a pole, then fastens the other end to the smokestack. The train is jerked off the track and crashes, crushing the fireman. He is deeply mourned: "He killed two hundred passengers/But, thank God, he saved that child"
KEYWORDS: train rescue death railroading work crash disaster wreck humorous talltale children cowboy
FOUND_IN: US
REFERENCES: (2 citations)
DT, COWFIRE
ADDITIONAL: _Sing Out_ magazine, Volume 29, #4 (1983), p, 33, "The Trusty Lariat" (1 text, 1 tune)
RECORDINGS:
Radio Mac [pseud. for Harry McClintock], "The Trusty Lariat" (Victor V-40234, 1930)
NOTES: Unless I miss my guess, McClintock was parodying the 1874 song "Saved From Death" by George William Hersee and J. W. Bischoff. - PJS
File: DTcowfir
===
NAME: Truth From Above, The: see The Truth Sent From Above (File: Leath196)
===
NAME: Truth Sent From Above, The
DESCRIPTION: "This is the truth sent from above, The truth of God, the God of love." The singer tells how God created man, then woman, and set them in Paradise. But they ate from the tree (of knowledge), and now all suffer their punishment
AUTHOR: unknown
EARLIEST_DATE: 1909 (Leather)
KEYWORDS: religious Bible punishment food carol
FOUND_IN: Britain(England(West))
REFERENCES: (4 citations)
Leather, p. 196, "The Truth Sent From Above" (1 text, 1 tune)
OBC 68, "The Truth From Above" (1 text, 1 tune with two arrangements)
DT, TRUABOVE*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #86, "This Is the Truth Sent From Above" (1 text)
Roud #2109
NOTES: The story of the Fall is, of course, found in Genesis chapter 3. The version of creation in which man preceded woman (as opposed to both being created at the same time) is in Genesis 2:4-23. - RBW
File: Leath196
===
NAME: Truth Twice Told, The
DESCRIPTION: "Come all young men and maidens... I will tell you what you are doing, now at this present time." The young folk are treating their parents with disrespect; they are condemned for failing to work
AUTHOR: James W. Day ("Jilson Setters")
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: courting warning nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', pp. 187-188, "The Truth Twice Told" (1 text)
CROSS_REFERENCES:
cf. "Putting On the Style" (theme)
NOTES: Setters claimed that this excrescence "has set many a giddy one to studyin' and they mended their ways." Wishful thinking, I suspect. The result looks like a bad knock-off on "Putting on the Style." - RBW
File: ThBa187
===
NAME: Truxton's Victory
DESCRIPTION: "Come all you Yankee sailors With swords and pikes advance"; the "Brave Yankee Boys" are urged to battle against France. Truxton with the Constellation defeat l'Insurgente and haul her into St.Kitts. The singer toasts Truxton
AUTHOR: unknown
EARLIEST_DATE: 1975 (Lawrence), reportedly written March 1799
KEYWORDS: ship battle
HISTORICAL_REFERENCES: Feb 9, 1799 - Battle between the Constellation and L'Insurgente
FOUND_IN: 
REFERENCES: (1 citation)
ADDITIONAL: Vera Brodsky Lawrence, Music for Patriots, Politicians, and Presidents - Harmonies and Discords of the First Hundred Years, "Truxton's Victory" (a copy of the original broadside)
NOTES: Obviously not a traditional song, but The Boarding Party recording may have made it well-known enough to deserve documentation. Thanks to Dolores Nichols for digging up the source.
The setting is during the Quasi-War with France. France, still lurching back and forth politically in the aftermath of the revolution, with Napoleon gradually gaining power, had little respect for neutral rights, especially when the neutrals were trading with Britain. This naturally incensed the Americans. In November 1796, France suspended diplomatic relations. Soon after, they rejected the credentials of new ambassador Charles C. Pinckney. In May 1797, president John Adams appoints a commission (Pinckney, John Marshall, and Elbridge Gerry) to try to smooth things out. At the end of the month, the U. S. government reports 300 ships taken by the French.
On October 18, the American commissioners suffer the humiliation of the "XYZ affair" -- three nameless Frenchmen who demand a "loan" (read: tribute) from the Americans plus a large bribe to French foreign minister Tallyrand. This was not as unreasonable as some would present it -- the Americans were paying bribes to the Barbary States at this time.
But the United States was also, for the first time, building a genuine (if small) navy. Pinckney allegedly told the French, "Millions for defence, but not one cent for tribute."
On May 28, 1798, Congress authorized the Navy to go after French vessels engaged in commerce-raiding. On July 7, Congress formally abrogated the treaty of alliance that went back to the Revolution. As Samuel W. Bryant puts it in _The Sea and the States, A Maritime History of the United States_, p. 124, "The two republics were now thoroughly enmeshed in an undeclated war in the best monarchist manner."
The American navy was small, but the quality was very high. Designed Joshua Humphries, knowing that only a handful of ships would be available, created a new class of super-frigates -- rather comparable to the battle cruisers of a century later: Fast enough to outrun any line-of-battle ship, heavy enough to destroy any ordinary frigate. (It tells you a good bit about naval thinking that the American frigates were considered excellent, but the battle crusier was quickly discarded. The reason for the failure of the latter was more bad tactics than anything else.)
In the end, six ships were built -- _United States_, _Constitution_, _Constellation_, _President_, _Congress_, and _Chesapeake_ -- of which only the first three were ready for war. The _Constellation_ (called the "Yankee Race Horse") was the first to see action. She met the French _L'Insurgente_, reportedly the fastest sailing frigate in the world (see Fletcher Pratt, _A Compact History of the United States Navy_, p. 61), but in terms of broadside just an ordinary frigate with a weight of broadside only about three-fourths that of the _Constellation_, in the Carribean.
The French ship was badly under-manned, and her captain Barreault was not aware he was at war with the United States. She was flying an American flag, but an exchange of signals showed she was not an American ship. The _Constellation_ closed in for the kill, much as described in this song; between the American ship's higher quality and her fuller crew, there wasn't much doubt about the outcome (though no one in Europe yet realized how strong the new American frigates were; this would not become clear until 1812 and the _Constitution_/_Guerriere_ battle). Pratt, p. 61, reports that Truxton had only three casualties, compared to seventy on the French ship.
The result was a sensation. There had been sea battles in the Revolutionary War, but the American ships were almost all privateers or purchased in Europe. This was the first battle ever fought by an American "regular navy" ship.
It was also the highlight of the _Constellation's_ career. She would fight one more battle in the Quasi-War: On February 1, 1800, she would meet the _Vengeance_, a much heavier ship than the _L'Insurgente_ though slower than the _Constellation_. _Constellation_ could be considered the tactical victor, killing about 50 and wounding over 100 men on the French ship, which barely stayed afloat and had lost two of three masts (Pratt, p. 62). But the _Constellation_ lost 25 killed and 14 wounded (a strange ratio, that), and lost her mainmast; _Vengeance_ escaped, making the battle a strategic draw. Captain Thomas Truxton would be awarded a gold medal anyway. (Bryant, p. 130).
Peace with France was concluded two days later. It would be a while before the ships at sea knew it, of course, but the _Constellation's_ part was finished.She would serve for a while in the contest with the Barbary pirates, without any major engagements, and spent almost the entire War of 1812 blockaded in her home port of Norfolk (see Walter R. Borneman, _1812: The War That Forged a Nation_, p. 175; John K. Mahon, _The War of 1812_, p. 122). Thus Truxton was the only commander to lead her in a real battle.
In 1854, the _Constellation_ was broken up. Much of the surviving wood was used to make a new _Constellation_, and this is often listed as the same ship. This was a fairly common trick for the U. S. Navy in the nineteenth century: Congress didn't like new defence spending, but would pay to maintain old ships, so the Navy would request money for repairs, then build a new ship with the money plus some timber from the old. But the new _Constellation_ was 12 feet longer than the old, and her hold was half again as deep (19.3 feet for the new, 13.5 feet for the old); it was clearly a new ship. (Sez I. This apparently caused quite a literature to spring up; the bibliography in Lincoln P. Paine, _Ships of the World_, p. 120, lists five writings on this subject).
This wasn't her only major rebuild. Howard I. Chapelle, _The History of American Sailing Ships_, Bonanza Books, 1935, pp. 91-92, writes, ÒThe _Constellation_ had a long and distinguished career and is still afloat, though it must be admitted that there is little or nothing of the original ship left. She has been completely rebuilt a number of times, from the keel up, as in 1805-1812 when the was widened 14 inches and again in 1854 when she was lengthened and cut down one deck, each time her lines being altered to some extent."
Thomas Truxton himself (1755-1822) was probably the most important American naval figure between John Paul Jones and Stephen Decatur; according to Pratt p. 58, he was "the real prize drawn by the nascent navy... its fifth-ranking captain...." He had served on various privateers in the Revolutionary War (he was a lieutenant in the _Congress_ in 1776, commanded the _Independence_ in 1777, then took charge of the _St. James_ from 1781). He became a regular navy captain from 1794, and acted as commodore during the Quasi-War. According to Pratt, Òeven before putting to sea, [he] drew up a long series of letters to his officers and petty officers laying down the duties of each in the most minute manner, which letter would be the foundation of definitive navy regulations."
He was also a firm disciplinarian. Pratt describes, e.g., how when a water cask sprung a leak, he put his entire crew on reduced water rations until discipline met his standards (p. 58) -- though he preferred thought it better to set an example than use the lash (accoring to _Mutiny: A History of Naval Insurrection_, United States Naval Institute, 1992 [I use the 2002 Berkley edition], p. 87, he once said, "Discipline is to be effected by a particular deportment much easier than great severity"). His strict methods also caused at least two of his officers to resign (Pratt, p. 59).
He himself ended up resigning early in the nineteenth century in a dispute over authority: Instructed to lead the assault against the Barbary Pirates, he was not promoted to (rear) admiral (the navy did not officially establish ranks above Captain until the Civil War), and so would be simply senior captain commanding the squadron, and still responsible for his own ship. This apparently caused him to quit in a fit of pique (Pratt, p. 65).
There is at least one fairly recent biography, Eugene S. Ferguson, _Truxton of the Constellation, The Life of Commodore Thomas Truxton, U. S. Navy, 1755-1822_. - RBW
File: BrdTruxt
===
NAME: Tsimshian Song of Welcome to a Chief, A
DESCRIPTION: "Ee-ya-ho-ho ee-ya-heh-eh (x2), Ee-eh-yah-ha-ha-ha hee-yah-heh (x2), Ee-yah-ah-ah-ee-ya-heh! Soo-wa-deh-es Gi-da-ra-nit-zeh! (x2)...." "Now we hail or great chieftain! We hail, we hail our noble chief, We welcome him... From the people of Gidaranitzeh!"
AUTHOR: unknown (English translation by Alan Mills)
EARLIEST_DATE: 1951
KEYWORDS: Indians(Am.) nonballad foreignlanguage
FOUND_IN: Canada(West)
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 6-7, "A Tsimshian Song of Welcome to a Chief" (1 text, 1 tune)
NOTES: Collected in the 1920s by Marious Barbeau, this song is reported to have been used when a chief came in to join a potlatch ceremony. - RBW
File: FMB006
===
NAME: Tucky Ho Crew, The: see Come All You Virginia Girls (Arkansas Boys; Texian Boys; Cousin Emmy's Blues; etc.) (File: R342)
===
NAME: Tugal McTagger
DESCRIPTION: "Would you'll know me, my name is Tugal McTagger, She'll brought hersel' down frae the braes o' Lochaber." The Gaelic-speaking girl tries to adapt to Lowland life and business. Unable to handle the life, she ends up bankrupt (and returns to her old home?)
AUTHOR: Dougal Graham ?
EARLIEST_DATE: 1901 (Ford); alleged author Graham died 1779
KEYWORDS: commerce work poverty trial humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 252-254, "Tugal M'Tagger" (1 text, 1 tune)
Roud #13092
File: FVS252
===
NAME: Tumba-Bloody-Rumba
DESCRIPTION: The mustering boss tries the new man at everything. Despite claims of many adventures and skills, he proves incompetent at every job (except drinking and smoking). The crew is glad to see him paid off and heading back to wherever he came from
AUTHOR: Words: John Wolfe? (tune set by Warren Fahey)
EARLIEST_DATE: 1984
KEYWORDS: talltale work
FOUND_IN: 
REFERENCES: (2 citations)
Fahey-Eureka, pp. 176-177, "Tumba-Bloody-Rumba" (1 text, 1 tune)
DT, TMBARMBA*
File: FaE176
===
NAME: Tumbling through the Hay: see The Merry Haymakers (File: HHH697)
===
NAME: Tune The Old Cow Died On, The
DESCRIPTION: "The old cow might have been living yet, A-chewin' her cud with glee, If Farmer John hadn't sung of this song...." Farmer John sings, the cows gather in surprise. The old cow tries to join in, and it kills her
AUTHOR: Joseph E. Winner?
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: death animal farming music humorous
FOUND_IN: US(Ap,MW,So)
REFERENCES: (2 citations)
Randolph 411, "The Tune the Old Cow Died On" (1 text plus 2 fragments, 1 tune -- although the "C" fragment does not appear related to the first two)
Randolph/Cohen, pp. 352-354, "The Tune the Old Cow Died On" (1 text, 1 tune -- Randolph's 411A)
Roud #4352
RECORDINGS:
Warde Ford, "The Tune the old cow died on" (AFS 4212 A2, 1939; in AMMEM/Cowell)
NOTES: Carl Sandburg wrote in 1936, "A man having nothing to feed his cow sang to her of the fresh green grass to come; this is the tune the old cow died on." One suspects that this phrase was part of popular idiom, and someone created a song to explain it.
Cohen reports an 1880 copyright of a song with this title, credited to George Russell Jackson and Eastburn (Joseph E. Winner), but adds that the song "must date from the 1850s or 1860s." He does not, however, give evidence for this claim. - RBW
File: R411
===
NAME: Tuplin Song, The: see The Millman and Tuplin Song (File: IvDC046)
===
NAME: Turfman from Ardee, The
DESCRIPTION: Singer meets a turfman on the road. The turfman says his ass is tired; he'd like to sell his load. The singer says cart and ass look old and abused; the turfman says he has abused the ass, but it has never been without shoes, nor his axle without grease
AUTHOR: unknown
EARLIEST_DATE: 1945 (learned by Margaret Barry)
KEYWORDS: age disability sex accusation travel bawdy humorous animal worker political
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 23, "The Turfman from Ardee" (1 text, 1 tune)
Roud #5187
RECORDINGS:
Margaret Barry & Michael Gorman, "The Turfman from Ardee" (on Barry-Gorman1)
David Harper, "The Turfman from Ardee" (on TradIre02)
NOTES: "Sex"? "Bawdy"? Well, certainly double-entendre on Margaret Barry's part. She notes that she learned it from an 80-year-old man named Tynan in 1945; he, in turn, had learned it from the McNulty Family of Donegal, who put it on a 78. As we have no date earlier than 1945, though, I'm putting that down as earliest -- but I'd love to find that 78. - PJS
File: RcTurArd
===
NAME: Turkey Buzzard
DESCRIPTION: "Shoot that turkey buzzard Come flopping down the hollow (x2)." "Shoot old Davy Dugger dead; He eat my meat and stole my bread." "Shoot old Davy Dugger, Take his wife and hug her." "Oh, that girl with the blue dress on, She stole my heart..."
AUTHOR: unknown
EARLIEST_DATE: 1915 (Brown)
KEYWORDS: bird death hunting nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 105, "Turkey Buzzard" (1 text plus 2 fragments which may or may not be related)
Roud #7653
RECORDINGS:
Chancey Bros., "Shoot That Turkey Buzzard" (on FolkVisions2)
J. E. Mainer's Mountaineers, "Shoot the Turkey Buzzard" (King 819, 1949)
File: Br3105
===
NAME: Turkey Factor in Foreign Parts, The: see The Factor's Garland [Laws Q37] (File: LQ37)
===
NAME: Turkey in the Straw
DESCRIPTION: "As I was going down the road With a tired team and a heavy load... Turkey in the straw, Haw haw haw, Turkey in the hay, Hey hey hey... Whistle up a tune called turkey in the straw." Lyrics usually involve the strange things encountered by a teamster
AUTHOR: unknown
EARLIEST_DATE: 1896 (recordings, Billy Golden)
KEYWORDS: travel animal bird nonballad dancetune
FOUND_IN: US(SE,So)
REFERENCES: (11 citations)
Randolph 274, "Turkey in the Straw" (2 texts plus a fragment, 1 tune)
Randolph/Cohen, pp. 234-237, "Turkey in the Straw" (1 text, 1 tune -- Randolph's 274A)
BrownIII 94, "Turkey in the Straw" (1 fragment); also 511, "The Preacher Song" (1 text, a complex mix of verses from "Turkey in the Stray" and "Some Folks Say that a Preacher Won't Steal" with the "Uncle Eph" chorus)
Sandburg, pp. 94-97, "Turkey in the Straw" (2 texts plus a fragment, 1 tune; the "B" and "C" texts appear to be rewritten or mixed)
MHenry-Appalachians, p. 112, "One More Drink" (1 fragment, a single stanza about the hen laying eggs all over the farm and calling for a drink; it might come from anywhere but seems more typical of this than anything else)
Lomax-FSNA 49, "Turkey in the Straw" (1 text, 1 tune, plus a "Zip Coon" text)
Linscott, pp. 83-85, "Haymaker's Jig" (1 tune with dance instructions)
Silber-FSWB, p. 37, "Turkey in the Straw" (1 text)
Pankake-PHCFSB, p. 23, "I Went to Cincinnati"; p. 54, "Oh, I Had a Little Chicken" (2 texts, tune referenced)
Fuld-WFM, pp. 591-592, "Turkey in the Straw (Zip Coon)"
DT, TURKSTRW (TURKST2)
Roud #4247
RECORDINGS:
Blue Ridge Duo, "Turkey in the Straw" (Edison 51502, 1925)
Dock Boggs, "Turkey in the Straw" [instrumental version] (on Boggs3, BoggsCD1)
Boone County Entertainers [Red Fox Chasers], "Turkey in the Straw" (Champion 15522/Supertone 9163, 1928)
Fiddlin' John Carson, "Turkey in the Straw" (OKeh 40230, 1924); "Turkey in the Hay" (OKeh 45167, 1927)
Arthur Collins, "Turkey in the Straw" (Zonophone 637, c. 1907)  (CYL: Edison 4011, n.d.)
Billy Golden, "Turkey in de Straw" (Berliner 0541V, rec. 1899) (Berliner 0726X, rec. 1896) (Berliner 0726Z, rec. 1896) (Standard 1101, n.d.) (CYL: Lambert 5079, n.d.) (CYL: Albany Indestructible 941, n.d.) (Columbia  1101, 1902; A-1291, 1913) (Victor [Monarch] 65, 1902; Victor 4515, 1905 Imperial Berliner [Can] 587, n. d.) (Zonophone 174, 1905) (Victor 17256, 1913; rec. 1908) (Columbia A-5031, 1908; rec. 1906) (OKeh 4249, 1921; rec. 1920)
[Billy] Golden & [?] Hughes "Turkey in the Straw" (CYL: Edison [BA] 1769, n.d.)
Hobbs Brothers, "Turkey in the Straw" (Jewel 5458, 1928)
Kessinger Brothers, "Turkey in the Straw" (Brunswick 235, 1928)
Silas Leachman, "Turkey in de Straw" (Victor A-804, c. 1901)
Neil Morris & Charlie Everidge, "Turkey in the Straw" [dance calls] (on LomaxCD1701)
George Reneau, "Turkey in the Straw" (Vocalion 5031/Vocalion 14812, 1924)
Doc Roberts, "Turkey in the Straw" (Conqueror 7741, 1931; Perfect 12929/Melotone 12746, 1933)
Eck Robertson, "Turkey in the Straw" (Victor 19149, 1923)
Stove Pipe No. 1 [pseud. for Sam Jones], "Turkey in the Straw" (Columbia 201-D, 1924; Harmony 5100-H, n.d.)
Gid Tanner & his Skillet Lickers, "Turkey in the Straw" (Columbia 15084-D, 1926)
CROSS_REFERENCES:
cf. "The Old Tobacco Box (There Was an Old Soldier)" (tune, floating lyrics)
cf. "Old Zip Coon" (tune, floating lyrics)
cf. "The Catfish (Banjo Sam)" (floating lyrics)
cf. "Bunkhouse Orchestra" (tune)
cf. "Charleston Gals (Clear the Kitchen)" (floating lyrics)
cf. "Mary Mack (I)" (floating lyrics)
cf. "There Was an Old Lady" (tune)
cf. "The Delhi Jail" (tune)
cf. "Whoa! Ha! Buck and Jerry Boy" (portions of tune)
SAME_TUNE:
Old Zip Coon (File: RJ19258)
Old Farmer Brown (Pankake-PHCFSB, p. 145)
There Was a Little Rooster (Pankake-PHCFSB, p. 196)
Do Your Ears Hang Low (Pankake-PHCFSB, pp. 210-211)
Fiddlin' John Carson, "Turkey in the Hay" (OKeh 45167, 1927)
Carson Robison, "1942 Turkey in the Straw" (Bluebird B-11460, 1942)
NOTES: Generally regarded as a rewriting of "Old Zip Coon." Sometimes regarded as the forerunner of "The Old Tobacco Box (There Was an Old Soldier)" (with which it often shares a tune), but the latter also has its own independent tune and form. - RBW
File: R274
===
NAME: Turkish Factor, The: see The Factor's Garland [Laws Q37] (File: LQ37)
===
NAME: Turkish Lady (II): see Young Beichan [Child 53] (File: C053)
===
NAME: Turkish Lady, The [Laws O26]
DESCRIPTION: A British ship is captured by the Turks and its crew enslaved. The singer suffers until his owner offers to free him if he will accept Islam and marry her. He refuses to abandon Christianity. She eventually decides to turn Christian and marry him
AUTHOR: unknown
EARLIEST_DATE: 1782 (broadside, "Four Excellent New Songs")
KEYWORDS: love courting religious sailor foreigner
FOUND_IN: Canada(Mar) Britain(England(South),Scotland)
REFERENCES: (9 citations)
Laws O26, "The Turkish Lady"
Logan, pp. 11-18, "The Turkish Lady" (1 text)
Huntington-Whalemen, pp. 141-143, "The Turkish Lady" (1 text, 1 tune)
Karpeles-Newfoundland 35, "The Turkish Lady" (1 text, 1 tune)
Creighton/Senior, pp. 123-124, "Turkish Rover" (1 text, 1 tune)
Creighton-NovaScotia 13, "Turkish Rover" (1 text, 1 tune)
Mackenzie 17, "The Turkish Lady" (2 texts)
BBI, ZN797, "Down in a cypress grove as I was lying" (?)
DT (53), TURKLADY*
ST LO26 (Full)
Roud #8124
BROADSIDES:
Bodleian, Harding B 17(322b)[tear: words missing], "The Turkish Lady," T. Birt (London), 1828-1829; also Harding B 11(3907), Firth c.13(303), Harding B 11(1973), Harding B 25(1958), "The Turkish Lady"
CROSS_REFERENCES:
cf. "Young Beichan" [Child 53]
cf. "The Araby Maid" (subject)
cf. "Mustang Gray (The Maid of Monterey)" (plot)
cf. "The Belfast Sailor" (theme)
NOTES: This song is sometimes treated as a variant of "Young Beichan" [Child 53]. The setting, obviously, is similar -- but the difference in the ending marks them as separate ballads. "Young Beichan" stresses the lover's return; "The Turkish Lady," the change in the woman's faith (which, incidentally, was a dangerous thing to do: Islam tolerates Christianity, but many Islamic cultures do not tolerate turning from Islam to Christianity. Though the direct comment on an Islamic woman marrying a pagan, in the Quran, Surah 60:11, merely requires the recovery of her dowry). - RBW
File: LO26
===
NAME: Turkish Men-o'-War: see The Royal Oak (File: VWL091)
===
NAME: Turkish Rover: see The Turkish Lady [Laws O26] (File: LO26)
===
NAME: Turmut [Turmont] Hoer's Song, The: see The Turnip-Hoer (File: K261)
===
NAME: Turmut-hoeing: see The Turnip-Hoer (File: K261)
===
NAME: Turn that Cinnamon
DESCRIPTION: "Oh turn that cinnamon round and round, Turn that cinnamon round and round, Oh turn that cinnamon round!" "She's my sugar-lump, I'll never give her up, She's my sugar-lump, I'll never give her up, Oh turn that cinnamon round!"
AUTHOR: unknown
EARLIEST_DATE: 1903
KEYWORDS: love food playparty
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 583, "Turn that Cinnamon" (1 short text)
Botkin-AmFolklr, p. 810, "Sugar Lump" (1 text, 1 tune)
Roud #7667
ALTERNATE_TITLES:
Turn, Cinnamon, Turn
NOTES: Randolph's and Botkin's songs don't have any lyrics that match precisely -- but what are the odds of two songs mentioning both sugar lumps and turning cinnamon? I quote Randolph's text as more complete; Botkin's runs "All up and down, my honey, All up and down we go. The lady's a-rockin' her sugar lump (x3), O, turn, Cinnamon, turn."
Botkin claims a British origin for this piece, but cites no sources. - RBW
File: R583
===
NAME: Turn, Cinnamon, Turn: see Turn that Cinnamon (File: R583)
===
NAME: Turn, Julie-Ann, Turn
DESCRIPTION: Playparty: "Circle around, my Julie-Ann/Circle around I say...I ain't got long to stay."  "I'll go on the mountaintop... If I can't get the girl I want/Let that old girl go." Chorus: "Turn, Julie-Ann, turn/Turn Old Jubilee."
AUTHOR: unknown
EARLIEST_DATE: 1958 (recording, Jean Ritchie)
LONG_DESCRIPTION: Playparty: "Circle around, my Julie-Ann/Circle around I say...I ain't got long to stay." "My truelove spied me down the road/She hung her head and cried/Said, yanner come a booger-man/O where can I hide." "I'll go on the mountaintop, give my horn a blow/If I can't get the girl I want/Let that old girl go." Chorus: "Turn, Julie-Ann, turn/Turn Old Jubilee."
KEYWORDS: courting love dancing playparty nonballad floatingverses
FOUND_IN: US(Ap)
REFERENCES: ()

Roud #5747
RECORDINGS:
Jean Ritchie, "Turn, Julie-Ann, Turn" (on Ritchie03)
CROSS_REFERENCES:
 cf. "Liza Jane" (floating verses)
cf. "Cindy" (floating verses)
NOTES: I rather suspect this is the same as one or another of the floating verse singing games out there; I thought seriously about lumping it with "Julie Ann Johnson." But we're splitters, and in any case it's not obvious just *which* of those songs to lump it with. - RBW
File: RcTJAT
===
NAME: Turn, Sinner, Turn O!
DESCRIPTION: "Turn, sinner, turn today, turn, Sinner, turn O!" (x2). "Wait not for tomorrow's sun." "Tomorrow's sun will sure to shine." "The sun may shine, but on your grave." "Hark, I hear them sinner say" "If you get to heaven I'll get there too."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad death
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, pp. 36-37, "Turn, Sinner, Turn O!" (2 texts, 1 tune with variants)
Roud #11991
NOTES: Possibly suggested by Jesus's parable of the Rich Fool in Luke 12:16-21, in which God says to a man who has devoted all his energy to short-term wealth, "Fool! This very night your soul is demanded of you...." - RBW
File: AWG036
===
NAME: Turner's Camp on the Chippewa [Laws C23]
DESCRIPTION: A tale of the lumberman's life and troubles in the woods of Michigan. Most of the events are described in very general terms
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Bill McBride)
KEYWORDS: logger lumbering
FOUND_IN: US(MW) Canada(Ont)
REFERENCES: (4 citations)
Laws C23, "Turner's Camp on the Chippewa"
Beck 12, "Turner's Camp on the Chippewa" (1 text)
Fowke-Lumbering #10, "Turner's Camp" (2 texts, 1 tune)
DT 840, TURNRCMP
Roud #1926
RECORDINGS:
Bill McBride, "Turner's Camp on the Chippewa" (AFS, 1938; on LC56)
Leo Spencer, "Turner's Camp" (on Lumber01)
CROSS_REFERENCES:
cf. "The Lumber Camp Song" (theme) and references there
File: LC23
===
NAME: Turnip Greens
DESCRIPTION: Singer dreams he meets Gabriel. Asked what he'll eat; he says, "Turnip greens."  Asked why Ozark people are rough, yet clean; "Turnip greens." Gabriel says God's kingdom on earth is coming. Chorus: "...Cornbread and buttermilk/And good old turnip greens!"
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, H. K. Hutchison)
KEYWORDS: food humorous
FOUND_IN: US(So)
REFERENCES: (4 citations)
[Randolph 287, "Turnip Greens" -- deleted in the second printing]
Randolph/Cohen, pp. 243-245, "Turnip Greens" (1 text, 1 tune -- Randolph's 287)
Hudson 75, pp. 202-203, "Turnip Greens" (1 text)
Pankake-PHCFSB, p. 9, "Turnip Greens" (1 text, 1 tune)
Roud #4491
RECORDINGS:
Shorty Goodwin, "Turnip Greens" (Columbia 15411-D, 1929)
H. K. Hutchison, "Good Old Turnip Greens" (Gennett 6464/Champion 15525, 1928)
W. A. Lindsay & Alvin Connor, "Good Old Turnip Greens" (Okeh 45346, 1929; rec. 1928)
Neil Morris, "Turnip Greens" (on LomaxCD1707)
Pie Plant Pete [pseud. for Claude Moye], "Turnip Greens" (Champion 45063, 1935)
CROSS_REFERENCES:
cf. "Greens" (theme)
NOTES: The description of this song is based on the Neil Morris recording. The Pankake text is much shorter, and is about Atmore residents rather than residents of the Ozarks. Similarly, Hudson's text is about the residents of Mississippi.
I have not heard all the 78 recordings listed above, so they too may be local or parodized versions. - RBW
File: RcTG
===
NAME: Turnip Patch, The
DESCRIPTION: "I went down to the turnip patch... To see if my old hen had hatched." "There set a possum on the rail, Reached up and grabbed him by the tail." "Got him on the ground and he tried to fight... Reached up my right foot and kicked out the light."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: animal chickens fight
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 454, "The Turnip Patch" (1 text)
Roud #7602
CROSS_REFERENCES:
cf. "Who Broke the Lock (on the Henhouse Door)?" (lyrics)
cf. "Sixteen Chickens and a Tambourine" (lyrics)
File: R454
===
NAME: Turnip-Hoer, The
DESCRIPTION: Singer hires on a farm; the farmer says he's first class. He hires elsewhere, and says if he had a son he'd be better off going to jail. He says that while some delight in harvesting and mowing, "of all the jobs that be on a farm/Give I the turnip-hoing."
AUTHOR: unknown
EARLIEST_DATE: 1893 (Broadwood)
LONG_DESCRIPTION: Singer hires on a farm; the farmer says he's first class. He hires on another farm, and says if he had a son he'd be better off going to jail. He says that while some delight in harvesting and mowing, "of all the jobs that be on a farm/Give I the turnip-hoing." Chorus: "For the flies...got on the turnips/It's all me eye and no use to try/To keep 'em off them turnips"
KEYWORDS: farming work worker boss
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
Kennedy 261, "The Turnip-Hoer" (1 text, 1 tune)
Roud #1376
RECORDINGS:
Fred Perrier et al, "The Turmut [Turmont] Hoer's Song" (on Lomax41, LomaxCD41)
CROSS_REFERENCES:
cf. "The Flies Are On the Tummits" (them of a turnip farmer's life)
ALTERNATE_TITLES:
Turmut-hoeing
NOTES: Kennedy states, "[T]he song has attached itself to Wiltshire and was adopted as the regimental march of the Wiltshire Regiment... now amalgamated [in 1959] with the Berkshire Regiment [to form] the Duke of Edinburgh's Royal Regiment."
According to Ian S. Hallows, _Regiments and Corps of the British Army_, however, the quick march of the Duke of Edinburgh's Regiment is The Farmer's Boy and the slow is Auld Robin Gray. And while some regiments dropped their historical tunes on amalgamation, so the Wiltshire regiment could have used this piece, it was normal to keep both tunes.
Roud lumps this with "The Flies Are On the Tummits," with which it shares some lyrics, but Ben Schwartz and I both consider the general plots distinict enough to split them. "The Turnip-Hoer" is about the singer's employment history; "The Flies Are On the Tummits" about the hard life of a farmer.
Widespread growing of turnips, incidentally, was a relatively recent practice (turnips, after all, are bitter and rather unpleasant to eat); they are grown because they replenish the soil, and can be farmed on a field that would otherwise have to lie fallow (see Derek Beales, _From Catlereight to Gladstone: 1815-1885_, p. 36). - RBW
File: K261
===
NAME: Turpin Hero: see Dick Turpin and the Lawyer [Laws L10] (File: LL10)
===
NAME: Turpin's Valour: see Dick Turpin and the Lawyer [Laws L10] (File: LL10)
===
NAME: Turtle Dove: see Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove) (File: Wa097)
===
NAME: TVA, The
DESCRIPTION: "My name is William Edwards, I live down Cove Creek Way, I'm working on the project They call the TVA." The government is upgrading the valley. The singer writes to Sal to say, "The government has saved us; just name our wedding day."
AUTHOR: Buddy Preston
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: work marriage hardtimes technology
FOUND_IN: US(Ap)
REFERENCES: (3 citations)
Thomas-Makin', pp. 232-234, (no title) (1 text, 1 tune)
Arnett, p. 172, "The TVA" (1 text, 1 tune)
Botkin-SoFolklr, p. 732, "T.V.A. Song" (1 text, 1 tune)
Roud #4910
NOTES: The Tennessee Valley Authority (TVA), founded in 1933, is one of the most enduring of all the New Deal programs. Founded to create jobs and at the same provide electrical power to a primitive part of the country, it is still in existence today, generating power and managing the river. - RBW
Botkin quotes his source, Jean Thomas's _Ballad Makin' in the Mountains of Kentucky_, as saying the song was written by a Preston, and "first sung at the American Folk Festival with a kinsman of the composer giving the explanation of its origin." She also says it had indeed become traditional in Kentucky, at least. - NR
Reading Thomas's account, I'm not convinced of this; it's properly a folk revival song, if a very early one. But the number of citations perhaps justifies its presence here.
File: Arn172
===
NAME: Twa and Twa
DESCRIPTION: Dance tune lyrics; "Twa and twa made the bed/Twa and twa lay together/When the bed begun to heat/The one got up abune the other." That's all.
AUTHOR: unknown
EARLIEST_DATE: 1962 (collected from Jeannie Thompson)
KEYWORDS: sex dancing
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
MacSeegTrav 124, "Twa and Twa" (1 text, 1 tune)
DT, TWANTWA*
Roud #5407
NOTES: Runner-up to "Papa Loved Mama" for title of World's Shortest Ballad. - PJS
File: McCST124
===
NAME: Twa Brothers, The [Child 49]
DESCRIPTION: Two brothers agree to wrestle on their way to school. In the process, one is wounded by the other's knife. The unwounded brother (often) tries to save the wounded one, but it is too late; all that is left is to arrange for his burial and make excuses
AUTHOR: unknown
EARLIEST_DATE: 1825 (Motherwell)
KEYWORDS: contest death fight stepmother brother murder magic
FOUND_IN: Britain(England,Scotland), US(Ap,MA,MW,NE,NW,SE,So) Canada(Mar,Newf)
REFERENCES: (32 citations)
Child 49, "The Twa Brothers" (8 texts)
Bronson 49, "The Twa Brothers" (41 versions plus 4 in addenda)
BarryEckstormSmyth pp. 99-106, "The Two Brothers" (1 text plus many excerpts including a complete Kentucky version, 1 tune) {Bronson's #21}
Belden, pp. 33-34, "The Two Brothers" (1 text)
Randolph 10, "The Two Brothers" (3 texts plus a fragment, 4 tunes) {Bronson's #13, #40, #3, #2}
Randolph/Cohen, pp. 24-25, "The Two Brothers" (1 text, 1 tune -- Randolph's 10A) {Bronson's #13}
Eddy 9, "The Twa Brothers" (2 texts, 2 tunes) {Bronson's #28, #30}
Flanders/Olney, pp. 96-99, "Edward Ballad [listed as "Child 13" but obviously this piece though Bronson considers it a "too literary" mix of the two ballads with a peculiar tune]; pp. 230-232, "Martyr John" (2 texts, 2 tunes) {Bronson's #41, #38}
Flanders-Ancient1, pp. 316-331, "The Twa Brothers" (4 texts, 5 tunes; the last two tunes are variants taken from the same informant) {A=Bronson's #41, B=38}
Linscott, pp. 278-280, "The Rolling of the Stones or The Twa Brothers" (1 text, 1 tune) {Bronson's #14}
Davis-Ballads 11, "The Twa Brothers" (11 texts, 6 tunes) {#23, #31, #5, #33, #10, #24}
Davis-More 15, pp. 92-101, "The Twa Brothers" (5 texts, 5 tunes)
BrownII 13, "The Two Brothers" (1 text)
Chappell-FSRA 6, "The Two Brothers" (1 text)
Hudson 7, pp. 73-74, "The Two Brothers" (2 texts)
Scarborough-SongCatcher, pp. 166-167, "The Twa Brothers" (1 text, locally titled "The Two Brothers")
Brewster 9, "The Two Brothers" (2 texts)
JHCoxIIA, #6, p. 21, "The Two Brothers" (1 fragment, 1 tune) {Bronson's #8}
Creighton/Senior, p. 25-26, "The Twa Brothers" (1 text, 1 tune) {Bronson's #39}
Peacock, pp. 827-830, "The Two Brothers" (2 texts, 2 tunes)
Leach, pp. 163-167, "The Twa Brothers" (2 texts)
McNeil-SFB2, pp. 136-138, "Two Brothers" (1 text, 1 tune)
OBB 63, "The Twa Brothers" (1 text)
Friedman, p. 169, "The Twa Brothers" (2 texts)
Niles 20, "The Twa Brothers" (1 text, 1 tune -- a fragmentary text that opens like "The Twa Brothers," but has an ending that might be anything)
Gummere, pp. 174-175+343, "The Twa Brothers" (1 text)
SharpAp 12 "The Two Brothers" (12 texts, often short, plus a fragment ("E") that may be this; 13 tunes) {Bronson's #17, #10, #31, #24, #18, #19, #11, #9, #1, #15, #27, #25, #32}
Sharp/Karpeles-80E 11, "The Two Brothers" (1 text, 1 tune -- an expanded composite version) {Bronson's #11}
LPound-ABS, 18, pp. 45-46, "Two Little Boys" (1 text)
JHCox 7, "The Twa Brothers" (2 texts)
DT 49, TWOBROS TWOBROS2* TWOBROS3* TWOBROS4*  ROLLSTON*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #52-53, "The Wta Brothers" (1 text)
Roud #38
RECORDINGS:
Nellie McGregor, "The Two Brothers" (on FSBBAL1)
Hobart Smith, "The Little Schoolboy" (on LomaxCD1702)
Belle Stewart, "The Two Brothers" (on Voice03) {Bronson's #13.2 in addenda}
Lucy Stewart, "The Twa Brothers [The Two Brothers]" (on FSB4, FSBBAL1) (on LStewart1) {Bronson's #11.1 in addenda}
CROSS_REFERENCES:
cf. "Sir Hugh, or, The Jew's Daughter" [Child 155] (lyrics)
cf. "The Unquiet Grave" [Child 78] (lyrics)
ALTERNATE_TITLES:
The Rolling of the Stones
The Murdered Boy
Two Little Boys Going to School
The Cruel Brother
NOTES: In Friedman's A version, the brother is killed, not wrestling for fun, but in a fit of passion. - PJS
Indeed, this motif (which is not unusual; many of Davis's texts have it, for instance) gives rise to the possibility that what we have here is two songs mixed. Call them "The Twa Brothers" and "The Rolling of the Stones." In the former, the one brother kills the other as a result of accident or perhaps a (step?)mother's malice."
"The Rolling of the Stones," though it involves a death and is usually listed as a version of this song, has a very different feel. It is definitely a song of passion and jealousy, and ends with Susie, the girl of the piece, dancing to try to bring the dead man back to life.
The two have certainly mixed verses, making them hard to tell apart, but I'm not at all convinced that they are the same song. A curiosity is that the "Rolling of the Stones" texts seem to be mostly American, even though American texts rarely involve magic. But it should be noted that the endings of the texts in Child are very diverse; it may be that he simply hadn't found one of the "magic" endings.
Linscott has one of her usual folklorish explanations: "The event from which the ballad gets its theme happened near Edinburgh in 1589, when one of the Somervilles was killed by the accidental discharge of his bother's pistol." This connection ignores the fact that brothers are more than a little apt to quarrel over inheritances....
E. K. Chambers (_English Literature at the Close of the Middle Ages_, p. 72) quotes a passage from a thirteenth(?) century fragment of a song which has not been connected with this piece, but which I find rather interesting:
Atte wrestling my lemman I ches,
And atte ston-kasting I him for-les.
i.e.
At wrestling my love I chose,
And at stone-casting I him lost. - RBW
Also collected and sung by Ellen Mitchell, "Twa Brithers" (on Kevin and Ellen Mitchell, "Have a Drop Mair," Musical Tradition Records MTCD315-6 CD (2001)) - BS
File: C049
===
NAME: Twa Bumbees, The
DESCRIPTION: "There were twa bumbees met on a twig, Fim-fam, fiddle-faddle, fum, fizz!" The two insects set out to find a home, frightening Jenny Wren in the process. After the babies are born, they quarrel; the male warns other bees about a "wayward, wanton wife."
AUTHOR: Charles Spence
EARLIEST_DATE: 1904 (Ford); Spence died in 1869
KEYWORDS: bug courting home humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 231-233, "The Twa Bumbees" (1 text)
Roud #13086
NOTES: This appears to have been founded on "The Twa Corbies" (or, rather, one of its silly offspring), but without a tune, it's hard to prove.
Needless to say, this isn't how bees reproduce. - RBW
File: FVS231
===
NAME: Twa Corbies, The: see The Three Ravens [Child 26] (File: C026)
===
NAME: Twa Emperors, The: see Sandy and Nap (File: GrD1149)
===
NAME: Twa Knights, The [Child 268]
DESCRIPTION: A squire bets a knight that, if the knight leaves home for a time, he can seduce the knight's wife. He traps the wife into offering to come to his bed, but she sends her neice instead. When the truth is revealed, the niece weds the squire
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
LONG_DESCRIPTION: A squire bets a knight that, if the knight leaves home for a time, he can seduce the knight's wife. He traps the wife into offering to come to his bed, but she sends her neice instead. He cuts off the ring and finger to prove his victory. The knight's wife demonstrates that she still has her finger. The niece is offered the right to either kill the squire or marry him for his abuse. After much hesitation, the niece weds the squire
KEYWORDS: gambling trick abuse injury infidelity family marriage wager
FOUND_IN: 
REFERENCES: (1 citation)
Child 268, "The Twa Knights" (1 text)
Roud #303
CROSS_REFERENCES:
cf. "The Boy and the Mantle" [Child 29] (theme)
cf. "The Fiddler's Bitch" (plot)
cf. "Redesdale and Wise William" [Child 246] (plot)
NOTES: The notion of wagering over a woman's fidelity is common in folklore; in the Child canon, cf. e.g. "The Boy and the Mantle" [Child 29]. - RBW
File: C268
===
NAME: Twa Magicians, The [Child 44]
DESCRIPTION: A (blacksmith) sees a girl who pleases him, and sets out to sleep with her. She tries to foil him with magic transformations, but he proves as sorcerous as she, and gains her maidenhead
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: magic seduction rape shape-changing
FOUND_IN: Britain(England,(Scotland(Aber))
REFERENCES: (9 citations)
Child 44, "The Twa Magicians" (1 text)
Bronson 44, "The Twa Magicians" (1 version plus 11 versions of "Hares on the Mountain")
GreigDuncan2 334, "The Twa Magicians" (1 fragment)
BarryEckstormSmyth pp. 442-445, "The Two Magicians" (notes plus a copy of Buchan's text and a stanza of "Hares on the Mountain")
Leach, pp. 152-154, "The Twa Magicians" (1 text)
PBB 25, "The Twa Magicians" (1 text)
Sharp-100E 20, "The Two Magicians" (1 text, 1 tune) {Bronson's #1}
DBuchan 47, "The Twa Magicians" (1 text)
DT 44, MAGICN2* 
Roud #1350
RECORDINGS:
A. L. Lloyd, "Two Magicians" (on Lloyd3, BirdBush1, BirdBush2) [tune by Lloyd]
CROSS_REFERENCES:
cf. "Hares on the Mountain" (theme)
cf. "Les Metamorphoses (Metamorphoses)" (theme)
NOTES: Sharp bowdlerizes "gain my maidenhead" to "change my maiden name" (!) -PJS
Bronson believes that the ballad "Hares on the Mountain" is a very-much-worn-down version of this piece. This is, at best, currently beyond proof; personally, I don't believe it.
The idea of gaining a lover who is changing shape has ancient roots. We find it in Ovid's "Metamorphoses," where Peleus (the father of Achilles) finds Thetis in a cave and attempts to couple with her. To defeat him, she turns into a bird, a tree, and a tigress. The latter scares him off, but eventually he catches her while asleep (XI.225ff.). - RBW
File: C044
===
NAME: Twa Recruiting Sergeants: see Old Recruiting Soldier (Twa Recruiting Sergeants) (File: GrD1077)
===
NAME: Twa Sisters, The [Child 10]
DESCRIPTION: A knight woos two (three) sisters, choosing the younger. The older drowns the younger. Her body is recovered and made into an instrument by a passing miller/musician. As the knight prepares to wed the older sister, the instrument sings out the truth.
AUTHOR: unknown
EARLIEST_DATE: 1656 (broadside)
KEYWORDS: courting murder music minstrel sister drowning
FOUND_IN: Britain(Scotland,England(All)) US(Ap,MA,MW,NE,SE,So) Canada(Newf)
REFERENCES: (45 citations)
Child 10, "The Twa Sisters" (25 texts, 3 tunes) {Bronson's #79, #12, #14}
Bronson 10, "The Twa Sisters" (97 versions plus 6 in addenda)
GreigDuncan2 213, "Binorie" (19 texts, 17 tunes) {B=Bronsons's #4, E=#21, G=#16?, H=#6, I=#13, J=#5?, K=#8?, L=#11, M=#9, N=#10, P=#17, Q=#18, O=#19}
Stokoe/Reay, pp. 8-9, "Binnorie; or, The Cruel Sister" (1 text, 1 tune) {Bronson's #7}
BarryEckstormSmyth pp. 40-46, "The Two Sisters" (5 texts plus 2 fragments, one from the same informant as one of the texts, 1 tune) {Bronson's #68}
Belden, pp. 16-24, "The Twa Sisters" (6 texts, 3 tunes) {Bronson's #38, #46, #30}
Randolph 4, "The Miller's Daughters" (8 texts, 5 tunes) {A=Bronson's #66, C=#32, E=#70, F=#94, G=#51}
Randolph/Cohen, pp. 18-21, "The Miller's Daughters" (1 text, 1 tune -- Randolph's 4C) {Bronson's #32}
Ritchie-Southern, p. 57, "Bow Your Bend to Me" (1 text, 1 tune)
Eddy 4, "The Twa Sisters" (1 short text, 1 tune) {Bronson's #78}
Gardner/Chickering 2, "The Two Sisters" (2 texts, 2 tunes, but the "B" text is "Peter and I Went Down the Lane") {A=Bronson's #22}
Flanders/Olney, pp. 209-210, "The Two Sisters" (1 text, 1 tune)
Flanders-Ancient1, pp. 150-170, "The Twa Sisters" (5 English texts plus a fragment; also two variants of a Polish text plus tune and translation; 4 tunes for the English versions) {A=Bronson's #96, B=#54}
Davis-Ballads 5, "The Twa Sisters" (9 texts plus 2 fragments, 6 tunes entitled "The Old Lord of the North Country, or The Three Sisters," "The Old Woman of the North Countrie," "The Two Sisters, or Sister Kate, or The Miller annd the Mayor's Daughter," "The Two Sisters"; 2 more versions mentioned in Appendix A) {Bronson's #25, #71, #40, #55, #27, #39}
Davis-More 6, pp. 35-50, "The Twa Sisters" (10 texts, 7 tunes)
BrownII 4, "The Two Sisters" (3 texts plus 2 fragments)
Chappell-FSRA 3, "The Two Sisters" (1 short text)
Hudson 3, p. 68, "The Two Sisters" (1 text)
Scarborough-SongCatcher, pp. 164-165, "The Twa Sisters" (1 text, locally titled "The Two Sisters")
Brewster 6, "The Two Sisters" (4 texts plus a fragment, 1 tune) {Bronson's #44}
Greenleaf/Mansfield 3, "The Twa Sisters" (1 text)
Peacock, pp. 179-180, "The Bonny Busk of London" (1 text, 1 tune)
Leach, pp. 74-78, "The Twa Sisters" (3 texts)
McNeil-SFB2, pp. 150-156, "The Two Sisters"; "The Two Sisters (Wind and Rain) (2 texts, 2 tunes)
OBB 23, "Binnorie" (1 text)
Warner 98, "The Two Sisters That Loved One Man" (1 text, 1 tune)
Niles 7, "The Twa Sisters" (3 texts, 3 tunes)
Gummere, pp. 171-173+343, "The Twa Sisters" (1 text)
SharpAp 5 "The Two Sisters" (14 texts, 14 tunes) {Bronson's #91, #55, #27, #39, #74, #73, #50, #34, #45, #63, #59, #47, #65, #41}
Sharp/Karpeles-80E 6, "The Two Sisters" (1 text, 1 tune -- a composite text) {Bronson's #45}
Lomax-FSNA 90, "The Two Sisters" (1 text, 1 tune) {Bronson's #67}
Hodgart, p. 32, "The Twa Sisters" (1 text)
DBuchan 3, "The Twa Sisters" (1 text, 1 tune in appendix) {Bronson's #79}
JHCox 3, "The Twa Sisters" (3 texts, 1 tune) {Bronson's #43}
JHCoxIIA, #2A-B, pp. 10-13, "There Was an Old Farmer," "All Bow Down" (2 texts, 1 tune) {Bronson's #69}
Ord, pp. 430-432, "The Bonnie Mill-Dams o' Binnorie"; pp. 459-460, "Hey the Rose and the Lindsay, O" (2 texts, 1 tune)
MacSeegTrav 3, "The Twa Sisters" (1 text plus two variant verses, 1 tune)
TBB 9, "The Twa Sisters" (1 text)
HarvClass-EP1, pp. 54-56, "The Twa Sisters" (1 text)
Abrahams/Foss, pp. 20-24, "The Two Sisters"; "The Two Sisters (The Wind and Rain)" (2 texts, 2 tunes)
LPound-ABS, 4, pp. 11-12, "The Two Sisters"; pp. 12-13, "The Old Man in the North Countree" (2 texts)
Darling-NAS, pp. 56-59, "The Two Sisters"; "Rollin' a-Rollin'"; "Wind and Rain" (3 texts)
Silber-FSWB, p. 224, "The Two Sisters" (1 text)
DT 10, BINNORI* TWOSIS* TWOSIS5* WINDRAIN* SWANSWIM* TWOSIS8 TWOSIS9 TWOSI10 TWOSS11
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #427, "The Twa Sisters" (1 text)
Roud #8
RECORDINGS:
Horton Barker, "The Two Sisters" (AAFS 33); "Bow and Balance" (on Barker01) {Bronson's #67}
Anita Best and Pamela Morgan, "The Two Sisters" (on NFABestPMorgan01)
Loman D. Cansler, "The Two Sisters" (on Cansler1)
Lula Curry, "The Squire's Daughter" (on JThomas01)
Bradley Kincaid, "The Two Sisters" (Supertone 9212, 1928)
Jean Ritchie, "The Two Sisters" (AFS; on LC57); "There Lived an Old Lord" (on JRitchie02)
Kilby Snow, "Wind and Rain" (on KSnow1)
Lucy Stewart, "The Swan Swims So Bonnie O" (on LStewart1)
John Strachan, "The Twa Sisters" (on FSB4)
John Strachan, Dorothy Fourbister, Ethel Findlater [composite] "The Twa Sisters" (on FSBBAL1) {cf. Bronson's #16.2 in addenda}
CROSS_REFERENCES:
cf. "An Sgeir-Mhara (The Sea-Tangle, The Jealous Woman)" (plot)
ALTERNATE_TITLES:
The Bows of London
The Cruel Sister
Rolling a-Rolling
The Wind and Rain
The Swan Swims Bonnie
The Old Lord by the Northern Sea
Bowie, Bowerie
The Little Drownded Girl
Lay the Bent to the Bonny Broom
Old Man from the North Countree
The Youngest Daughter
Minorie
The Mull Dams o' Binorrie
NOTES: The refrains sung with this ballad vary tremendously, but virtually all versions have a refrain of some sort. - PJS
And generally a lyrically attractive one ("the swan swims bonnie," etc.), as has been pointed out by several scholars. I wonder if there isn't something about this ballad that encourages variation; Jean Ritchie reports that, even though they presumably learned the song from the same source, her family had twelve distinct versions. - RBW
The Kilby Snow recording is an unusual one; it contains every element of, "The Twa Sisters" except the sisters; the murderer in this case is the girl's lover. Snow reconstructed the song from early childhood memories of his grandfather (a Cherokee) singing it, though, so it may have diverged at that point. - PJS
Compare the first verse lines of Child 10.H to Opie-Oxford2 479, "There were three sisters in a hall" (earliest date in Opie-Oxford2 is c.1630)
Child 10.H: "There were three sisters lived in a hall, ... And there came a lord to court them all...."
Opie-Oxford2 479 is a riddle beginning "There were three sisters in a hall, There came a knight amongst them all ...." - BS
This item is also found as Baring-Gould-MotherGoose #702, p. 275, but this appears to be simply a greeting rhyme unrelated to the various rather murderous ballads (notably Child 10 and 11) using these lines. - RBW
File: C010
===
NAME: Twangman, The
DESCRIPTION: A twang hawker and rag-picker Mickey Baggs courted a girl who "kep' a Traycle Billy depot." Baggs won her heart taking her to play "Billy-in-the-bowl." So "with his twang kni-ef [twangman] tuk the li-ef Of the poor ould gather'em-up!"
AUTHOR: probably Michael J. Moran (Zozimus)
EARLIEST_DATE: 1929 (OLochlainn)
KEYWORDS: courting murder humorous
FOUND_IN: Ireland
REFERENCES: (3 citations)
OLochlainn, pp. 231-232, "The Twangman" (1 text, 1 tune)
DT, TWANGMAN
ADDITIONAL: Frank Harte _Songs of Dublin_, second edition, Ossian, 1993, pp. 44-45, "The Twangman" (1 text, 1 tune)
NOTES: In response to queries in earlier editions of the Index, Tom O'Leary informs me that "twang" is toffee.  He adds that a "'Traycle depot'  [was]  a sweet shop, which in this case, was near to, or on one side of the Carlisle Bridge, Dublin."
Harty, on the other hand, says that it was Treacle Billy that was the toffee and twang another sort of sweetmeat. It makes little difference; the twangman certainly sold toffee.
The song says that the twangman only sells his wares "when the mileetia wasn't wantin'"; this is no particular constraint on his schedule, as miltitia in this period was a very part-time organization except when there was a rebellion in process. - RBW, (BS)
We might note that Harte questions whether this is actually by Zozimus (for whom see ). But his evidence is negative: The song is not mentioned in the Zozimus memoirs. For background on Zozimus, see the notes to "The Finding of Moses." - RBW
File: OLoc231B
===
NAME: Twanky Dillo: see Twankydillo (The Blacksmith's Song) (File: K286)
===
NAME: Twankydillo (The Blacksmith's Song)
DESCRIPTION: Singer toasts the blacksmith, the pretty girl "who kindles a fire all in her own breast," and the Queen. Chorus: "Which makes his bright hammer to rise and to fall/There's the Old Cole and the Young Cole and the Old Cole of all/Twankydillo..."
AUTHOR: unknown
EARLIEST_DATE: 1893 (Broadwood)
LONG_DESCRIPTION: Singer raises a health to the blacksmith who works at his anvil while the boy blows the bellows; if a gentleman calls with a horse to be shod, the smith can be persuaded to work by giving him drink. Singer also toasts the pretty girl "who kindles a fire all in her own breast," and to "our sovereign the Queen" and all the Royal Family. Chorus: "Which makes his bright hammer to rise and to fall/There's the Old Cole and the Young Cole and the Old Cole of all/Twankydillo, twankydillo...And the roaring pair of blow-pipes, made from the green willow"
KEYWORDS: love work drink nonballad worker royalty
FOUND_IN: Britain(England(South))
REFERENCES: (2 citations)
Kennedy 286, "Twankydillo" (1 text, 1 tune)
DT, TWNKDLLO*
Roud #2409
NOTES: Hammond, in 1906, reported a Dorset song, "The Life of a Shepherd," with the "Twankydillo" chorus. - PJS
File: K286
===
NAME: Twas a Love of Adventure: see Diego's Bold Shore (File: SWMS030)
===
NAME: Twas Down in Cupid's Garden: see Cupid's Garden (I) (Covent Garden I; Lovely Nancy III) (File: SWMS090)
===
NAME: 'Twas Early in the Spring: see Early, Early in the Spring [Laws M1] (File: LM01)
===
NAME: 'Twas Getting Late Up in September
DESCRIPTION: In Labrador, "'Twas getting late up in September"; the singer meets a girl come to fill her buckets at the fountain.  He proposes, she accepts, "a priest came up on the steamer," they marry and "live in a nice little cottage, Down by the side of the sea"
AUTHOR: unknown
EARLIEST_DATE: 1951 (Peacock)
KEYWORDS: courting love marriage wedding
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Peacock, pp. 601-602, "'Twas Getting Late Up in September" (1 text, 1 tune)
Doyle3, p. 78, "'Twas Getting Late Up in September" (1 text, 1 tune)
Blondahl, p. 104, "'Twas Getting Late Up In September" (1 text, 1 tune)
ST Doyl3078 (Partial)
Roud #7288
File: Doyl3078
===
NAME: Twas in the Town of Parsboro
DESCRIPTION: Drunk in Parsboro ,"the gallant slugger Dunkerson ... challenged Baxter [McLellan] there to fight in Bill Mahoney's barn." Baxter beats him "inside of fifteen seconds." Dunkerson staggers home and cannot get a drink, "badly licked by a sober... man"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: fight drink
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 148, "'Twas in the Town of Parsboro" (1 text, 1 tune)
ST CrNS148 (Partial)
Roud #1843
NOTES: This song is item dH44 in Laws's Appendix II.
Creighton-NovaScotia: Parsboro is a town in Nova Scotia. 
The song refers to "when the Scott Act was in force." The Scott Act, or Canada Temperance Act was passed in 1878 (source: The _Prohibition_ entry for The Canadian Encyclopedia site).- BS
File: CrNS148
===
NAME: Twas in the year eighteen hundred and three: see Boyndlie Road (File: GrD3459)
===
NAME: 'Twas Nine Years Ago: see The Kerry Recruit [Laws J8] (File: LJ08)
===
NAME: 'Twas on de Bluff: see On the Bluff (Alligator Song) (File: ScaNF072)
===
NAME: 'Twas on the Napanee
DESCRIPTION: A young man leaves his parents' home to become a raftsman; he is drowned while rafting saw logs. His parents and friends mourn
AUTHOR: unknown
EARLIEST_DATE: 1941 (Beck)
KEYWORDS: lumbering death mourning work logger
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Beck 54, "'Twas on the Napanee" (1 text)
Roud #4057
CROSS_REFERENCES:
cf. "The Jam on Gerry's Rock" [Laws C1] (plot)
cf. "The Death of Harry Bradford" [Laws C12] (plot, tune)
NOTES: In the mid-nineteenth century, a young man named Anthony Barrett was killed on the Napanee river.
Beck states that this song seems to have been composed in Canada around 1860; it was collected from a Mrs. Barrett, of Mt. Pleasant, Michigan -- possibly a relative of the deceased? - PJS
As "'Twas on the Napene," this song is item dC36 in Laws's Appendix II. - RBW
File: Be054
===
NAME: 'Twas on the Napene: see 'Twas on the Napanee (File: Be054)
===
NAME: Twelfth of July, The
DESCRIPTION: Singer tells how Montreal Irish lick the "yellowbacks." On July 12, Fawcett fires a revolver. Hackett fires back, but is mortally wounded. Listeners are reminded that King Billy  "tore down Catholic churches..." but they can't do it in Montreal
AUTHOR: unknown
EARLIEST_DATE: c. 1957 (recording, Tom Brandon)
LONG_DESCRIPTION: Singer tells how the Irish Catholics of Montreal licked the "yellowbacks." On July 12 an Orangemen's parade clashes with Unionists; one Fawcett fires a revolver, swearing to "kill every papist dog." Hackett fires back, but is mortally wounded. Listeners are exhorted to remember that King Billy and his supporters "tore down Catholic churches from Lewis to Donegal," but they can't get away with it in Montreal
KEYWORDS: hate battle fight violence death murder Ireland 
HISTORICAL_REFERENCES: July 12, 1877: Clash between Irish Catholics and Protestants in Montreal
FOUND_IN: Canada(Ont)
REFERENCES: (0 citations)
RECORDINGS:
Tom Brandon, "The Twelfth of July" (on Ontario1)
CROSS_REFERENCES:
cf. "The Belfast Riot" (Canadian political situation)
NOTES: Despite the song, there was no Orangemen's parade on July 12 (the day when Irish Protestants celebrate William III's victory in the battle of the Boyne); according to newspaper accounts, plans for a parade had been dropped due to rising tensions. However, brawling broke out in a mixed crowd of Orangemen and Unionists in Victoria Square; in the fight, Francis Hackett was fatally shot. - PJS
The British had guaranteed Catholic rights in Quebec when they took over the territory in 1760, but the Catholics took many years to believe this. In the aftermath of William Lyon Mackenzie's 1837 rebellion, Governor General John Lambton, Earl of Durham, proposed constitutional changes (e.g. merging Upper and Lower Canada, i.e. Ontario and Quebec) which were viewed as attacking the Canadiens' identity. These and other changes fueled Catholic fears, and the tensions lasted for years. Indeed, the disagreements still persist, though the religious element seems to have largely dropped out.
In addition to the disturbance of 1877 apparently cited here, Graeme Wynn reports that "Limbs were bruised and heads broken when Protestant Orangemen celebrated the victory of William of Orange over Irish Catholic forces at the Battle of the Boyne on July 12, 1690, clashed with 'Green' Catholics in and around the Irish districts of several cities [in Canada] in the 1830s and 1840s." (From Craig Brown, editor, _The Illustrated History of Canada_, p. 267).-  RBW
File: Rc12July
===
NAME: Twelve Apostles, The: see Green Grow the Rushes-O (The Twelve Apostles, Come and I Will Sing You) (File: ShH97)
===
NAME: Twelve Blessings of Mary, The: see The Seven Joys of Mary (File: FO211)
===
NAME: Twelve Days of Christmas, The
DESCRIPTION: The singer's true love gives gifts throughout Christmastide, with the quantity of gifts increasing each day
AUTHOR: unknown
EARLIEST_DATE: c. 1780 (Mirth without Mischief)
KEYWORDS: Christmas cumulative
FOUND_IN: Britain(England,Scotland(Aber),Wales) US(Ap,NE,SE,So) Canada(West)
REFERENCES: (17 citations)
Belden, pp. 512-513, "The Twelve Days of Christmas" (1 text)
Flanders/Olney, pp. 213-216, "The Twelve Days of Christmas" (1 text, 1 tune)
Flanders/Brown, pp. 86-87, "The Twelve Days of Christmas" (1 text, 1 tune)
Linscott, pp. 52-54, "The Twelve Days of Christmas" (1 text, 1 tune)
Sharp-100E 96, "The Twelve Days of Christmas" (1 text, 1 tune)
BrownII 52, "The Twelve Days of Christmas" (3 texts, though two are summarized)
Brewster 94, "The Twelve Days of Christmas" (2 texts, apparently summarized)
Lomax-FSNA 124, "The Twelve Days of Christmas" (1 text, 1 tune)
Ritchie-SingFam, p. 172, "Twelve Days of Christmas" (1 text)
Opie-Oxford2 100, "The first day of Christmas" (3 texts)
Baring-Gould-MotherGoose #424, pp. 196-199, "(The First Day of Christmas)"
GreigDuncan3 637, "The Twelve Days of Christmas" (1 text)
Montgomerie-ScottishNR 123, "Thirteen Yule Days" (1 text)
Silber-FSWB, p. 384, "The Twelve Days of Christmas" (1 text)
DT, XMAS12DY*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928, notes to #258, ("On the First Day of Christmas") (1 text)
Ian Bradley, _The Penguin Book of Carols_ (1999), #59, "On the First Day of Christmas" (1 text)
Roud #68
RECORDINGS:
John Thomas, "The Twelve Days of Christmas" [sung in Welsh] (on Saskatch01)
CROSS_REFERENCES:
cf. "The Ten Days of Finals" (tune)
SAME_TUNE:
The Ten Days of Finals (File: EM373)
NOTES: An legend (passed to me by a friend, with no authorities cited) claims that this was a covert Catholic catechism, composed to sneak by the Protestant authorities.
The Baring-Goulds offer some minor supporting evidence, in that a partridge (for the first day) is "known as a bird that deserts its young" -- hence the idea of people who have deserted their faith.
Possible, I suppose -- but clearly most people who have sung the song know nothing of such things, and many of their heavily-folk-processed versions would not be suitable for such purposes (assuming the original was).
Ian Bradley in the _Penguin Book of Carols_, on the other hand, claims it's a drinking forfeit: You have to remember all the gifts offered by previous givers and add one of your own. The problem with this theory, of course, is that the gifts are stereotyped.
They may be even more sterotyped than we realize, in fact. The Baring-Goulds argue that the "five gold rings" of the fifth verse are in fact the rings on the neck of a pheasant (though those rings aren't golden on any pheasant I've seen), meaning that the first seven gifts are all birds. They also argue for a French origin for the piece.
A handful of versions of this -- that of the Montgomeries, and Gomme's "B," and Chambers -- is clearly recensionally different: The verses begin, "The king sent his lady on the (first, second, third...) Yule day." The final line is, "Who learns my carol, and carries it away." This may include *thirteen* Yule days. I thought seriously about calling this a separate song -- but the general form appears related, and so are many of the gifts. Besides, most people would probably seek the song here. But it should be clear that it's a deliberate rewrite.
There is a partial French analogy, "La Perdriole" or "The Twelve Months of the Year"; it can be found in Maud Karpeles, _Folk Songs of Europe_, Oak, 1956, 1964, p. 130. It counts the months of the year rather than the days of Christmas, and many  of the gifts are different -- but it ends (at least in the Karpeles translation) with "Two turtle-doves, And a little partridge... in the woods."
We should be cautious with this song, though. Not all texts follow this format, though it appears all are cumulative. Grace Lee Nute, _The Voyageur_, 1931 (I use the 1987 Minnesota Historical Society Press edition), pp. 115-117, examines several versions of the song she calls "Une Perdriole." All are cumulative, but the number of cycles varies, and it counts days in the month of may, not months of the year. I am inclined to suspect that this song began simply as a cumulative song and was perhaps even adapted toward the English form. - RBW
File: FO213
===
NAME: Twelve Gates to the City
DESCRIPTION: Spiritual: "Oh, what a beautiful city/There's twelve gates to the city, halleluiah"; "Three gates in the east, three gates in the west/Three gates in the north, three gates in the south."
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Norfolk Jubilee Quartet)
KEYWORDS: nonballad religious
FOUND_IN: US(SE)
REFERENCES: (3 citations)
PSeeger-AFB, p. 81, "Twelve Gates to the City" (1 text, 1 tune)
Silber-FSWB, p. 349, "Twelve Gates to the City" (1 text)
DT, TWLVGATE
RECORDINGS:
Marian Anderson, "Oh! What a Beautiful City" (Victor 10-1040, 1943)
Blind Gary [Davis], "Twelve Gates to the City" (ARC 7-04-55, 1937; rec. 1935)
Blind Boy Fuller w. Sonny Terry, "Twelve Gates to the City" (Vocalion 05465, 1940)
Galilee Singers, "What a Beautiful City" (Decca 7765, 1940)
Norfolk Jubilee Quartet, "Oh What a Beautiful City" (Paramount 12929, 1930; rec. 1929)
Pete Seeger & Sonny Terry, "Twelve Gates to the City" (on SeegerTerry)
Pete Seeger, "Beautiful City" (on PeteSeeger18)); "Twelve Gates to the City" (on PeteSeeger42); "Oh, What a Beautiful City [Twelve Gates to the City]" (on PeteSeeger47)
Sonny Terry [pseud., Saunders Terrell], "Beautiful City" (on Terry01)
ALTERNATE_TITLES:
Oh, What a Beautiful City
NOTES: I know there are earlier recordings of this piece (it was a showpiece for Rev. Gary Davis), and probably earlier printed citations too, but I haven't found them yet. - PJS
The image of the heavenly city may possibly be derived from Chapter 21 of the Apocalypse, but the twelve gates of the city, three on each side, are unquestionably taken from Ezekiel 48:30-34. - RBW
File: PSAFB081
===
NAME: Twelve Good Joys, The: see The Seven Joys of Mary (File: FO211)
===
NAME: Twelve Joys, The: see The Seven Joys of Mary (File: FO211)
===
NAME: Twelvemonth More Has Rolled Around, A
DESCRIPTION: "A twelvemonth more has rolled around Since we attended on this ground, Ten thousand scenes have marked the year Since we last met to worship here."
AUTHOR: unknown
EARLIEST_DATE: 1955 (Ritchie)
KEYWORDS: religious
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Ritchie-SingFam, p. 83, "[A Twelvemonth More Has Rolled Around]" (1 text, 1 tune)
File: JRSF083
===
NAME: Twenty Men from Dublin Town
DESCRIPTION: Twenty men from Dublin join Michael Dwyer to fight the redcoats and avenge the death of Wolfe Tone.
AUTHOR: Arthur Griffith (1871-1922) (source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: rebellion Ireland nonballad patriotic
HISTORICAL_REFERENCES: 1798 - Irish rebellion against British rule 
Nov 10, 1798 - Wolfe Tone (1763-1798) condemned to execution; he cuts his own throat to avoid hanging as a criminal (his request to face a firing squad had been denied)
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 147, "Twenty Men from Dublin Town" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Michael Dwyer (I)" (subject of Michael Dwyer) and references there
cf. "The Shan Van Voght" (subject of Wolfe Tone)
NOTES: For the history of Michael Dwyer, who held out as a rebel for about five years before surrendering to the British, see the notes to Michael Dwyer (I)" or Michael Dwyer (II)." Wolfe Tone's part in the 1798 rebellion is covered in "The Shan Van Voght."
Arthur Griffith was the founder of Sinn Fein, the party that eventually led Ireland to (approximate) independence; after the foundation of the Irish Free State, he became the first head of state, dying in that office in no small part because of the pressures of trying to head a state suffering a civil war. - RBW
File: Moyl147
===
NAME: Twenty Pound Dog, The
DESCRIPTION: "My name it is (Michael McCarthy) and I live in this town of renown, I made a bet with one Terrence Mahaffey that my bulldog could wallop the town." But Murphy's dog kills the singer's dog. He cries for vengeance
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: dog fight revenge
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 68-69, "The Twenty Pound Dog" (1 text)
Roud #3495
NOTES: I found an online reference to this song, stating that it was widely known in the nineteenth century as a result of a decision in Britain to ban sports such as bear-baiting. Those who liked the blood sports turned to fighting dogs, since they were smaller and more normally kept as pets.
According to the site, bulldogs were the typical breed used for this purpose -- but their lack of mobility made the fights uninteresting. So other breeds were mixed in to produce the pit bull. This does seem to fit well with the song, since the dog Murphy wins the fight with has terrier blood. - RBW
File: Dean068B
===
NAME: Twenty Years Ago (Forty Years Ago)
DESCRIPTION: "I wandered to the village, Tom, and sat beneath the tree... That sheltered you and me... But none were left to greet me, Tom... Who played with us upon the green Just (twenty/forty) years ago." The singer tells how the people have changed with the years
AUTHOR: unknown
EARLIEST_DATE: 1879 (McGuffey's Fifth Reader)
KEYWORDS: age home courting
FOUND_IN: US(SE,So) Canada(Mar)
REFERENCES: (4 citations)
BrownIII 335, "Twenty (Forty, Sixty) Years Ago" (4 texts)
Randolph 869, "Forty Years Ago" (1 text plus an excerpt, 1 tune)
Randolph/Cohen, pp. 481-484, "Forty Years Ago" (1 text, 1 tune -- Randolph's 869A)
Ives-DullCare, pp. 196-197,256, "Twenty Years Ago" (1 text, 1 tune)
ST R869 (Partial)
Roud #765
CROSS_REFERENCES:
cf. "The Good Old Days of Adam and Eve" (theme) and references there
cf. "Merchants of the Bay" (tune)
NOTES: Randolph lists many possible authors for this piece: Dill Armor Smith and Frances Huston are credited with the words, and William Willing with the tune. No solid evidence seems to be forthcoming, though Hazel Felleman's _The Best Loved Poems of the American People_ also credits the song to Smith. Cohen notes that several people stepped forward to claim the song (on behalf of others) and explain the internal references.
The texts in Brown are clearly the same song, despite the difference in time period covered, and also the changes described in that time. Randoph's and Felleman's texts make little mention of technology; they're mostly about aging. The other texts are different. Several mention the first cooking stove, and how women wore (woolen/homespun) dresses and boys wore pants of tow.
Brown's "D" text concludes, "Oxen answered well for teams, but now they're rather slow. But people didn't live so fast some sixty years ago." I'd love to know the author's reaction, had he lived to see it, to a modern freeway.... - RBW
File: R869
===
NAME: Twenty-Fourth of May, The
DESCRIPTION: "O, the twenty-fourth of May Is the Queen's birthday. If you don't give us a holiday, We'll all run away."
AUTHOR: unknown
EARLIEST_DATE: 1970 (Manny/Wilson)
KEYWORDS: royalty nonballad
HISTORICAL_REFERENCES: May 24, 1819 - birth of the future Queen Victoria
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson, p.35, (no title) (1 text)
NOTES: The songs in Manny/Wilson were collected in two spurts: The Lord Beaverbrook collection was made around 1947, and Manny started gathering material about ten years later. It would be interesting to know how many of her informants went to school during Victoria's reign -- I wonder if Manny didn't recall the piece herself. - RBW
File: MaWip35
===
NAME: Twenty-One
DESCRIPTION: "At twenty-one I first began to court a neighbour's child...." "At twenty-two no man could view what beauty she possessed...." "At twenty-three she slighted me...." The singer laments the girl's falsity, hopes she will change, (and sets out to ramble)
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love courting rejection betrayal rambling beauty
FOUND_IN: Ireland
REFERENCES: (2 citations)
SHenry H33+H611, pp. 397-398, "Twenty-One" (1 text with many variant readings, 1 tune)
DT, AT21
Roud #4714
RECORDINGS:
Robert Cinnamond, "At Twenty One" (on IRRCinnamond03)
File: HHH033
===
NAME: Twenty-One Years [Laws E16]
DESCRIPTION: A convict is sentenced to twenty-one years in prison. He begs his sweetheart, for whom he endured a dirty jail, to ask the governor for clemency. As nothing seems to come of this, he warns young men not to trust women
AUTHOR: Bob Miller?
EARLIEST_DATE: 1930 (recording, Lester McFarland & Robert Gardner)
KEYWORDS: prison rejection
FOUND_IN: US(Ap,SE,So) Britain(England)
REFERENCES: (8 citations)
Laws E16, "Twenty-One Years"
Randolph 168, "Twenty-One Years" (4 texts plus an excerpt, 1 tune, with the last three texts being diverse sequels to the first text and excerpt)
Randolph/Cohen, pp. 156-158, "Twenty-One Years" (1 text, 1 tune -- Randolph's 168A)
BrownIII 352, "Twenty-One Years" (1 text)
MHenry-Appalachians, pp. 69-70, "Twenty-One Years" (1 text)
MacSeegTrav 100, "Twenty-One Years" (2 texts, 2 tunes)
JHJohnson, pp. 41-43, "Twenty-One Years" (1 text)
DT 354, (YRS21*)
Roud #2248
RECORDINGS:
Edward L. Crain, "Twenty-One Years" (Crown 3238, 1932)
Lonesome Pine Fiddlers, "Twenty-One Years" (RCA Victor 20-5011, 1952)
Frank Luther, "Twenty-One Years" (Polk 9087, n.d.)
Lester McFarland & Robert Gardner, "Twenty-One Years" (Brunswick 483, 1930)
Bob Miller, "Twenty-One Years" (Supertone S-2764, c. 1931)
[Bob] Miller & [Barney] Burnett, "Twenty One Years" (Champion 15985, 1930) (OKeh 45442/OKeh 45541, 1930) (Montgomery Ward M-4964, 1936)
New Lost City Ramblers, "Twenty-One Years" (on NLCR13)
Riley Puckett, "Twenty-One Years" (Columbia 15719-D, 1932; rec. 1931)
Red River Dave, "Twenty-One Years" (Musicraft 287, 1944)
Renfro Valley Boys [Karl Davis & Harty Taylor], "Twenty One Years" (Paramount 3311/Broadway 8318, rec. 1932)
Dick Robertson, "Twenty-One Years" (Victor 23616, 1932; Montgomery Ward M-3311, n.d.; rec. 1931)
Carson Robison's Trio, "Twenty-One Years" (Banner 32305/Oriole 8100, 1931
Kate Smith, "Twenty-One Years" (Columbia 2605-D, 1932)
Uncle Bud & his Plow Boys, "Twenty-One Years" (Clarion 5418-C, 1931)
Marc Williams, "Twenty-One Years" (Decca 5010, 1934)
SAME_TUNE:
Gene Autry & Jimmy Long, "Answer to 21 Years" (Banner 32761 [as Gene Autry]/Melotone 12690 [as Gene Autry]/Vocalion 5497/Conqueror 8092, 1933)
Don Hall Trio, "Answer to Twenty-One Years" (Victor 23782/Bluebird B-5004 [as the Rose Family], 1933)
Log Cabin Boys, "Answer to 21 Years" (Decca 5035, 1934)
Jimmy Long, "The Answer to 21 Years" (Champion 16632, 1933; Champion 45023, 1935)
Ernest Hare, "New Twenty-One Years" (Columbia 2602-D, 1932)
Zora Layman, "The Answer to 21 Years" (Banner 32722/Melotone M-12651, 1933)
Frank Luther Trio  "New Twenty-One Years" (Vocalion 5491, c. 1932; Melotone 12602/Banner 32679 [both as Buddy Spencer's Trio]/Perfect 12884 [as Buddy Spencer]/Conqueror 8100, 1933; rec. 1932)
Bob Miller, "New Twenty-One Years" (Columbia 15739-D [as Bob Ferguson], 1932) (Electradisk 1907 [as Palmer Trio], 1933) (Victor 23693, 1932; Bluebird B-5013[as Bill Palmer Trio]/Montgomery Ward M-4233, 1933)
Lester McFarland, "Twenty-One Years, No. 2" (Brunswick 596, 1932)
Bob Miller, "New Twenty-One Years" (Columbia 15739-D, 1932) (Electradisk 1907, c. 1932) (Montgomery Ward M-4233, 1933)
Dan Parker, "New 21 Years" (Crown 3266, 1932) [I strongly suspect this is a pseudonym, but since I don'e know whether it's Frank Luther or Bob Miller I give it its own listing for now]
Dick Robertson, "New Twenty-One Years" (Victor 23647, 1932/Montgomery Ward M-4821, 1935)
NOTES: The copyright and collection information on this song reveal something or other. The notes in Randolph's second edition list it as copyright 1931 by Bob Miller. But Randolph's informant, Lillian Short, thought she learned it in 1931, and not from Miller. Henry's version is from 1932; Brown's dates from around 1936. Plus the three sequels, which Laws considers distinct, were collected 1935, 1934, and 1941.
Johnson's book, printed in 1935, shows no knowledge of an author; neither does Laws, nor Brown, though Norm Cohen accepts the attribution to Miller.
Draw your own conclusions. - RBW
Well, the McFarland-Gardner record was made in June 1930 and probably issued later that year, so Ms. Short could well have learned it from there. In the discographical notes to that record, though, the author credit is given to Miller. The Robison recording also dates from that year. - PJS
File: LE16
===
NAME: Twenty-Third, The
DESCRIPTION: "The Twenty-third was drawn in line and ready for the strife, Each man for his country would freely give his life...." A toast to the soldiers who fought bravely "On the thirty-first of May in the Shenandoah lowlands, lowlands low...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Warner)
KEYWORDS: battle Civilwar
FOUND_IN: US(MA)
REFERENCES: (1 citation)
Warner 36, "The Twenty-Third" (1 text, 1 tune)
ST Wa036 (Partial)
Roud #7454
NOTES: The fragment given by the Warners (collected from Yankee John Galusha) is historically troublesome; I suspect it is damaged. There were no Civil War battles fought on May 31 in the Shenandoah valley!
The logical guess would be that the reference is to Jackson's Shenandoah campaign of 1862. Fighting was almost constant in May and June of that year -- but on May 31 Jackson was extracting his troops from between converging Federal columns.
The song does not really identify the regiment, but here we can make a better guess. Even though John Galusha was from New York, it is not the 23rd New York (which, unlike the formation in the song, did not have a colonel named Neal).
I suspect it is the 23rd Pennsylvania, which was commanded from February 1862 by Colonel Thomas Hewson Neill. This regiment, however, was in the Peninsular Campaign, not the Shenandoah campaign (it was in Couch's first division of Keyes's Fourth Corps).
If that is the case, we have a "fit" for the battle: It was the battle of Fair Oaks/Seven Pines, May 31-June 1, 1862. At that time, according to _Battles and Leaders of the Civil War_, volume II, p. 218, it was in Abercrombie's second brigage of Couch's division. What's more, it played a major role in the battle -- Abercrombie's brigade suffered 624 casualties, which is probably in excess of 15% of its available strength, and the second-highest brigade total in the Union army.
Thus we must suspect the "Shenandoah" reference to be in error -- though even it can be explained.
Later in the war, the 23 Pennsylvania was in the Sixth Corps (part of the first brigade, third division from Fredericksburg to Gettysburg; at the Wilderness, it was part of 4/1/VI), and the Sixth Corps was sent to the Shenandoah in 1864. We know, however, that that is not the battle mentioned; by that time Neill was commanding a brigade in a different division of the corps.
Still, it might explain the confusion: Originally the song was an ode to the 23 Pennsylvania, with references to its various exploits, and a chorus referring to the Shenandoah campaign was transferred to the section about Fair Oaks/Seven Pines.
Who Boggs was I cannot guess; there was no general by that name, nor Pennsylvania colonel, but odds are that he was a company officer anyway.
It's interesting to observe that John Galusha knew another song ("The Irish Sixty-Ninth") about a Pennsylvania regiment that fought at Fair Oaks. Did he at some point know someone with a large collection of Pennsylvania songs? - RBW
File: Wa036
===
NAME: Twila Was a City Maiden
DESCRIPTION: The singer, a country boy, describes meeting and falling in love with a beautiful city girl. He begs her to marry him, and for a while they exchange love letters. But eventually she grows tired of him and marries another man
AUTHOR: unknown
EARLIEST_DATE: 1932 (Randolph)
KEYWORDS: love courting separation betrayal marriage
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 821, "Twila Was a City Maiden" (1 text)
Roud #7436
File: R821
===
NAME: Twilight A-Stealing
DESCRIPTION: "Twilight a-stealing over the sea, Shadows are falling, dark on the lea, Borne on the night wind, voices of yore Come from the far-off shore." The singer tells of the home beyond the twilight where memories and good things wait
AUTHOR: unknown
EARLIEST_DATE: 1928 (recording, Stoneman Family)
KEYWORDS: religious home
FOUND_IN: US
REFERENCES: (2 citations)
Ritchie-SingFam, pp. 30-31, "[Twilight A-Stealing]" (1 text, 1 tune)
Ritchie-Southern, p. 49, "Twilight A-Stealing" (1 text, 1 tune)
Roud #5745
RECORDINGS:
Ritchie Family, "Twilight A-Stealing" (on Ritchie03)
The Stoneman Family, "Twilight Is Stealing over the Sea" (Victor, unissued, 1928)
File: JRSF030
===
NAME: Twin Ballots, The
DESCRIPTION: Two ballots are cast together on election day. One is by the local brewer, the other by a "Sunday school man." The Sunday school man spends all day denouncing saloons, but votes for rum. The song waxes sarcastic about this hypocrisy
AUTHOR: unknown
EARLIEST_DATE: 1925 (Randolph)
KEYWORDS: drink political clergy
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 310, "The Twin Ballots" (1 text, 1 tune)
Randolph/Cohen, pp. 259-206, "The Twin Ballots" (1 text, 1 tune -- Randolph's 310)
DT, TWNBLLT*
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), p. 211, "The Twin Ballots" (1 text)
ST R310 (Partial)
Roud #7787
File: R310
===
NAME: Twin Lakes
DESCRIPTION: "As I was sitting in my own cozy corner, Thinking all on a few dollars to make, My wife says ... They're making good wages up on the Twin Lakes." He finds the contractors "keep you right down with their foot on your neck ... keep clear ... of Twin Lakes"
AUTHOR: unknown
EARLIEST_DATE: 1929 (Greenleaf/Mansfield)
KEYWORDS: lumbering hardtimes logger work money
FOUND_IN: Canada(Newf)
REFERENCES: (4 citations)
Greenleaf/Mansfield 161, "Twin Lakes" (1 text, 1 tune)
Peacock, pp. 761-762, "Twin Lakes" (1 text, 1 tune)
Doyle3, pp. 79-80, "Twin Lakes" (1 text, 1 tune)
Blondahl, p. 51, "Twin Lakes" (1 text, 1 tune)
Roud #17693
RECORDINGS:
Omar Blondahl, "Twin Lakes" (on NFOBlondahl02, NFOBlondahl03)
CROSS_REFERENCES:
cf. "Jerry Ryan" (theme)
cf. "The Track to Knob Lake" (lyrics)
NOTES: The AND [Anglo-Newfoundland Development] company was involved in logging across Newfoundland.
Greenleaf/Mansfield says "most of the lumbering is let out to individuals who do it under contract, and 'subbing' means to take a sub-contract.  Twin Lakes is in the interior of the island [Newfoundland]." - BS
File: Doyl3079
===
NAME: Twinkle, Twinkle, Little Star
DESCRIPTION: "Twinkle, twinkle little star." The singer wonders what the star is. It shows its light while the sun is down. It "lights the traveller in the dark" so he can see which way to go.
AUTHOR: Jane Taylor (1783-1824)
EARLIEST_DATE: 1806 (Rhymes for the Nursery, according to Opie-Oxford2)
KEYWORDS: lyric nonballad
FOUND_IN: US
REFERENCES: (4 citations)
Opie-Oxford2 489, "Twinkle, twinkle, little star" (1 text)
Baring-Gould-MotherGoose #168, pp. 125-126, "(Twinkle, twinkle, little star)"
MHenry-Appalachians, p. 243, (no title) (1 fragment)
Fuld-WFM, pp. 593-594, "Twinkle, Twinkle, Little Star -- (ABCDEFG; Baa, Baa, Black Sheep; Schnitzelbank)"
CROSS_REFERENCES:
cf. "Baa Baa Black Sheep" (tune)
NOTES: According to Fuld, the tune of this first appeared in 1761 as "Ah! Vous Dirai-Je, Maman."  The tune had sundry English lyrics before being united with the Taylor words apparently in 1838.
The popularity of the piece shows in the various parodies, notably Carroll's "Twinkle, Twinkle, Little Bat." - RBW
File: OO2489
===
NAME: Twins, The
DESCRIPTION: 
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: 
FOUND_IN: 
REFERENCES: (1 citation)
The One Thing or the Other
File: K209
===
NAME: Twist About, Turn About, Jump Jim Crow: see Jump Jim Crow (File: Gilb018)
===
NAME: Twistification: see Weevily Wheat (File: R520)
===
NAME: Twisting on the Train: see Brakeman on the Train (File: LLab099)
===
NAME: Two Born Brothers: see The Twa Brothers [Child 49] (File: C049)
===
NAME: Two Budding Lumberjacks, The
DESCRIPTION: Two lumberjacks work for the Underhills "upon a floating bog Upon Dungarvon's Flats." Whistling Rufus criticizes them for leaving a log behind. Instead of going back for the log their father takes a fence rail from someone else "and call it square"
AUTHOR: Ben, Frank and Albert Peters, 1895 (Manny/Wilson)
EARLIEST_DATE: 1962 (Manny/Wilson)
KEYWORDS: lumbering
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 43, "The Two Budding Lumberjacks" (1 text, 1 tune)
ST MaWi043 (Partial)
Roud #9185
NOTES: Manny/Wilson: The song is about an experience Ben [age 12] and Frank [age 14] Peters, and their father Leon taking sub-contracts from Millet Underhill "who ran lumber camps for the Snowball Lumber Company of Chatham." The ballad says they came from Prince Edward's Isle. - BS
Albert Peters, the informant, was the younger brother of the two boys involved in the exploit. Reading the plot, you would probably think this a humorous song. It isn't, somehow. - RBW
File: MaWi043
===
NAME: Two Constant Lovers, The
DESCRIPTION: Dialog between Sarah Barnwell and Samuel. Her friends would kill him. He would fight for her. Her brother, Captain Barnwell, comes. After Sarah's failed intervention they duel. Samuel wins. Brother agrees to the marriage as the price of his life.
AUTHOR: unknown
EARLIEST_DATE: 1629 (broadside, according to Bruce Olson's site at California State University Fresno)
KEYWORDS: dialog courting fight brother
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

Roud #955
BROADSIDES:
Bodleian, Douce Ballads 2(232b), "The Two Constant Lovers" or "A Pattern of True Love, exprest in this dialogue between Samuel and Sarah" ("As I by chance was walking"), F. Coles (London), 1663-1674; also 4o Rawl. 566(170), "The Two Constant Lovers" or "A Pattern of True Love, exprest in this dialogue between Samuel and Sarah"
CROSS_REFERENCES:
cf. "Sarah Barnwell" (plot) and notes there
File: BrTCLPoL
===
NAME: Two Cormacks Who Died Innocent in Front of Nenagh Gaol, The
DESCRIPTION: The condemned stand on the trap and proclaim their innocence. "The day of their execution, as they stood on the drop, The thunder came so dreadful that it did the people shock." At their death "the thunder still continued, with both lightning and rain"
AUTHOR: unknown
EARLIEST_DATE: 1858 (Zimmermann)
KEYWORDS: execution murder trial storm lament Ireland political
HISTORICAL_REFERENCES: May 11, 1858 - William and Daniel Cormack, or McCormack, are hanged for murder. (source: Zimmermann)
FOUND_IN: 
REFERENCES: (1 citation)
Zimmermann 64, "The Lamentation of the Two Cormacks Who Died Innocent in Front of Nenagh Gaol" (1 text, 1 tune)
NOTES: For another broadside on the same subject see Bodleian, Harding B 19(10), "Lamentation of The Two M'Cormacks Who Were Innocently Hanged at Nenagh Gaol" ("Come all yon Roman Catholics, I hope you will attend"), unknown, n.d.; also 2806 b.9(272), 2806 c.15(231), "Lamentation of The Two M'Cormacks Who Were Innocently Hanged at Nenagh Gaol" [the texts for this ballad are the same]
This broadside adds some details: the brother's names are William and Daniel, the murdered man's name is Ellis, and the judge's name is Keogh. It says nothing about the storm at the hanging.
Zimmermann: "A land agent detested by the people was shot near Templemore, County Tipperary, on 22nd October, 1857. Two brothers ... were charged with the murder upon very suspect evidence.... According to the _Tipperary Examiner_, 'the [execution] day was beautifully fine....' In the following weeks the excitement increased, and on 30th August, from twelve to fifteen thousand men assembled in a protest meeting on the place of the execution."
Zimmermann also refers to "a broadside ballad entitled 'The Memory of the two McCormacks Who Was Hanged at Nenagh Gaol', printed and sold in County Tipperary in 1908." - BS 
File: Zimm064
===
NAME: Two Crows, The: see The Three Ravens [Child 26] (File: C026)
===
NAME: Two Dollar Bill (Long Journey Home)
DESCRIPTION: Singer has lost "lost all my money but a two dollar bill"; he's homesick, lonesome and blue. He sees the smoke of a train, and says he's on his long journey home.
AUTHOR: unknown
EARLIEST_DATE: 1936 (recording, Monroe Brothers)
KEYWORDS: poverty homesickness loneliness train travel lyric nonballad
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 177, "My Long Journey Home" (1 text, 1 tune)
RECORDINGS:
Jim Eanes, "Long Journey Home" (Blue Ridge 201, n.d.)
Monroe Brothers, "My Long Journey Home" (Bluebird B-6422, 1936)
New Lost City Ramblers, "My Long Journey Home" (on NLCR03, NLCRCD1)
CROSS_REFERENCES:
cf. "Worried Man Blues" (tune)
NOTES: This should not be confused with the song composed by Rosa Lee and Doc Watson, "Your Long Journey." - PJS
File: CSW177
===
NAME: Two Drummers, The: see My Mother Was a Lady (File: LPnd217)
===
NAME: Two Dukes: see Six Dukes Went A-Fishing (File: FO078)
===
NAME: Two Dukes A-Roving: see Three Dukes (File: R551)
===
NAME: Two Faithful Lovers
DESCRIPTION: A story of a couple "yet, though feeble, old and gray / they're faithful lovers still." They've had "dull November hours as well as days of May" since they first courted. "Together hand-in-hand they pass, advancing down life's hill," faithful to the end
AUTHOR: unknown
EARLIEST_DATE: 1929 (recording, Rutherford & Foster)
KEYWORDS: age love marriage lover
FOUND_IN: US(Ap)
REFERENCES: ()

Roud #11515
RECORDINGS:
Recordings: [Leonard] Rutherford & [John] Foster, "The Faithful Lovers" (Challenge 423 [as Crocker & Cannon, "Two Faithful Lovers", 1929) (Brunswick 581, c. 1931; rec. 1930; on KMM)
File: Rc2FaLov
===
NAME: Two Gypsy Girls, The
DESCRIPTION: Dandling song. Two pretty Gypsy girls, Hat and Kate, go hawking with bundles on their backs and babies at their breasts. The boys sing, "He's a gay old singer/Here comes the galloping major"
AUTHOR: unknown
EARLIEST_DATE: 1962 or 1966 (collected from Caroline Hughes)
KEYWORDS: hunting humorous nonballad Gypsy
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
MacSeegTrav 125, "The Two Gypsy Girls" (1 text, 1 tune)
NOTES: This seems to be derived from a music-hall song, "The Galloping Major." - PJS
File: McCST125
===
NAME: Two Hundred Years A-Brewing
DESCRIPTION: A song for "thirsty tourists" about "our famous stout" made "down by the Liffeyside," "our grand brewery at the top of James's Street" and "Our barges neat nigh Watling Street ... full of double X," a favourite at the Brien Boru after a funeral.
AUTHOR: unknown
EARLIEST_DATE: 1961 (recording, Margaret Barry and Michael Gorman)
KEYWORDS: commerce drink Ireland nonballad
FOUND_IN: 
REFERENCES: ()

Roud #12930
RECORDINGS:
Margaret Barry and Michael Gorman, "Two Hundred Years A-Brewing" (on Voice13)
NOTES: See "The Wreck of the Vartry" for more about Double X, the Guiness brewery and barges on the Liffey. - BS
File: Rc200YB
===
NAME: Two Irish Laborers
DESCRIPTION: "We are two Irish laborers, as you can plainly see, From Donegal we came when small unto America." Railroad work did not pay well, so they have turned to construction. They hope to return to Ireland, and promise a welcome to any who visit them there
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: work home Ireland
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 70, "Two Irish Laborers" (1 text)
Roud #9563
File: Dean070B
===
NAME: Two Irishmen, Two Irishmen: see Teasing Songs (File: EM256)
===
NAME: Two Jinkers
DESCRIPTION: The two jinkers of the title are Jimmie Walsh and Steven. Bad luck to have on board,  they were only hired here because men are hard to find. Their ship runs aground and Jimmie and Steven are responsible. The perturbed singer plans to quit his job. 
AUTHOR: Patrick Kevin Devine ?
EARLIEST_DATE: 1940
KEYWORDS: ship wreck hardtimes work
FOUND_IN: Canada(Newf)
REFERENCES: (3 citations)
Doyle2, p. 11, "Two Jinkers" (1 text, 1 tune)
Doyle3, p. 82, "Two Jinkers" (1 text, 1 tune)
Blondahl, pp. 34-35, "Two Jinkers" (1 text, 1 tune)
Roud #7315
ALTERNATE_TITLES:
Jimmy Walsh and Stephen
NOTES: People who are bad luck on ships are referred to as "Jonahs." [After Jonah, in the Bible, whose presence aboard a ship brought on a storm. - RBW] Smaller vessels were usually run on a family basis or by a very close group, which led to intolerance of strangers. For more about Jonahs, consult Horace Beck, _Folklore and the Sea_ (Mystic, Conn.: Mystic Seaport Museum, 1985) 303-304. - SH
The author is named by GEST Songs of Newfoundland and Labrador site. - BS
File: Doy11
===
NAME: Two Lanterns, The: see The Child of the Railroad Engineer (The Two Lanterns) (File: R685)
===
NAME: Two Letters, The (Charlie Brooks; Nellie Dare)
DESCRIPTION: Charlie writes that he wishes to break off the engagement, saying it would never work, and asks for his ring back. (Nellie) returns ring, photos, etc. She asks him to tell his new girl that he once gave another his ring. She claims she burned his letters
AUTHOR: unknown
EARLIEST_DATE: 1926 (recording, Vernon Dalhart)
KEYWORDS: betrayal love request
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 735, "Charlie Brooks" (2 texts, 1 tune)
Randolph/Cohen, pp. 486-489, "Charley Brooke" (1 text, 1 tune -- Randolph's 735A)
Roud #3534
RECORDINGS:
Leo Boswell and Elzie Floyd, "Nellie Dare" (Columbia 15150-D, 1927)
Vernon Dalhart, "Nellie Dare and Charlie Brooks" (Brunswick 143) (Victor 20058, 1926)
Bradley Kincaid, "Charlie Brooks" (Superior 2788, 1932)
Holland Puckett, "Charles A. Brooks" (Gennett 6163/Herwin 75556 [as by Robert Howell], 1927)
ALTERNATE_TITLES:
Ella Dare
NOTES: Although this is not, to my knowledge, based on an actual incident, things like this were in fact common in the nineteenth century. In fact, it happened to none other than Robert Peary, the future "discoverer" of the North Pole. (For Peary and his almost certainly false polar claim, see "Hurrah for Baffin's Bay"). According tto Robert M. Bryce, _Cook & Peary: The Polar Controversy, Resolved_, Stackpole, 1997, p. 18, "On October 7, 1879, [Peary] asked [his fiancee] for his release [apparently on the basis that they were living in different cities and he had no intention to return]. In return he received a letter asking for an explanation, and when he had given it, another, reproachful in tone. It closed with the remark that he considered their correspondence at an end, and she requested that if Bert [Peary] had anything further to say, he should address it to her father. In December she returned all of his letters, and he hers, along with her ring." - RBW
File: R735
===
NAME: Two Little Blackbirds
DESCRIPTION: "Two little blackbird in the ring, One named Peter, one named Paul. Fly away, Peter, fly away, Paul, Come the sea (?), come the fall." "Under the carpet (?) we must go, Like a jaybird (?) in the air." "Then, Sally, will you marry?"
AUTHOR: unknown
EARLIEST_DATE: 1947 (recorded from Elda Blackwood); Warner compares it to a 1765 nursery rhyme
KEYWORDS: bird marriage floatingverses nonballad
FOUND_IN: West Indies
REFERENCES: ()

Roud #16401
RECORDINGS:
Elda Blackwood, "Two Little Blackbirds" (on USWarnerColl01)
NOTES: The Warners identify this with the mother goose rhynme, "There were two Blackirds Sta upon a Hill, The one nam'd Jack, The other nam'd Gill, Fly away Jack, Fly away Gill, Come again Jack, Come again Jill," now more commonly known as "Two little dicky birds." The similarity in lyrics is obvious, but the shift from Jack and Gill to Peter and Paul is peculiar, and most of Elda Blackwood's version is distinct anyway.
Unfortunately, the Warner recording of Blackwood is so noisy as to verge on incomprehensible (note the number of question marks in my transcription). I think we must treat the matter as unsettled. - RBW
File: Rc2LiBla
===
NAME: Two Little Children: see Orphan's Lament (Two Little Children, Left Jim and I Alone) (File: BrII150)
===
NAME: Two Little Fleas
DESCRIPTION: "Two little fleas sat on a rock. One to the other said: I've had no place to hang my hat Since my poor dog's been dead. I've searched this whole world over; No longer shall I roam. The first dog that shall show himself Shall be my home, sweet home."
AUTHOR: unknown
EARLIEST_DATE: 1923 (Brown)
KEYWORDS: dog humorous food bug
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 192, "Two Little Fleas" (1 text)
Roud #15771
File: Br3192
===
NAME: Two Little Girls in Blue
DESCRIPTION: A young man finds his uncle gazing at a photograph in tears. When asked why, the uncle explains the photo is of the boy's mother's sister, who married the uncle. The uncle and his wife have parted, and now he regrets it
AUTHOR: Charles Graham
EARLIEST_DATE: 1893 (original publication)
KEYWORDS: family separation
FOUND_IN: US(MA,MW) Canada(Newf)
REFERENCES: (7 citations)
FSCatskills 106, "Two Little Girls in Blue" (1 text, 1 tune)
Dean, pp. 74-75, "Two Little Girls in Blue" (1 text)
Randolph 816, "Two Little Girls in Blue" (1 text)
Cambiaire, p. 12, "Two Little Girls in Blue" (1 text)
MHenry-Appalachians, pp. 163-164, "Two Little Girls in Blue" (1 text)
Leach-Labrador 61, "Two Little Girls in Blue" (1 text)
Spaeth-ReadWeep, pp. 181-181, "Two Little Girls in Blue" (1 fragmentary text, 1 tune)
ST FSC106 (Partial)
Roud #2793
RECORDINGS:
Leo Boswell, "Two Little Girls in Blue" (Columbia 15290-D, 1928)
W. C. Childers, "Two Little Girls in Blue" (Champion 16098, 1930)
Murray Keller, "Two Little Girls in Blue" (Brunswick 188, 1927)
Bradley Kincaid, "Two Little Girls in Blue" (Decca I.4456, n.d.)
Bela Lam and His Green County Singers, "Two Little Girls in Blue" (OKeh, unissued, 1927)
CROSS_REFERENCES:
cf. "'Tis Not Always the Bullet that Kills" (plot)
SAME_TUNE:
Two Little Girls In Blue (Parody) (Meredith/Covell/Brown, pp. 125-126)
File: FSC106
===
NAME: Two Little Kittens
DESCRIPTION: "Two little kittens one stormy night Began to quarrel and then to fight. One had a mouse, the other had none...." The two start to fight; the woman sweeps them out into the snow. When finally allowed back in, they decide warmth is better than fighting
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: animal storm fight
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, pp. 184-185, "Two Little Kittens" (1 text, 1 tune)
ST FlBr184 (Partial)
Roud #5450
File: FlBr184
===
NAME: Two Little Niggers Black as Tar
DESCRIPTION: "Two little niggers black as tar, Tryin' to git to heaven on a 'lectric car, De street car broke, down dey fell; 'Stead a going to heaven they went to hell."
AUTHOR: unknown
EARLIEST_DATE: 1919 (Brown)
KEYWORDS: death Hell
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 467, "Two Little Niggers Black as Tar" (2 very short texts)
Roud #11788
File: Br4367
===
NAME: Two Little Orphans: see Orphan's Lament (Two Little Children, Left Jim and I Alone) (File: BrII150)
===
NAME: Two Lovers Discoursing [Laws O22]
DESCRIPTION: Mary accuses her lover of breaking his promise to marry her; he denies this and asks who has spread the rumor that he is courting Nancy. But he still will not wed, until Mary points out that even birds are truer than he is. He gives in; they are married
AUTHOR: unknown
EARLIEST_DATE: 1954 (Creighton-Maritime)
KEYWORDS: courting marriage promise infidelity
FOUND_IN: Canada(Mar)
REFERENCES: (5 citations)
Laws O22, "Two Lovers Discoursing"
Doerflinger, pp. 316-317, "Two Lovers Discoursing" (1 text, 1 tune)
Creighton-Maritime, p. 50, "Nancy's Courtship" (1 text, 1 tune)
Creighton-SNewBrunswick 31, "The Most Unconstant of Young Men" (1 text, 1 tune); 39A, "The True Lovers' Discussion" (1 text, 1 tune)
DT 481, TWOLOVRS
Roud #991
NOTES: Creighton-SNewBrunswick: "There must be some relation between 39A and B. The former seems to have originated with the folk and the latter to have been a literary composition taken over by the folk. They are placed together because of subject matter and also because singers give variants of the same title." If so they have grown so far apart that there is no hint in the words that they are related. For 39B see "The True Lovers' Discussion." - BS
It's interesting to note that both of the Creighton-SNewBrunswick versions of this song are from the same informant, but differ in both text and tune. Though it's perhaps not as exceptional as Creighton thinks; consider how many different versions *you* probably know of "The Gypsy Laddie." - RBW
File: LO22
===
NAME: Two Magicians, The: see The Twa Magicians [Child 44] (File: C044)
===
NAME: Two O'Donahues, The
DESCRIPTION: "We came from Tipperary a few short weeks ago, With spirits light and airy, two emigrants, you know." The two O'Donahues intend to get rich, return to Ireland, and become famous
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: home emigration
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, p. 130, "The Two O'Donahues" (1 text)
Roud #9587
File: Dean130B
===
NAME: Two Old Crows: see The Three Ravens [Child 26] (File: C026)
===
NAME: Two Professional Hums, The: see The Great American Bum (Three Jolly Bums) (File: FaE192)
===
NAME: Two Ravens, The: see The Three Ravens [Child 26] (File: C026)
===
NAME: Two Rigs of Rye [Laws O11]
DESCRIPTION: (The girl tells her lover that her family opposes her marriage.) Uncertain of her dowry, he has doubts about the marriage. When she breaks into tears, he assures her he did not mean it. The two settle down to a long and happy marriage
AUTHOR: unknown
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: courting dowry marriage
FOUND_IN: US(MW) Britain(England,Scotland)
REFERENCES: (4 citations)
Laws O11, "Two Rigs of Rye"
Ord, pp. 31-32, "The Rigs of Rye" (1 text, 1 tune)
Gardner/Chickering 58, "Two Rigs of Rye" (1 short text, 1 tune)
DT 475, RIGSORYE*
ST LO11 (Full)
Roud #985
BROADSIDES:
NLScotland, RB.m.143(122), "Twas in the Month of Sweet July," Poet's Box (Dundee), c. 1890
ALTERNATE_TITLES:
The Rigs of Rye
File: LO11
===
NAME: Two Ruby Red Lips: see The Wayward Boy" (File: EM086)
===
NAME: Two Sisters That Loved One Man, The: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Two Sisters, The: see The Twa Sisters [Child 10] (File: C010)
===
NAME: Two Soldiers, The: see The Last Fierce Charge [Laws A17] (File: LA17)
===
NAME: Two Sweethearts
DESCRIPTION: "A bunch of young fellows one night at a club Were telling of sweethearts they had." They tease one boy about not having a love; he says he loves two women: His mother and his sweetheart
AUTHOR: Words: E. P. Moran / Music: J. Fred Holf ?
EARLIEST_DATE: 1897 (copyright claim)
KEYWORDS: mother love
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 864, "Two Sweethearts" (1 text)
Roud #4231
RECORDINGS:
Carter Family, "Two Sweethearts" (Bluebird B-6106/Montgomery Ward M-4433, 1935; Regal Zonophone [Australia] G23169, n.d.)
File: R864
===
NAME: Two T.D.'s
DESCRIPTION: Political rhymes: "Artists draw pictures and barmaids draw beer"; the TD's draw 480 a year. Hitler brags of conquering the Rhineland; we conquered Beare Island. Telegram cost is a hardship on us and delivery is faster by bus....
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: humorous nonballad political
HISTORICAL_REFERENCES: 1936 - German forces reoccupy the Rhineland, occupied and demilitarized by the French after World War I
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 78-79, "Two T.D.'s" (1 text, 1 tune)
NOTES: OCanainn: "T.D. (teachta dala or member of parliament)" - BS
File: OCan078
===
NAME: Two Travellers, The
DESCRIPTION: Two travellers compare notes. One has been everywhere, done everything and seen the wonders of the world. The other asks what of Ireland the first has seen: "the man that ne'er saw Mullinahone Shouldn't say he had travelled at all"
AUTHOR: C.J. Boland
EARLIEST_DATE: 1965 (OLochlainn-More)
KEYWORDS: travel Ireland humorous nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More, pp. 259-261, "The Two Travellers" (1 text)
SAME_TUNE:
cf. "Hannigan's Aunt" (tune)
File: OLcM259
===
NAME: Two We Sunk, and Two We Brunt: see The Royal Oak (File: VWL091)
===
NAME: Two White Horses (I)
DESCRIPTION: "Two white horses, Two white horses, side by side (x3), Nobody can ride but the sanctified." "Daniel was a man in the lion's den The good Lord proved to be Daniel's friend." "Zek'l was a man and he rassled with sin Heb'n gate opened... he rolled... in"
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: religious Bible nonballad
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
BrownIII 646, "Two White Horses Side by Side" (1 fragment)
Sandburg, pp. 472-473, "Two White Horses" (1 text, 1 tune)
Roud #11939
NOTES: The story of Daniel in the lion's den is found in 6:6-24. There is no explicit reference to Ezekiel wrestling with sin (let alone rolling right into heaven) -- but certainly Ezekiel spent more time than any other prophet wrestling with wild, crazed visions. - RBW
File: San472
===
NAME: Two White Horses (II): see See That My Grave Is Kept Clean (File: ADR92)
===
NAME: Two White Horses In a Line: see See That My Grave Is Kept Clean (File: ADR92)
===
NAME: Two White Horses Side by Side: see Two White Horses (I) (File: San472)
===
NAME: Two-Gun Cowboy, The (Son of a Gun)
DESCRIPTION: "Out on a ranch way out west," the cowboys "never rest" until Saturday. One cowboy rides into town to see his girl, and is greeted by a shot through his hat. He finishes off the assailants, meets his girl, and heads off to be married
AUTHOR: unknown
EARLIEST_DATE: 1932 (Henry, collected from Jessie Pressley)
KEYWORDS: cowboy fight death marriage horse
FOUND_IN: US(SE)
REFERENCES: (1 citation)
MHenry-Appalachians, pp. 91-92, "The Two-Gun Cowboy" (1 text)
Roud #12709
NOTES: This is so obviously false-to-life that I find myself wondering if it doesn't come from a movie Western. I really doubt it derived from actual cowboys. But I don't know who would make up such a thing. - RBW
File: MHAp091
===
NAME: Tyburn Hill
DESCRIPTION: "A beggar man laid himself down to sleep, Rumsty-o, Rumsty-o. A beggar man laid himself down to sleep, On the banks of the Mersey so wide and steep." Two thieves come by and rob the beggar. The singer sees them in the dock, then on Tyburn gallows
AUTHOR: unknown
EARLIEST_DATE: 1939 (Linscott)
KEYWORDS: thief begging punishment execution
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Linscott, pp. 295-296, "Tyburn Hill" (1 text, 1 tune)
ST Lins295 (Partial)
Roud #3746
NOTES: Linscott points out that executions at Tyburn (Tye Burn) stopped in 1783 (after which time they took place at Newgate), implying that that dates this song. This doesn't really follow; "Tyburn" had by then become a byword of sorts.
In fact the song seems somewhat confused; why would robbers who worked near the Mersey be hanged at Tyburn? Also, the form looks rather like a singing game. It's most unfortunate that we can't find more versions of this piece. - RBW
File: Lins295
===
NAME: Tying a Knot in the Devil's Tail [Laws B17]
DESCRIPTION: Two cowboys, having spent a wild time in town, are returning to camp when they meet the Devil. The Devil tries to collect their souls; the cowboys have the better of the fight, leaving the Devil tied up, branded, and with its tail in knots
AUTHOR: almost certainly Gail Gardner
EARLIEST_DATE: 1917
KEYWORDS: Devil cowboy fight humorous
FOUND_IN: US(SW)
REFERENCES: (11 citations)
Laws B17, "Tying a Knot in the Devil's Tail"
Larkin, pp. 75-78, "Rusty Jiggs and Sandy Sam" (1 text, 1 tune)
Fife-Cowboy/West 74, "Tying Knots in the Devil's Tail" (1 text, 1 tune)
Lomax-FSNA 203, "Tyin' a Knot in the Devil's Tail" (1 text, 1 tune)
Lomax-ABFS, pp. 406-409, "Tying a Knot in the Devil's Tail" (1 text)
Ohrlin-HBT 27, "The Sierry Petes" (1 text, 1 tune)
Logsdon 19, pp. 127-132, "The Soughrty Peaks" (1 text, 1 tune)
Darling-NAS, pp. 174-176, "Tying a Knot in the Devil's Tail" (1 text)
Silber-FSWB, p. 112, "Tyin' A Knot In The Devil's Tail" (1 text)
DT 384, DVLTAIL*
ADDITIONAL: Hal Cannon, editor, _Cowboy Poetry: A Gathering_, Giles M. Smith, 1985, pp. 3-5, "The Sierry Petes" (1 text)
Roud #3238
RECORDINGS:
Cisco Houston, "Tying a Knot in the Devil's Tail" (Disc 5069, 1940s)
Harry Jackson, "Tying a Knot in the Devil's Tail" (on HJackson1)
Powder River Jack & Kitty Lee, "Tying A Knot In The Devil's Tail" (Victor 23527, 1930; Montgomery Ward M-4462, 1934; on AuthCowboys, BackSaddle, WhenIWas1)
CROSS_REFERENCES:
cf. "De Hoffnung" (theme)
SAME_TUNE:
East Texas Red (by Woody Guthrie) (on Thieme03)
NOTES: Logsdon lists various authors who have been credited with this piece, but states pretty unequivocally that Gail Gardner is the actual author. Gardner did obtain the copyright, and Logsdon's evidence does add up to a very strong case; none of the other claimants appear to have any real supporting documentation.
According to Cannon, the "Sierry Petes" (Gardner's official title) refers specifically to the Sierra Prieta range in Arizona. - RBW
File: LB17
===
NAME: Tying Knots in the Devil's Tail: see Tying a Knot in the Devil's Tail [Laws B17] (File: LB17)
===
NAME: Tylus and Talus
DESCRIPTION: "Tylus and talus and rippity-ting, All the girls gather and all the boys sing, Choose you the nearest one, Choose you the dearest one, All join together to make a big ring." Verses begin "Tylus and talus" and encourage the couples
AUTHOR: unknown
EARLIEST_DATE: 1930 (Randolph)
KEYWORDS: playparty courting
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 542, "Tylus and Talus" (1 text, 1 tune)
Roud #7655
File: R542
===
NAME: Tyne Exile's Lament, The
DESCRIPTION: "I sat by the side of a broad rolling river That sparkles along on its way to the sea; By my thoughts fly again o'er the wide-heaving main... I wish I were again on the banks of the Tyne." The singer recalls Tynside and hopes to be buried there
AUTHOR: Words: Anonymous (John Stokoe)/Music: Samuel Reay
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: homesickness river exile burial
FOUND_IN: 
REFERENCES: (1 citation)
Stokoe/Reay, pp.  78-79, "The Tyne Exile's Lament" (1 text, 1 tune)
Roud #3143
NOTES: The notes in Stokoe/Reay say that an anonymous author wrote this and wanted his name to remain secret. It seems rather likely that Stokoe himself was responsible for this banal piece of local patriotism. - RBW
File: StoR978
===
NAME: Tyrie Plooin' Match, The
DESCRIPTION: The contestants at Tyrie "warlike were ... Their tickets drew wi' anxious han', Ilk ane thinkin' he'd be the man." "They did their wark in first-rate style." "Jim was well pleased" although he had the tenth prize, "the hinmost ane o' a' the lot"
AUTHOR: William D. Jeffrey (1845-1892) (source: Greig)
EARLIEST_DATE: 1866 (copy of text, according to Greig)
KEYWORDS: contest farming
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #161, p. 2, ("A plooin' match here I'll insert") (1 text)
GreigDuncan3 424, "The Tyrie Plooin' Match" (1 text)
Roud #5941
NOTES: Greig: "... I would extract a few verses." - BS
File: GdD3424
===
NAME: U. S. A., The
DESCRIPTION: "Tell me, daddy, tell me, why the men in yonder crowd, Can you tell me why they are marching...?" The father tells his son that they are marching because they are proud of American freedom; both his grandfathers died fighting for it
AUTHOR: unknown
EARLIEST_DATE: 1922 (Dean)
KEYWORDS: patriotic America death nonballad
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Dean, pp. 28-29, "The U. S. A." (1 text)
Roud #9555
NOTES: A;though it seems certain that this hearkens back to the American Civil War (there was no other war in American history where the odds are significant that both of a child's grandparents would have died), I have been unable to find out anything more about the song. - RBW
File: Dean028
===
NAME: U. S. Lightship 98, The
DESCRIPTION: "They may boast of their dreadnaughts and cruisers likewise... But there is another whose fame I'll relate, It's Uncle Sam's little watchdog, the L. V. 98." She has a red hull, a small, efficient crew. It's a lonely job. We should take off our hats to her
AUTHOR: probably Frank McCauley
EARLIEST_DATE: before 1952 (Walton collection)
KEYWORDS: ship nonballad
HISTORICAL_REFERENCES: November 6-13, 1913 - The Great Storm on the Lakes
FOUND_IN: US9MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 185-186, "The U. S. Lightship 98" (1 text)
NOTES: This song does not tell the fate of the _Lightship 98_, but if the vessel is remembered at all, it is as one of the vessels which sank in the "Great Storm of 1913." The _Lightship 98_, stationed near the foot of Lake Huron, foundered on the night on November 9-10; all of her six crewmen were lost.
William Ratigan's _Great Lakes Shipwrecks & Survivals_ (revised edition, Eerdmans, 1977), p 125, says "It is generally agreed that Lake Huron's 1913 storm was the greatest ever to strike the Lakes. Beyond all argument it must be called the worst in loss of life and loss of shipping. No other Lake storm in modern history even begins to compare with its toll of 235 lives and forty shipwrecks." On page 135, he quotes a monument set up at Port Sanilac, Michigan: "The grim toll was 235 seamen drowned, ten ships sunk, and more than twenty others driven ashore. Here on Lake Huron all 178 crewmen on the eight ships claimed by its waters were lost. For sixteen terrible hours gales of cyclonic fury made men and his machines helpless."
 Mark L. Thompson _Graveyards of the Lakes_ (Wayne State University Press, 2000), pp. 250, tells of the first storm flags being raised on Friday, November 7, "when the storm was still centered over Minnesota. It wasn't until late Sunday morning... that the worst of the storm hit the lakes." He observes that, because there was no flag for gale-force winds, many captains ignored the flags. Especially since the storm did not grow severe until two days after the flags went up. Thompson, p. 252, implies that this came about when a second low pressure system (this one from the south) collided with the pressure system which had formed over Lake Superior and headed east.
"Most of the twenty-four ships that sank or were seriously damaged on Lake Huron during the storm were sneaking along the west shore of the lake on Sunday when the approach of the second storm caused winds to veer unexpectedly to the northeast and leave them in dangerously exposed positions."
Even the first storm was fairly severe. Julius F. Wolff, Jr., _Lake Superior Shipwrecks_, Lake Superior Port Cities Inc., Duluth, 1990, p. 148, says that "Head-of-the-Lakes residents were enjoying lovely Indian Summer weather on Thursday, November 6, with the mercury at 58 degrees F... Storm warnings were raised at Duluth at 10:00 a.m., November 7. The weathermen were correct. A 60 mph gale  struck Duluth around 6 p.m., raging for several hours before diminishing to lesser blasts the next day. A sharp temperature drop saw the thermometer descending to 20 degrees above zero accompanied by strong winds and local snows." But, because the wind blew mostly down the lake, losses on Lake Superior were lighter than those on Lake Huron.
In all this, little wonder that none of the books specifically mention the _Lightship 98_.Thompson, p. 252, does mention the _Lightship 82_, which was based at Buffalo and sank with six sailors. There is even a photo of the _Lightship 82_ being salvaged; presumably the _Lightship 98_ was fairly similar.
Amazingly for such a major event, there seem to be few songs about ships lost in the 1913 storm. - RBW
File: WGM185
===
NAME: Uh-Uh, No: see No, John, No (File: R385)
===
NAME: Ulan Girls: see The Girls of Ulan (File: MA213)
===
NAME: Umeralla Shore, The: see The Eumerella Shore (File: MA155)
===
NAME: Un Canadien Errant
DESCRIPTION: Canadian French: A Canadien rebel has been forced from his home. Stopping by a stream, he bids it -- should it flow through his homeland -- to greet his friends. He promises not to forget his homeland
AUTHOR: M. A. Gerin-Lajoie
EARLIEST_DATE: 1842
KEYWORDS: exile rebellion Canada foreignlanguage
HISTORICAL_REFERENCES: 1837 - Revolt in Canada. The failure of the uprising forces many rebels into exile
FOUND_IN: Canada(Que)
REFERENCES: (5 citations)
Fowke/Johnston, pp. 26-27, "Un Canadien Errant" (1 text, 1 tune)
Fowke/Mills/Blume, pp. 82-84, "Un Canadien Errant" (1 text, 1 tune)
Fowke/MacMillan 4, "Un Canadien Errant" (1 English and 1 French version, 1 tune)
Silber-FSWB, p. 339, "Un Canadien Errant (An Exiled Canadien)" (1 text)
DT, CANADERR
RECORDINGS:
 Pete Seeger, "Un Canadien Errant" (on PeteSeeger29)
CROSS_REFERENCES:
cf. "An Anti-Rebel Song" (subject)
cf. "Farewell to Mackenzie" (subject)
NOTES: For further details about the Canadian revolt, caused by the oppression of an oligarchic government, see the songs mentioned in the cross-references. - RBW
File: FJ026
===
NAME: Un, Deux, Trois
DESCRIPTION: Creole French: "Un, deux, trois, Caroline qui fais comme sa, ma chere?" The singer asks Caroline what is the matter. She reports that mama says yes but papa says no. She is determined to have the young man anyway.
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: courting love family father mother foreignlanguage
FOUND_IN: US(So)
REFERENCES: (2 citations)
Scarborough-NegroFS, p. 120, "Un Deux Trois" (1 short text, 1 tune)
Lomax-ABFS, pp. 218-219, "Un, Deux, Trois" (1 text plus translation, 1 tune)
File: LxA218
===
NAME: Una Bhan (Fair Una)
DESCRIPTION: Irish Gaelic: Una's father locks her up rather than let her marry the singer. Ill, she sends for him; he finds the gates shut. If he doesn't hear from her before he has crossed the river, he won't return. A servant reaches him too late. Una dies of grief
AUTHOR: unknown
EARLIEST_DATE: 1960 (recording, Maire Aine Ni Dhonnchadha)
LONG_DESCRIPTION: Irish Gaelic: Una's father imprisons her in her room rather than allow her to marry the singer. Ill, she sends for him, but he finds the gates shut against him. Angry, he turns away, crying that if he doesn't hear from her by the time he has crossed the river, he'll never return. He hesitates midstream; a servant is sent after him, but he has crossed the river before the servant arrives. Una dies of grief; still bitter, he comes to visit her grave for the last time, asking her spirit to visit him (and telling her it's awful for her to be lying there with the rotting corpses). Nothing happens, and he turns away into the darkness
KEYWORDS: captivity disease grief hardheartedness courting love rejection corpse death mourning foreignlanguage lament father lover
FOUND_IN: Ireland
REFERENCES: (0 citations)
RECORDINGS:
Maire Aine Ni Dhonnchadha, "Una Bhan" (on TradIre01)
NOTES: Maire Aine Ni Dhonnchadha learned the song from an old woman in Rosaveel, the only person from whom it's apparently been collected. - PJS
File: RcUnaBha
===
NAME: Uncle Bill Teller
DESCRIPTION: "Uncle Bill Teller died las' fall, Young maiden, where ye bound to? We jigged t'ree days an' niver got one, Across de Western Ocean." "Bill K is de divil fer fat, Hang to 'er, b'ys, hang to 'er." "Billy K. got a fine old bark."
AUTHOR: unknown
EARLIEST_DATE: 1924 (England, Vikings of the Ice)
KEYWORDS: hunting derivative
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 106, "Uncle Bill Teller" (1 text)
CROSS_REFERENCES:
cf. "Across the Western Ocean" (form, lyrics)
NOTES: Evidently a sealing parody of "Across the Western Ocean." - RBW
File: RySma106B
===
NAME: Uncle Bud
DESCRIPTION: "Oh, Uncle Bud goin' down the road, Haulin' women by the wagon load, Uncle Bud (x3), Bud, Doggone it, Uncle Bud." About Uncle Bud's odd exploits, sexual anatomy, and extravagant farming methods, as well as poverty and perhaps the hope for  salvation
AUTHOR: unknown
EARLIEST_DATE: 1927 (recording, Gid Tanner & his Skillet Lickers)
KEYWORDS: humorous drink death sex bawdy
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 95-97, "Uncle Bud" (1 text, 1 tune)
Roud #10035
RECORDINGS:
Anonymous singer, "Uncle Bud" (on Unexp1)
Grant & Wilson, "Uncle Joe" (QRS, 1929) (Decca, 1938)
Booker T. Sapps, "Uncle Bud" (AFS 370 A1, 370 A2, 1935)
Gid Tanner & his Skillet Lickers, "Uncle Bud" (Columbia 15134-D, 1927; rec. 1926) (Columbia 15221-D, 1928; rec. 1927)
NOTES: Most versions of this song are bawdy, to a greater or lesser extent. A Texas variant, recorded by the anonymous singer on Unexp1, recounts stories about Uncle Bud Russell, who was in charge of transporting prisoners to the state prison at Huntsville -- but the song clearly existed in tradition before then, and was adapted to local use. - PJS
File: MWhee095
===
NAME: Uncle Dan Song, The
DESCRIPTION: "A sly young maid" warns Uncle Dan of a predatory widow who "set her cap" for him. He thanks the maid for the warning; if she marries she should treat her man well but "if he should die and you want another man, Just clear the road for Uncle Dan"
AUTHOR: Dan Riley
EARLIEST_DATE: 1957 (Ives-DullCare)
KEYWORDS: courting warning humorous
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 48-49, 256, "The Uncle Dan Song" (1 text, 1 tune)
Roud #13998
RECORDINGS:
Mary Cousins, "The Uncle Dan Song" (on MREIves01)
File: IvDC048
===
NAME: Uncle Eph
DESCRIPTION: About Uncle Eef/Eph/Ephraem's exploits, usually in hunting raccoons. May include recitations. Chorus: "Uncle Eph's got the coon and gone on And left us looking up a tree."
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Dunham Jazz Singers)
KEYWORDS: animal hunting nonballad floatingverses humorous talltale
FOUND_IN: US(SE)
REFERENCES: (3 citations)
BrownIII 433, "Broder Eton Got de Coon" (1 text); also 511, "The Preacher Song" (1 text, a complex mix of verses from "Turkey in the Stray" and "Some Folks Say that a Preacher Won't Steal" with the "Uncle Eph" chorus)
Scarborough-NegroFS, pp. 101-102, "Brother Ephrum Got de Coon and Gone On" (1 text, 1 tune, with even more floating material than usual, e.g. from "Don't Get Weary Children (Massa Had a Yellow Gal)")
DT, (BRORPHUS -- on the face of it, a combination of this with a song about Moses)
Roud #11775
RECORDINGS:
Anglin Twins, "Uncle Eph's Got the Coon" (Vocalion 03904, 1937)
Dunham Jazz Singers, "Ephraim Got the Coon" (Columbia 14609-D, 1931)
Grandpa Jones, "Uncle Eph's Got The Coon" (King 867, 1950)
Art Thieme, "Uncle Eph/The Great Raccoon Hunt" [combines song and tall-tale] (on Thieme03)
Wade Ward, "Brother Ephram" (Okeh, unissued, 1925); "Uncle Eef" [instrumental] (on Holcomb-Ward1)
CROSS_REFERENCES:
cf. "Uncle Reuben" (floating lyrics)
cf. "Mourner, You Shall Be Free (Moanish Lady)" (floating lyrics)
NOTES: Presumably the same as Bob Allen's 1878 song "Old Uncle Eph," but I haven't seen the latter to prove it.
It is interesting to note that at least two versions of this song -- Brown's #511 and the Hedy West text recorded in the Digital Tradition -- combine this with the chorus, "Where you going, Moses? None of your business.Come here, Moses. I ain't gonna do it." - RBW
File: RcUncEph
===
NAME: Uncle Joe: see Hop High Ladies (Uncle Joe) (File: R252)
===
NAME: Uncle Joe (I): see If I Were As Young As I Used to Be (Uncle Joe) (File: R434)
===
NAME: Uncle Joe and Aunty Mabel
DESCRIPTION: Joe and Mabel are restored to sexual vigor by a glass of Ovaltine. (Alternately, Fleischmann's Yeast or other improbable concoction)
AUTHOR: unknown
EARLIEST_DATE: 1927 (Anecdota Americana)
KEYWORDS: bawdy humorous derivative
FOUND_IN: Britain(England) US
REFERENCES: (3 citations)
Cray, pp. 374-376, "Uncle Joe and Aunty Mabel" (1 text, 1 tune)
Pankake-PHCFSB, p. 37, "Fleischmann's Yeast" (1 text, tune referenced)
DT, OVALTPM*
Roud #10325
CROSS_REFERENCES:
cf. "Hark, the Herald Angels Sing" (tune)
File: EM374
===
NAME: Uncle Joe Cut Off His Toe (Rock the Cradle Joe)
DESCRIPTION: "Uncle Joe cut off his toe And hung it up to dry; And all the girls began to laugh And Joe began to cry." "Rock the cradle, rock the cradle, Rock the cradle, Joe...." Remaining verses, if any, appear to float; those quoted are characteristic
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: nonballad injury floatingverses playparty
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 97, "Uncle Joe Cut Off His Toe" (3 texts plus mention of 2 more, but "B" is probably "Shady Grove"; "A" is an incredible mix with verses typical of "Raccoon," "If I Had a Scolding Wife," a "Liza Jane" song, a mule song, and "Shady Grove")
Scarborough-NegroFS, pp. 153-154, "Cradle Song" (1 text)
Roud #741
File: Br3097
===
NAME: Uncle John -- The Sealer, 1951
DESCRIPTION: "Among the sealers who came home... was... Uncle John, As mad as he could be." John complains of the new law which allows sealing to begin before March 13, forcing them to take seals too young. He will not rest till the old law is restored
AUTHOR: Solomon Samson?
EARLIEST_DATE: 1963 (A Glimpse of Newfoundland in Poetry and Pictures)
KEYWORDS: hunting political
FOUND_IN: 
REFERENCES: (1 citation)
Ryan/Small, p. 154, "Uncle John -- The Sealer, 1951" (1 text)
File: RySm154
===
NAME: Uncle John is Sick Abed
DESCRIPTION: "Uncle John is sick abed, What shall we send him? Three good wishes, three good kisses, And a slice of ginger bread." "Who shall we send it by?" "[Player's name], so they say, goes a-couring night and day... And takes Miss [name] for his bride."
AUTHOR: unknown
EARLIEST_DATE: 1916 (Wolford)
KEYWORDS: courting playparty food disease
FOUND_IN: US(MW,So) Britain
REFERENCES: (1 citation)
Randolph 678, "Ride About, Ride About" (1 text plus a fragment, 1 tune; the "B" text starts with a stanza of this though the "A" text and the last two stanzas of "B" appear to be something unrelated)
Roud #13080
CROSS_REFERENCES:
cf. "Cockabendy" (lyrics, theme)
cf. "Yankee Doodle" (tune)
NOTES: This is rather a puzzling piece. Roud lumps it with the old Scots game of "Cockabendie," collected several times by Grieg, Certainly they share lyrics, and both are game songs. The overall text, however, is fairly distinct. Randolph's version begins with a verse from this, then goes off on what appears a different game -- and yet many of the lyrics appear in Gomme's "Uncle Tom is Very Sick."
If we take as our starting point the line "Uncle X is sick abed," we find that one of the few coherent versions is Wolford's, which is used as the basis for the description here. She describes her version as a kissing game, though the figures have been lost. The tune is "Yankee Doodle."
Laura Ingalls Wilder, _On the Banks of Plum Creek_, chapter 21 (p. 159 of the paperback edition) has a version which is very similar to Wolford's but shorter -- and peculiar, since it appears to have *ten* lines, not eight or 12 or 16.
This raises an interesting question: Wilder seems to imply that her version is a ring game, not a kissing game. But Laura disliked kissing games, and once brushed off a suitor because he put his arm around her waist (see John E. Miller, _Becoming Laura Ingalls Wilder: The Woman Behind the Legend_, University of Misouri Press, 1998, p. 64. If you want a measure of how sexually conservative Laura was, consider the fact that, at the end of their lives, she and her husband had separate beds even though the evidence is strong that she still loved him -- after he died, she preferred to sleep in his bed! -- Miller, p. 251).
Also, if this were the same as "Cockabendie," how did it end up being sung to the tune of "Yankee Doodle" -- hardly a Scottish tune!
My tentative conclusions:
1. That this song, though from the same roots as "Cockabendie," is now so distinct as to deserve separate filing.
2. That it was known as a kissing game, even to Wilder
3. That Wilder really did play it in Walnut Grove, Minnesota -- why else cite it at that point, since she would presumably have disapproved of the song? - RBW
File: LIWUJISA
===
NAME: Uncle Ned
DESCRIPTION: Uncle Ned was so old when he died that he had no wool (hair) on his head, no teeth, and was blind. Even so, both his fellow-slaves and his owners grieved at his death
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1848 (copyright)
KEYWORDS: death mourning slave
FOUND_IN: US(SE,So)
REFERENCES: (4 citations)
Randolph 261, "Uncle Ned" (1 text, 1 tune)
Randolph/Cohen, pp. 223-225, "Uncle Ned" (1 text, 1 tune -- Randolph's 261)
BrownIII 420, "Uncle Ned" (2 texts plus an exaggerated parody, "There was an ancient colored individual, and his cognomen was Uncle Edward")
Thomas-Makin', pp. 236-237, ("Uncle Ned") (1 fragment plus a Great Depression parod noting that "All the Democrats are working on the State Highway Job And the Republicans are all on Relief")
ST R261 (Full)
Roud #4871
RECORDINGS:
Elda Blackwood, "Uncle Ned" [fragment] (on USWarnerColl01)
Fiddlin' John Carson, "Old Uncle Ned" (OKeh 40263, 1925; rec. 1924)
Al Hopkins & his Buckle Busters, "Old Uncle Ned" (Brunswick 300, 1929; rec. 1928)
Uncle Dave Macon, "Uncle Ned" (Vocalion 5011, 1926)
Harry "Haywire Mac" McClintock, "Darkie Uncle Ned" (on McClintock02)
Chubby Parker, "Uncle Ned" (Silvertone 25103, 1927; Supertone 9192, 1928)
Leake County Revelers, "Uncle Ned" (Columbia 15470-D, 1929)
Oscar Seagle, "Uncle Ned" (Columbia A-3582, 1922)
BROADSIDES:
Murray, Mu23-y4:0048, "Uncle Ned," unknown, 19C
CROSS_REFERENCES:
cf. "Johnny Walk Along to Hilo" (floating lyrics)
cf. "Way Down on the Old Peedee" (plot)
SAME_TUNE:
Uncle Ned's Ghost (broadside Murray, Mu23-y1:011, "Uncle Ned's Ghost," J. Bristow (Glasgow), no date; a sequel to this song describing Ned's afterlife)
Dere Was a Little Man, and His Name was Stevy Dug (Campaign song for Abraham Lincoln, 1870, quoted in Bruce Catton, _The Coming Fury_, p. 93)
NOTES: Randolph, following White, says this song is common in African-American tradition, but collections from tradition (Black or White) seem relatively few. (And it's hard to see why African-Americans would make it their own, given its obvious pro-slavery bias. White found several versions, and Talley had one much-modified text, but that's about it for collections from non-Whites.) Brown had a genuine collection; Randolph also has one, plus there is also a fragment in Laura Ingalls Wilder's _Little House in the Big Woods_ (chapter 5). But the latter two versions, we might note, have Ozark connections.
This was one of Foster's very earliest pieces, and one of his first big hits. According to Bernard DeVoto, _The Year of Decision: 1846_, Little, Brown and Company, 1943, p. 134, 'in March of [1846] a twenty-year-old Pittsburg youth failed of appointment at West Point, and so at the end of the year he went to keep books in his brother's commission house at Cincinnati. He took with him the manuscripts of three songs, all apparently written in this year, all compact of the minstrel-nigger tradition. One celebrates a lubly collud gal, Lou'siana Belle. In another an old nigger has no wool on the top of his head in the place whar de wool ought to grow.... And in the third American pioneering was to find its leitmotif for all time: it was 'Oh Susanna!'"
This is one of the first pieces Foster had published; he *gave* it to W. C. Peter, who proceeded to sell thousands of copies without giving Foster royalties. - RBW
File: R261
===
NAME: Uncle Reuben
DESCRIPTION: "Uncle Reuben caught a coon, done gone, Chick-a-chick, done gone... and left me here behind."  Assorted verses about animals, hunting, love: "Rabbit running through the grass, Foxes close behind, Trees and weeds and cockleburrs Is all the foxes find"
AUTHOR: unknown
EARLIEST_DATE: 1973
KEYWORDS: animal hunting nonballad floatingverses
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 38, "Uncle Reuben" (1 text)
CROSS_REFERENCES:
cf. "Possum Up a Gum Stump" (floating lyrics)
cf. "Uncle Eph" (floating lyrics)
NOTES: This seems to be almost purely floating verses (e.g. "Possum up a 'simmon tree..."), but the collection as a whole does not seem to go with any other song, and so it gets its own listing.
Paul Stamler has suggested that this is a version of "Uncle Eph." They probably have some common ancestry. But this is less of a talltale, and the form is different, so I tentatively split them -- at least until I find out where the Silber version came from. (A perpetual problem with Silber.) - RBW
Silber's version almost certainly came from folk-revival singer Tom Glazer, who recorded it in the early 1950s on his album "Olden Balads." The "Chick-a-chick" is the most important clue. My guess is that Glazer conflated "Uncle Eph" and some floaters. - PJS
File: FSWB038
===
NAME: Uncle Sam Simmie: see There Was an Old Woman and She Had a Little Pig (File: E068)
===
NAME: Uncle Sam's Farm
DESCRIPTION: "Of all the mighty nations in the east or in the west, Oh this glorious Yankee nation is the greatest and the best... Here's a general invitation to the people of the world." The singer promises them farms, lists the U.S. boundaries, praises its freedom
AUTHOR: The Hutchinson family (credited to Jesse Hutchinson Jr.)
EARLIEST_DATE: 1850 (sheet music)
KEYWORDS: political nonballad America technology work
HISTORICAL_REFERENCES: May 20, 1862 - President Lincoln signs the Homestead Act
FOUND_IN: US(SE)
REFERENCES: (2 citations)
BrownIII 399, "Uncle Sam's Farm" (1 text)
DT, USFARM
Roud #4556
NOTES: The statement, "Uncle Sam's rich enough to give us all a farm" appears to refer to the Homestead Act, allowing anyone to acquire western land for a nominal fee. Obviously it dates from before 1923, when the U. S. effectively closed its doors to immigrants.
It will be noted that the song seems to predate the Homestead Act. It does not, however, predate the idea of a homestead act. J. G. Randall's _The Civil War and Reconstruction_ (second edition by David Donald, Heath, 1961), p. 81, notes that "Southern congressmen repeatedly helped defeat homestead legislation which would have encouraged free-soil settlement of the national territories." Once the South was out of Congress due to the Civil War, the act passed.
Laura Ingalls Wilder quotes a snippet of this in chapter seven of _By the Shores of Silver Lake_; she does not follow the Hutchinson Family words very closely. I find myself wondering what Laura -- who was quite conservative -- would have thought of the song had she realized that it was by those radical egalitarian liberals the Hutchinsons. - RBW
File: Br3399
===
NAME: Uncle Tahiah: see Aged Indian, The (Uncle Tohido) (File: LPnd124)
===
NAME: Unconstant Lover (I), The: see The Nobleman's Wedding (The Faultless Bride; The Love Token) [Laws P31] (File: LP31)
===
NAME: Unconstant Lover (II), The: see On Top of Old Smokey (File: BSoF740)
===
NAME: Undaunted Female, The (The Box Upon Her Head; The Staffordshire Maid; The Maid and the Robber) [Laws L3]
DESCRIPTION: A servant girl sets out for home to help her father. She meets a robber and kills him. She meets another stranger who returns with her to the body. They find a whistle which summons more robbers. Girl and stranger dispose of them and agree to marry
AUTHOR: unknown
EARLIEST_DATE: before 1825 (broadside, Bodleian 2806 c.17(446))
KEYWORDS: outlaw marriage
FOUND_IN: Canada(Mar) Britain(England,Scotland(Aber))
REFERENCES: (6 citations)
Laws L3, "The Undaunted Female"
Greig #35, p. 2, "The Maid and the Robber" (1 text)
GreigDuncan2 268, "The Maid and the Robber" (2 texts, 2 tunes)
Mackenzie 130, "The Box Upon Her Head" (1 text)
BBI, ZN514, "Come all ye young gallants and listen a while" (?)
DT 419, MAIDROBR
Roud #289
BROADSIDES:
Bodleian, 2806 c.17(446), "The Undaunted Female" ("It's of a fair damsel in London did dwell"), W. Armstrong (Liverpool), 1820-1824; also Harding B 11(3939), Firth c.17(22), Firth c.17(23), Johnson Ballads 610, Firth b.25(41/42), Johnson Ballads 3154, Firth c.26(47), Harding B 11(3940), Harding B 11(3934), Harding B 11(3935), Harding B 11(3941), Harding B 11(3937), Harding B 11(3936), Harding B 16(292c), 2806 d.31(40), 2806 c.17(448), 2806 c.17(447), Harding B 20(229), Harding B 25(1962), "The Undaunted Female"
Murray, Mu23-y1:052, "The Undaunted Female," James Lindsay (Glasgow), 19C
File: LL03
===
NAME: Under the Garden Wall
DESCRIPTION: The singer spies a man and a maid under or over the garden wall. The two have sex, leaving the spy sexually aroused and unfulfilled.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex hiding
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph-Legman I, pp. 535-537, "Under the Garden Wall" (1 text, 1 tune)
Roud #8382
File: RL535
===
NAME: Under the Greenwood Tree
DESCRIPTION: "In summertime, when flow'rs do spring, And birds sit on the tree, Let Lords and Knights say what they will, There's none so merry as we. There's Will and Moll, with Harry and Doll, and Tom and bonny Bettee... Under the greenwood tree
AUTHOR: unknown
EARLIEST_DATE: 1686 (The Dancing Master)
KEYWORDS: nonballad
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
Chappell/Wooldridge II, pp. 53-54, "Oh, How They Frisk It, or, Leather Apron, or Under the Greenwood Tree" (1 tune; partial text)
CROSS_REFERENCES:
cf. "Dame Durden" (form)
cf. "Widdicombe Fair (II)" (form)
SAME_TUNE:
cf. Bronson's notes to "Robin Hood and the Monk" [Child 119]
NOTES: This may not be traditional, but it appears to be the earliest example of this form of "lusty lads and lasses are merry" sort of song, so I put it in here for cross-reference purposes. - RBW
File: ChWIII053
===
NAME: Under the Juniper Tree: see The Juniper Tree (File: R540)
===
NAME: Under the Leaves: see The Seven Virgins (The Leaves of Life) (File: OBB111)
===
NAME: Under the Pale Moonlight: see Out In the Moonlight (I Will Love Thee Always) (File: R803)
===
NAME: Under the Shade of a Bonny Green Tree: see Tripping Over the Lea [Laws P19] (File: LP19)
===
NAME: Under the Willow She's Sleeping  (The Willow Tree)
DESCRIPTION: "Under the willow she's laid with care (Sang a lone mother while weeping,) Under the willow with golden hair, My little one's quietly sleeping. Fair, fair and golden hair...." The mother laments that the girl sings and plays no more
AUTHOR: Stephen C. Foster
EARLIEST_DATE: 1860 (sheet music)
KEYWORDS: death love burial mother children
FOUND_IN: US(So)
REFERENCES: (3 citations)
Belden, p. 484, "Under the Willow" (1 text)
Randolph 711, "The Willow Tree" (1 text, a fragment which Randolph calls "pretty close" to the Foster song, although it has only a few phrases found in the original Foster text)
Saunders/Root-Foster 2, pp. 89-92+427, "Under the Willow She's Sleeping" (1 text, 1 tune)
Roud #7377
File: R711
===
NAME: Under the Willow Tree: see Bury Me Beneath the Willow (File: R747)
===
NAME: Underneath Her Apron: see Gathering Rushes in the Month of May (Underneath Her Apron) (File: DTundrap)
===
NAME: Undutiful Daughter, The: see Gosport Beach (The Undutiful Daughter) (File: SWMS127)
===
NAME: Unemployment Insurance
DESCRIPTION: "I'm sitting here waiting for the mail" with my unemployment insurance cheque. "I go into the office to fill out my claim, Praying to Jesus the jobs will be few." The cheque arrives. "Dear Lord.... If you find work for someone I sure hope it's not me!"
AUTHOR: Alton MacLean
EARLIEST_DATE: 1982 (Ives-DullCare)
KEYWORDS: unemployment political humorous nonballad
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 219-221, 256, "Unemployment Insurance" (1 text, 1 tune)
Roud #13999
CROSS_REFERENCES:
cf. "Catch of the Season" (theme)
NOTES: Ives-DullCare: "Ten weeks of summer work could be sufficient for a person to file. Then -- after the obligatory but painful six-week waiting period -- the cheques would start coming, and they could very well carry a person through the whole winter and even up to the next summer season, but, of course, the claimant was obligated to be 'actively seeking work' all that time. The song suggests that perhaps not everyone operates fully within the spirit of this program." - BS
File: IvDC219
===
NAME: Unfinished Letter, The: see The Last Letter (File: GrMa101)
===
NAME: Unfortunate Boot, The
DESCRIPTION: A blacksmith is courting Jessie when two farmers rap on her window to court her and her sister. He hides, thinking it is her father, but runs off with one of their boots when the sex resumes. In the snow next day one brother had to carry the other home
AUTHOR: unknown
EARLIEST_DATE: 1908 (GreigDuncan2)
KEYWORDS: sex trick humorous
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan2 315, "The Unfortunate Boot" (2 texts)
Roud #5867
NOTES: In the ballad the blacksmith is called "Vulcan." The whole tale then becomes an analog for the Hephaestus/Vulcan, Aphrodite, Ares triangle in which Hephaestus uncovers the illicit affair between the other two and exposes them to public ridicule.
GreigDuncan2: "Written about 1852" about events the previous year at Pitnycalder in the parish of Aberdour. The notes name the participants. - BS
"The love of Ares and Aphrodite crowned with flowers" occurs first in the _Odyssey_, told as a tale in book VIII, starting around line 300. It was a popular tale, and came to the Latin-speaking world, e.g., through Ovid, _Metamorphoses_, book IV, starting around 170. I have to wonder how a folk poet would know about it, though. - RBW
File: GrD2315
===
NAME: Unfortunate Man (II), The: see The Warranty Deed (The Wealthy Old Maid) [Laws H24] (File: LH24)
===
NAME: Unfortunate Man, The
DESCRIPTION: The "unfortunate man" has all sorts of troubles. His sweetheart jilts him. He runs off with another man's wife, but is quickly captured. His friends cheat him. Now he can only hope a girl will "think more of my heart than she did of my face."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Randolph)
KEYWORDS: courting separation adultery punishment trick loneliness
FOUND_IN: US(So)
REFERENCES: (3 citations)
Randolph 440, "The Unfortunate Man" (3 texts, 1 tune)
Randolph/Cohen, pp. 319-320, "The Unfortunate Man" (1 text, 1 tune -- Randolph's 440A)
DT, UNFORTU2*
Roud #6367
NOTES: Not to be confused with the pop folk song "The Warranty Deed" (sometimes known as "The Unfortunate Man" or "The Very Unfortunate Man") about the poor lawyer and the disassembleable woman. - RBW, PJS
File: R440
===
NAME: Unfortunate Miss Bailey
DESCRIPTION: Captain Smith seduces Miss Bailey, who hangs herself. One night her ghost returns and upbraids him, saying she's been ill-used, and the parson won't bury her. The captain gives her money to bribe the sexton, whereupon she vanishes, content.
AUTHOR: George Colman
EARLIEST_DATE: 1840 (broadside by Such of London)
KEYWORDS: seduction suicide humorous nightvisit ghost soldier
FOUND_IN: Britain(England(Lond)) Canada(Mar)
REFERENCES: (5 citations)
Friedman, p. 54, "Unfortunate Miss Bailey" (1 text)
Fowke/Johnston, pp. 183-185, "Unfortunate Miss Bailey" (1 text, 1 tune)
PBB 88, "Unfortunate Miss Bailey" (1 text)
Silber-FSWB, p. 182, "Unfortunate Miss Bailey" (1 text)
DT, BAILYGHO
Roud #4549
BROADSIDES:
Bodleian, Hard B 25(1257), "Miss Bailey's Ghost," J. Evans (London), 1780-1812 [only partly legible]; also probably Harding B 25(1869), "Unfortunate Miss Bailey," J. Jennings (London), 1790-1840 [illegible]
CROSS_REFERENCES:
cf. "The Hunters of Kentucky" [Laws A25] (tune)
NOTES: This song is variously credited to George Colman the elder (1732-1794) and George Colman the younger (1762-1836). As it appears in the latter's play "Love Laughs at Locksmiths," the younger seems a stronger candidate. - RBW
File: FR054
===
NAME: Unfortunate Rake (II), The: see The Streets of Laredo [Laws B1] (File: LB01)
===
NAME: Unfortunate Rake, The
DESCRIPTION: The singer meets a young man/woman wrapped in flannel. The young person says that he/she is dying, originally of syphilis but in some versions of wounds or unspecified disease. The young person requests an elaborate military funeral.
AUTHOR: unknown
EARLIEST_DATE: 1790
KEYWORDS: disease death dying funeral lament whore
FOUND_IN: Britain (England(All)) Ireland US(Ap)
REFERENCES: (4 citations)
Vaughan Williams/Lloyd, p. 108, "The Young Girl Cut Down In Her Prime" (1 text, 1 tune)
SharpAp 131, "St. James's Hospital, or The Sailor Cut Down in his Prime" (2 texts, 2 tunes, but the "B" text really belongs with "Streets of Laredo")
Silber-FSWB, p. 217, "Young Man Cut Down In His Prime (St. James Hospital)" (1 text)
Darling-NAS, p. 5, "The Unfortunate Rake" (1 text)
Roud #2
RECORDINGS:
Harry Cox, "The Young Sailor Cut Down in His Prime" (on FieldTrip1)
Texas Gladden, "One Morning in May" (AFS, 1941; on LCTreas)
A. L. Lloyd, "St. James's Hospital" (on Lloyd2, Lloyd3)
Pete Seeger, "St. James Hospital" (on PeteSeeger16)
BROADSIDES:
Murray, Mu23-y4:039, "The Unfortunate Lad," unknown, 19C
CROSS_REFERENCES:
cf. "The Streets of Laredo" [Laws B1] (tune & meter, plot) and references there
cf. "The Bad Girl's Lament (St. James' Hospital; The Young Girl Cut Down in her Prime) [Laws Q26] (tune & meter, plot)
cf. "The Sailor Cut Down in His Prime" (tune & meter, plot)
cf. "My Home's in Montana" (tune, floating lyrics)
ALTERNATE_TITLES:
The Unfortunate Lad
The Whores of the City
NOTES: Syphilis first appeared in Europe in epidemic form, with devastating effects, in the early 1500s. It was often treated with compounds of mercury, mentioned in some versions of the song.
Clearly this is the ancestral ballad to "The Bad Girl's Lament", "St. James Infirmary", "The Whore's Lament", "Streets of Laredo", "The Dying Marine", etc. -PJS
Silber & Silber subtitle their text "St. James Hospital," since the name is mentioned in the text. This title, however, seems to be associated primarily with the "Bad Girl's Lament."
At least a few versions refer to dosing syphillis with "arsenic and salts of white mercury." Mercury as a cure is older, as Paul notes, and arsenic was also used in various medicines during the nineteenth century and earlier. But arsenic as a true remedy for syphillis came into use in 1909, when Paul Ehrlich found arsphenamine to be effective; it remained in use until the coming of penicillin (see John Emsley, _Nature's Building Blocks_, p. 42).
The use of the "corrosive sublimate" of mercury (i.e. HgCl2) as a treatment for syphillis goes back to the late fifteenth century, though even then it was known that the cure was nearly as bad as the disease (see John Emsley, _Nature's Building Blocks_, pp. 255-256). Henry VIII and Robert Burns are among those found to have had high levels of mercury in their bodies at the time of their death, possibly due to treatments for venereal disease (Emsley, p. 257). -  RBW
File: VWL108
===
NAME: Unfortunate Shepherdess, The: see The Young Shepherd (I) (File: CrMa108)
===
NAME: Unfortunate Swain, The
DESCRIPTION: The singer goes to a meadow to pick a rose and asks why he must "love a girl that will break my heart." He will love only her. "He that loves an unkind maid, I am sure he strives against the stream" When she dies he will still think about her.
AUTHOR: unknown
EARLIEST_DATE: 1975 (recording, Jasper Smith)
KEYWORDS: love separation death ship flowers grief floatingverses nonballad
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #60
RECORDINGS:
Jasper Smith, "Down In The Meadow" (on Voice11)
BROADSIDES:
Bodleian, Harding B 22(312), "The Unfortunate Swain" ("Down in a meadow fair and gay"), unknown, n.d.
NOTES: The description is from broadside Bodleian Harding B 22(312).
Roud puts this with "Love Has Brought Me to Despair" [Laws P25]. I agree that it shares floating verses with the family of songs Roud lumps together under that number. If I had only the Jasper Smith version on Voice11 I would have done the same. The broadside Bodleian Harding B 22(312), has (almost) the same first verse and shares the remaining two verses of Smith's version including one that I haven't seen among the floaters:
A ship there is that sails the sea.
She's loaded deep as deep can be,
But not so deep as the love I'm in.
I care not whether I sink or swim.
The broadside makes it clear that the man of the couple is the singer. It ends 
When my love is dead and at her rest
I'll think of her whom I love best.
To wrap her up in linen strong
I'll think of her when dead and gone.
Smith's version seems so likely to have come directly from this or a closely related broadside that I think I am justified in making the broadside and its derivative a separate song. - BS
File: RcUSDitM
===
NAME: Ung Sjoman Forlustar Sig, En (A Young Seaman Enjoys Himself)
DESCRIPTION: Swedish shanty. Sailor meets a maid in a meadow, suggests that they make a bed of roses. By morning the roses have faded, and with them the girl's beauty. She begs him to marry her anyway, he refuses saying his ship is ready to sail.
AUTHOR: unknown
EARLIEST_DATE: 1840 (Gavle)
KEYWORDS: foreignlanguage shanty sailor courting betrayal abandonment beauty
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, pp. 530-532, "En Ung Sjoman Forlustar Sig" (2 texts-Swedish & English, 1 tune)
CROSS_REFERENCES:
cf. "Trooper and Maid" [Child 299] (theme)
ALTERNATE_TITLES:
Sjomans Visa Fram Bohuslan (Finnish or Swedish version)
Ein Junger Sesmann Schlenderte (German version)
NOTES: Hugill took this from Sternvall's "Sang under Segel", and added a note that the oldest known written version is from Gavle, 1840. He mentions several versions of this found in various Scandinavian countries. - SL
File: Hugi530
===
NAME: Unhappy Jeremiah (The Brats of Jeremiah)
DESCRIPTION: The singer, Jeremiah, takes a wife. But soon she turns her attention from her husband to a lodger. She bears two children, but "they did not look... one bit like Jeremiah." At last she runs off with the lodger, "and left the brats for Jeremiah"
AUTHOR: unknown
EARLIEST_DATE: 1858
KEYWORDS: family children husband wife infidelity
FOUND_IN: US(MA)
REFERENCES: (1 citation)
FSCatskills 134, "The Brats of Jeremiah" (1 text, 1 tune)
ST FSC134 (Partial)
Roud #4610
CROSS_REFERENCES:
cf. "Rocking the Cradle (and the Child Not His Own)" (plot)
cf. "Hush-a-Bye, Baby" (plot)
File: FSC134
===
NAME: Unicorn
DESCRIPTION: The orphaned singer is "going home to the old country" as a sailor on Unicorn. It is hard work and hard bread for twelve days to Liverpool. At Glasgow "girls were very kind ... I bid farewell To the darned old Unicorn"
AUTHOR: unknown
EARLIEST_DATE: 1932 (Creighton-NovaScotia)
KEYWORDS: rambling sea ship sailor floatingverses
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Creighton-NovaScotia 149, "Unicorn" (1 text, 1 tune)
ST CrNS149 (Partial)
Roud #1844
NOTES: This song is item dD46 in Laws's Appendix II. - BS
Although this seems to be an independent song, I've given it the keyword "floatingverses" because so many of the lines are commonplace. - RBW
File: CrNS149
===
NAME: Union Boy, The
DESCRIPTION: "When first I arrived in Quirindi, those girls they jumped with joy, Saying one unto another, 'Here comes a Union boy.'" A girl falls in love with him. Her father says that he was once a scab. She says he has joined the union and is reformed. 
AUTHOR: unknown
EARLIEST_DATE: 1956
KEYWORDS: labor-movement courting
FOUND_IN: Australia
REFERENCES: (2 citations)
Meredith/Anderson, pp. 256-257, "The Union Boy" (1 text, 1 tune)
Manifold-PASB, p. 117, "The Union Boy" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Maids of Simcoe (Ontario)" (tune, floating lyrics)
cf. "True-Born Irish Man (With My Swag All on My Shoulder; The True-Born Native Man)" (floating lyrics)
File: MA256
===
NAME: Union from St John's, The
DESCRIPTION: On December 18 a heavy storm drives the Union ashore. A rescue team boards the next morning and finds "three frozen seamen lashed to the pumps while six in her cabin lay cold."
AUTHOR: unknown
EARLIEST_DATE: 1952 (Peacock); 19C (broadside, LOCSinging as114210)
KEYWORDS: death sea ship storm wreck
FOUND_IN: Canada(Newf) US(NE)
REFERENCES: (2 citations)
Peacock, pp. 978-980, "The Union from St John's" (1 text, 2 tunes)
Lehr/Best 112, "The Wreck of the Union" (2 texts, 2 tunes)
Roud #4371
BROADSIDES:
LOCSinging, as114210, "Union of St. Johns," L. Deming (New York), 19C
NOTES: Broadside LOCSinging as114210, as well as one cited by Lehr/Best as being printed in _Minstrelsy of Maine_ by Eckstorm and Smyth, have the site as Mt Desert Rock. There is a Mount Desert Rock in Maine which has been the site of a number of wrecks; there have also been a number of [ships named] _Union_ with St John's registry wrecked; I cannot find any _Union_ wrecked at Mount Desert Rock, or wrecked around February 9 (the date in the broadside), or November 18 or January 14 (the date in Lehr/Best versions A and B, respectively).
Eckstrom and Smythe _Minstrelsy of Maine_: "nobody knew it, but only knew someone else who used to know it. [One of the three] leaders in popularity among the shipwreck songs of the Maine coast ... About 1904, Mr Walter M Hady ... learned that the Union was a brig, wrecked off the Maine coast at least as early as 1837 .... [One broadside] may yet show that the wreck of the Union dates back into the eighteen-twenties." ( pp. 270, 276, 280). Unfortunately the broadside at America Singing is undated (printed by L Deming, No 62 Hanover Street, Boston). It would be nice to be able to date it early enough to rule out the Dec 21, 1884 wreck of the schooner Union, registered at St John, NB, at Mt Desert Island en route from New York to St John. (source: Northern Shipwrecks Database). - BS
File: Pea978
===
NAME: Union Girl, The
DESCRIPTION: The singer oversees a shearer talking with a girl. He is trying to con her into sleeping with him, pointing out that he can get rich as a scab during a strike. [Remainder omitted because Meredith & Anderson refused to print it]
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: scab money seduction
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 201-202, "The Union Girl" (1 text)
File: MA201A
===
NAME: Union Volunteer, The: see The Bold Privateer [Laws O32] (File: LO32)
===
NAME: Union We'll Maintain, The
DESCRIPTION: "Ye loyal sons of Ulster, why slumber and be still? Once more your rebel foemen demand a Home Rule Bill." "Had they an Irish Parliament, 'twere '98 again" "Forbid it ... the Union we'll maintain." Remember Bloody Mary; remember Derry and the Boyne.
AUTHOR: unknown
EARLIEST_DATE: 1987 (OrangeLark)
KEYWORDS: Ireland nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
OrangeLark 19, "The Union We'll Maintain" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Home Rule for Ireland" (subject: the quest for Home Rule)
cf. "A Loyal Song Against Home Rule" (subject: opposition to Home Rule)
NOTES: William Ewart Gladstone became British prime minister in 1868 and supported Home Rule for Ireland. He introduced his first Home Rule Bill, which was defeated, in 1885. His second Home Rule Bill was defeated in 1893. (source: "Home Rule" on the Irelandseye site) - BS
The invocation to remember Bloody Mary is, at best, pretty improbable. Mary Tudor (reigned 1553-1558) was a Catholic who did violently punish Protestants, but
1. She ruled very little of Ireland; it was not until Elizabeth came along that large parts of Ireland were conquered
2. There were effectively no Protestants in Ireland at the time
3. Mary Tudor did not rule Scotland, and most Ulster Protestants were Scots brought in in the aftermath of Elizabeth's conquest
For the siege of (London)derry, see the notes to "The Shutting of the Gates of Derry." For the Battle of the Boyne, see "The Battle of the Boyne (I)." For extensive background on home rule, and the opposition to it, see "A Loyal Song Against Home Rule." - RBW
File: OrLa019
===
NAME: Union, The
DESCRIPTION: "How did they pass the Union?" Perjury and fraud. Pitt and Castlereagh used pitchcap, bayonet, gibbet and rack. "How thrive we by the Union?" Ruined trade, wealth decayed and slavery. "And shall it last?" "All Ireland thunders, No!" We'll conquer again 
AUTHOR: Sliabh Cuilinn (said to be John O'Hagan, according to Sparling, _Irish Minstrelsy_, pp. 505,508)(source: Moylan)
EARLIEST_DATE: 2000 (Moylan)
KEYWORDS: Ireland nonballad political
HISTORICAL_REFERENCES: 1801 - Act of Union of Ireland and Great Britain
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 151, "The Union" (1 text, 1 tune)
NOTES: Moylan: "This piece was published in _The Nation_ [; it was composed "around the 1840s or 50s"].... The Act of Union of Ireland and Great Britain was passed in the Irish Parliament on the 1st of August 1800.... Its passage was assured by the exercise of an extraordinary amount of bribery and corruption, even for that time and place."
"Pitch capping": filling a cap with boiling pitch and putting it on a peasant's head. (source: "The Search for Weapons" in _1798 Rebellion_ at Rathregan National School site). [This is, in fact, the milder form of pitch capping: Robert Kee, in _The Most Distressful Country_, being volume I of _The Green Flag_, p. 98, describes the more extreme form, in which the pitch was allowed to harden slightly, then set fire. This naturally increased the torture greatly, and generally caused permanent scarring of the scalp and loss of hair. It was not generally fatal, but even George W. Bush would call it torture. - RBW]
Sparling, _Irish Minstrelsy_ p. 505: re John O'Hagan (1822-1890) "The splendid ringing songs and heartful poems which appeared in the _Nation_ over the nom de plume of 'Sliabh Cuilinn' have often roused inquiry as to their author, but although attributed with great probability to Judge O'Hagan, have never been publicly acknowledged by him."
The 1801 "Act of Union" was supported by Pitt and Robert Stewart (Lord Castlereagh). Pitt was Prime Minister and Castlereach was his Itish chief secretary. The Act formed the United Kingdom of Great Britain and Ireland" and abolished the Dublin Parliament. (sources: _Act of Union_ on the Spartacus Educational site site) - BS
We should note that the song is inaccurate in its charges -- though the true story is hardly better. The British did use torture (pitch-capping, half-hanging) in suppressing the 1798 rebellion (though the Irish too committed their share of atrocities, notably at Scullabogue). But no torture involved in passing the Act of Union -- because there was no need for popular support. They simply had to bribe enough members of the Irish parliament to pull it off. The bribes were huge -- viceroy Cornwallis would confess, "I despise and hate myself for every hour engaging in such work" (Kee, p. 159; Terry Golway, _For the Cause of Liberty_, p. 90; for the general chicanery involved, see those sources or Peter and Fiona Somerset Fry, _A History of Ireland_, pp. 209-212 and after). But Cornwallis and (especially) Castlereigh bought enough peers to eventually pass Union.
It is ironic to note that, around 1770, the American colonies had desperately wanted Union (that is, a place in Parliament), and had been denied it; the Irish despised Union, and had it forced upon them. British colonial policy was an amazing thing.... - RBW
File: Moyl151
===
NAME: Unite and Be Free
DESCRIPTION: "The right hand of friendship to you I'll extend" no matter what Trade or Religion if you love Union. Reject the kings and "dupes of a priest" who say "divide and conquer": "Hibernians were made to unite and be free"
AUTHOR: unknown
EARLIEST_DATE: 1796 (_Paddy's Resource_(Belfast), according to Moylan)
KEYWORDS: Ireland nonballad political freedom
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 23, "Unite and Be Free" (1 text, 1 tune)
NOTES: From the date, this presumably was a reference to the United Irishmen who were largely responsible for the 1798 rebellion. - RBW
File: Moyl023
===
NAME: Unknown Pine Log Rider, The
DESCRIPTION:  Joe Muldoon is trapped by a log drive but a stranger rides a pine log to rescue him from "the rushing roaring timber pack." He "hurtled Muldoon upon the land ... Then disappeared and left no name"
AUTHOR: unknown
EARLIEST_DATE: 1965 (Ives-NewBrunswick)
KEYWORDS: rescue river recitation logger
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-NewBrunswick, pp. 177-178, "The Unknown Pine Log Rider" (1 text)
Roud #1966
File: IvNB177
===
NAME: Unquiet Grave, The [Child 78]
DESCRIPTION: After a young man dies/is killed, his lover mourns by his grave for a year and a day and beyond. This prevents the dead man from resting. He comes to his sweetheart begging for release
AUTHOR: unknown
EARLIEST_DATE: before 1832 (broadside, Bodleian 2806 c.17(460))
KEYWORDS: ghost mourning freedom
FOUND_IN: US(Ap,MA,NE,SE) Britain(England(All),Scotland) Canada(Newf)
REFERENCES: (25 citations)
Child 78, "The Unquiet Grave" (7 texts)
Bronson 78, "The Unquiet Grave" (43 versions+9, mostly tunes only, in addenda)
Leather, pp. 202-203, "Cold Blows the Wind; or, The Unquiet Grave" (1 text, 1 tune, from different informants) {Bronson's #12}
Flanders/Olney, pp. 232-233, "Cold Blows the Wind" (1 text, 1 tune)
Flanders-Ancient2, pp. 184-186, ""The Unquiet Grave (1 text, 1 tune) {Bronson's }
Davis-More 22, pp. 157-160, "The Unquiet Grave" (1 text)
BrownII 24, "The Unquiet Grave" (1 text)
Ritchie-Southern, p. 58, "The Unquiet Grave" (1 text, 1 tune)
Greenleaf/Mansfield 10, "The Unquiet Grave" (2 texts, 2 tunes) {Bronson's #36, #31}
Peacock, pp. 410-412, "The Unquiet Grave" (2 texts, 2 tunes)
Karpeles-Newfoundland 10, "The Unquiet Grave" (1 text, 1 tune)
Blondahl, p. 111, "The Auld Song From Cow Head" (1 text, 1 tune)
Leach, pp. 262-263, "The Unquiet Grave" (1 text)
OBB 34, "The Unquiet Grave" (1 text)
Friedman, p. 32, "The Unquiet Grave" (1 text, 1 tune)
PBB 31, "The Unquiet Grave" (1 text)
Sharp-100E 24, "The Unquiet Grave (or Cold Blows the Wind)" (1 text, 1 tune) {Bronson's #35}
Hodgart, p. 146, "The Unquiet Grave" (1 text)
TBB 30, "The Unquiet Grave" (1 text)
Niles 32, "The Unquiet Grave" (3 texts, 3 tunes)
Abrahams/Foss, pp. 40-41, "The Unquiet Grave" (1 text, 1 tune) {Bronson's #36}
Silber-FSWB, p. 218, "The Unquiet Grave" (1 text)
Darling-NAS, pp. 31-32, "The Unquiet Grave" (1 text)
DT 78, UNQUIGR1* UNQUIGR2*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #371, "The Unquiet Grave" (1 text)
Roud #51
RECORDINGS:
Omar Blondahl, "The Auld Ballad from Cow Head" (on NFOBlondahl04) [fragment]
New Lost City Ramblers, "The Unquiet Grave" (on NLCR16)
Jean Ritchie, "The Unquiet Grave" (on JRitchie02)
BROADSIDES:
Bodleian, 2806 c.17(460), "The Weeping Lover," W. Wright (Birmingham), 1820-1831; also 2806 c.17(461), "The Weeping Lover"; Firth c.18(123), Harding B 11(634), "Cold Blows the Wind"
CROSS_REFERENCES:
cf. "The Twa Brothers" [Child 49] (lyrics)
ALTERNATE_TITLES:
The Wind Blew Up, the Wind Blew Down
The Resurrected Sweetheart
The Green Grave
The Restless Dead
The Restless Grave
Charles Graeme
Cold Falling Drops of Dew
Cold Blows the Winter's Winds
NOTES: Bronson speculates that a version of this inspired the carol "There blows  a colde wynd todaye, todaye" (c. 1500; in MS Bodl. 7683=Ashmole 1379; Brown/Robbins Index #3525; for texts see Stevick-MEL 93; Luria & Hoffman, _Middle English Lyrics_ #166, though the two offer noticeably different texts of the same unique original). I must say that I find this a stretch; the similarities are slight indeed.
The notion that excessive mourning (usually meaning mourning for more than a year and a day) results in the ghost being unable to rest is at least hinted at in several other songs, the most noteworthy being "The Wife of Usher's Well" [Child 79]. - RBW
File: C078
===
NAME: Unwilling Bride, The: see The Holly Twig [Laws Q6]; also The Wife Wrapped in Wether's Skin [Child 277] (File: LQ06)
===
NAME: Up
DESCRIPTION: It's Spring. The birds united in song are Up. Plants, flowers, weeds are Up. Trees, brambles, crops, frogs, cocks all are Up. "The progress of this rising rage, No human power can stop. Then Tyrants, cease your war to wage, For Nature will be -- Up"
AUTHOR: unknown
EARLIEST_DATE: 1797 (_Northern Star_, according to Moylan)
KEYWORDS: flowers animal bird nonballad political
FOUND_IN: 
REFERENCES: (1 citation)
Moylan 77, "Up" (1 text)
NOTES: Moylan: "The word 'Up' was a password of the United Irishmen." - BS
Unfortunately for the United Irish, in 1798 not only were the plants, flowers, trees, weeds, frogs and whatnot not up, but neither were most of the Irish. Large numbers had been disarmed (and they were going to be armed only with pikes anyway). Their leadership was imprisoned. The French came too late and in numbers too small. The rebelion fizzled almost completely; see, e.g., the notes to "The Shan Van Voght," "Boulavogue," "The Boys of Wexford," "General Monroe," and "Edward (III) (Edward Fitzgerald)." - RBW
File: Moyl077
===
NAME: Up a Tree
DESCRIPTION: Once I had friends that "came to dine and drank my wine." Now that I'm poor "when they see me on the Clyde They pass me on the other side." "While you have it keep it, or you'll soon be 'up a tree'." If I recover, "preserve me from my friends"
AUTHOR: unknown
EARLIEST_DATE: 1868 (broadside, Bodleian Firth b.27(66))
KEYWORDS: poverty money drink abandonment hardtimes
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig 63, p. 3, ("Once I could drive my four-in-hand") (1 fragment)
GreigDuncan3 668, "Up a Tree" (2 fragments)
Roud #6095
BROADSIDES:
Bodleian, Firth b.27(66), "Up a Tree" ("You see before you one who's been in life through many a changing scene"), The Poet's Box (Glasgow), 1868
CROSS_REFERENCES:
cf. " Hard Up and Broken Down" (theme) and references there
cf. "Buddy, Can You Spare a Dime" (theme)
cf. "Nobody Knows You When You're Down and Out" (theme)
cf. "If But One Heart Be True" (theme)
NOTES: GreigDuncan3 entries are fragments; broadside Bodleian Firth b.27(66) is the basis for the description. - BS
"Passing by on the other side" is pretty clearly a reference to the parable of the Good Samaritan, Luke 10:30-35. - RBW
File: GrD3668
===
NAME: Up and Down the Railroad Track
DESCRIPTION: "Up and down the railroad track And halfway swing around... Do-si-do my darling Miss with the white slippers on." "The higher up the cherry tree...." "Wish I had a needle and thread...." And miscellaneous other floating verses
AUTHOR: unknown
EARLIEST_DATE: 1914
KEYWORDS: dancing floatingverses love horse
FOUND_IN: US
REFERENCES: (1 citation)
Fife-Cowboy/West 100, "Up and Down the Railroad Track" (1 text)
Roud #11091
CROSS_REFERENCES:
cf. "Jubilee" (floating lyrics)
cf. "Fly Around, My Pretty Little Miss" (floating lyrics)
NOTES: This text was originally printed in the _Journal of American Folklore_, Vol. 27 [1914]. There is no tune. It will be obvious that it consists mostly of floating verses (from "Fly Around My Pretty Little Miss," "Jubilee," and the like), and it is probably an offshoot of one of these -- but there simply isn't enough information to classify it clearly. - RBW
File: FCW100
===
NAME: Up at Piccadilly Oh!: see The Bristol Coachman (File: OO2409)
===
NAME: Up in Gurrane
DESCRIPTION: In Gurrane we're such good neighbors we share so that rations and gas restrictions don't bother us. We attacked City Hall "when the Corporation tried to raise the rent." We'll be there at Gabriel's horn because "it's only a step to Paradise up in Gurrane"
AUTHOR: unknown
EARLIEST_DATE: 1978 (OCanainn)
KEYWORDS: pride nonballad
FOUND_IN: Ireland
REFERENCES: (1 citation)
OCanainn, pp. 118-119, "Up in Gurrane" (1 text, 1 tune)
NOTES: OCanainn, quoting the singer: "'Gurrane is situated on the Northside of the city and was built around the time of the second World War.... I suppose it was a fairly tough area at the time....'" -BS
File: OCan118
===
NAME: Up in London Fair: see In London so Fair (File: HHH203)
===
NAME: Up Roanoke and Down the River
DESCRIPTION: Corn-husking song. "Up Roanoke and down the river, Oho, we are 'most done." "Two canoes, and nary paddle. "There is where we run the devils." Jack de Gillam shoots the devils with "blue ball and a pound of powder," and kills them
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Devil work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 205, "Up Roanoke and Down the River" (1 text)
NOTES: The first part of this actually sounds like some sort of rafting song, about running a rapids (perhaps a section called "the devil"?). This seems to have suggested the theme of killing the devils. But that's pure speculation on my part. - RBW
File: Br3205
===
NAME: Up She Goes: see Baltimore (Up She Goes) (File: Hugi418)
===
NAME: Up She Rises: see Drunken Sailor, The (Early in the Morning) (File: Doe048)
===
NAME: Up the Raw
DESCRIPTION: "Up the Raw, down the Raw, Up the Raw, lass, ev'ry day; For shape and colour, ma bonny hinny, Thou bangs thy mother, ma canny bairn." The mother (?) complains lovingly of the mischief her child gets into. (I think that's what it means)
AUTHOR: unknown
EARLIEST_DATE: 1900 (Stokoe/Reay)
KEYWORDS: nonballad children
FOUND_IN: Britain(England(North))
REFERENCES: (1 citation)
Stokoe/Reay, pp. 122-123, "Up the Raw" (1 text, 1 tune)
ST StoR122 (Full)
Roud #3155
File: StoR122
===
NAME: Up the Streets and Down the Streets
DESCRIPTION: "Up the streets and down the streets And in a narrow planting, Isn't (name) a nice young lassie? Isn't (name) as nice as she? They shall be married And they shall agree.... It's love... and don't say 'nay.' Next Monday morning is her wedding day."
AUTHOR: unknown
EARLIEST_DATE: 1930 (Flanders/Brown)
KEYWORDS: love playparty nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, p. 189, "Up the Streets and Down the Streets" (1 text)
Roud #5453
NOTES: _Gammer Gurton's Garland_ (1784) has a piece beginning "Up street and down street," but continues "Each window's made of glass; If you go to Tom Tickler's house, you'll find a pretty lass. Hug her and kiss her and take her on your knee...." Related? Hard to say. RBW
File: FlBr189
===
NAME: Up to the Rigs
DESCRIPTION: Singer goes to Cheapside in London, where he picks up a girl. He takes her to dinner; she invites him to bed. When she falls asleep, he steals a snuff box, gold watch, diamond ring, and money, then locks her in. He tells men to remember his example
AUTHOR: unknown
EARLIEST_DATE: before 1851 (broadside, Bodleian Harding B 25(1624))
KEYWORDS: courting seduction sex crime theft food trick
FOUND_IN: Britain(England(South),Scotland(Aber)), Ireland
REFERENCES: (2 citations)
GreigDuncan2 299, "The Rigs of London" (4 texts, 3 tunes)
Kennedy 192, "Up to the Rigs" (1 text, 1 tune)
Roud #868
RECORDINGS:
Harry Cox, "Up to the Rigs of London Town" (on HCox01)
Charlie Wills, "Up to the Rigs [of London Town]" (on FSB2, FSB2CD, Voice07)
BROADSIDES:
Bodleian, Harding B 25(1624), "The Rigs of London Town" ("As I walk'd up London streets one day"), C. Croshaw (York), 1814-1850
ALTERNATE_TITLES:
The Rigs of London Town
Cheapside
London Town
NOTES: Tables turned. - PJS
File: K192
===
NAME: Uphead and Scatter, Boys
DESCRIPTION: "Uphead and scatter, boys, to learn how to row, You treat me so dirty it's a mis'ry in my soul." "When I had money, I had friends all around, But now I've no money, no friend can be found."
AUTHOR: unknown
EARLIEST_DATE: 1944 (Wheeler)
KEYWORDS: work poverty hardtimes loneliness
FOUND_IN: US
REFERENCES: (1 citation)
MWheeler, pp. 83-84, "Uphead an' Scatter, Boys" (1 text, 1 tune)
Roud #10029
File: MWhee083
===
NAME: Upidee, Upidah
DESCRIPTION: German shanty. Chorus: "Upidee, Upidah! Schnalls is goot for de cholera! Upidee, Upidah"
AUTHOR: unknown
EARLIEST_DATE: 1936 (Baltzer, _Knurrhahn_)
LONG_DESCRIPTION: German shanty. Chorus: "Upidee, Upidah! Schnalls is goot for de cholera! Upidee, Upidah" Hugill gives two versions of the verses. The first begins "In the Flying P Line, I served my time" but the rest, according to Hugill is too coarse to include. In the second version the song told by the ship's cook, describing how he rises early to work, keeps the pots clean, and cooks various dishes.
KEYWORDS: shanty foreignlanguage cook sailor
FOUND_IN: Germany
REFERENCES: (1 citation)
Hugill, pp. 485-488, "Upidee, Upidah" (3 texts-English & German, 2 tunes)
CROSS_REFERENCES:
cf. "Julia" (similar tune)
File: Hugi485
===
NAME: Uppermost Tub, The
DESCRIPTION: The singer "scarce could get any fun" goes to Leeds Fair, "bound for a spree." On the way he enters a church for the first time. He doesn't understand what is going on. At the end he offers to pay for the entertainment but is told there is no cost.
AUTHOR: unknown
EARLIEST_DATE: 1907 (GreigDuncan3)
KEYWORDS: humorous nonballad religious
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 686, "The Uppermost Tub" (1 text, 1 tune)
Roud #6109
NOTES: Unfortunately, I would be in the same position as the singer in that I don't understand what he is seeing either. There are two "lads": one, in an "uppermost tub" seems in charge of the service. The other, in a "lowermost tub," "mocked every word that the lad in the uppermost tub said." When "the lad in the uppermost tub says, Come let us sing, ... the lad in the lowermost tub made a' the hoose to sing." - BS
I would guess it's minister in the upper tub and the precentor in the lower, but beyond that I can say little. - RBW
File: GrD3686
===
NAME: Upside Down
DESCRIPTION: The singer and companions used to live a roving life, "but to my sad grief I married a wife...." His wife abuses him for drinking. His sister advises him to "hit her a smack across her back and turn her upside down." The remedy works
AUTHOR: unknown
EARLIEST_DATE: 1937 (Sam Henry collection)
KEYWORDS: husband wife abuse fight
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H694, pp. 503-504, "Upside Down" (1 text, 1 tune)
Roud #9467
CROSS_REFERENCES:
cf. "The Wife Wrapt in Wether's Skin" [Child 277] (theme) and references there
File: HHH694
===
NAME: Utah Carl: see Utah Carroll [Laws B4] (File: LB04)
===
NAME: Utah Carol: see Utah Carroll [Laws B4] (File: LB04)
===
NAME: Utah Carroll [Laws B4]
DESCRIPTION: A cowboy sadly remembers the death of his partner, Utah Carroll. When the herd stampedes, Utah manages to rescue the boss's daughter (who stood in the stampede's path), but himself dies in the process
AUTHOR: unknown
EARLIEST_DATE: 1910 (Lomax, Cowboy Songs)
KEYWORDS: cowboy death rescue friend
FOUND_IN: US(So)
REFERENCES: (11 citations)
Laws B4, "Utah Carroll"
Randolph 206, "Utah Carl" (1 text)
Hudson 94, pp. 224-226, "Utah Carroll" (1 text)
McNeil-SFB1, pp. 154-156, "Utah Carroll" (1 text, 1 tune)
Larkin, pp. 119-122, "Utah Carroll" (1 text, 1 tune)
Fife-Cowboy/West 80, "Utah Carl" (1 text, 1 tune)
Ohrlin-HBT 63, "Utah Carol" (1 text, 1 tune)
Abrahams/Foss, pp. 128-130, "Utah Carroll" (1 text, 1 tune)
Silber-FSWB, p. 113, "Utah Carroll" (1 text)
Saffel-CowboyP, pp. 215-216, "Utah Carroll" (1 text) 
DT 372, UTAHCARL*
Roud #1929
RECORDINGS:
Charles Baker, "Utah Carroll" (Champion 45052, c. 1935)
Cartwright Bros., "Utah Carroll" (Columbia 15410-D, 1929; on WhenIWas1)
Harry Jackson, "Utah Carroll" (on HJackson1)
Harry "Mac" McClintock, "Utah Carl" (on McClintock01, CowFolkCD1) (on McClintock02)
Charles Nabell, "Utah Carl" (Okeh 7009, c. 1925)
Carl T. Sprague, "Utah Carroll" (Victor 21194, 1927; on AuthCowboys)
Arnold Keith Storm, "Utah Carl" (on AKStorm01)
Frank Wheeler & Monroe Lamb, "Utah Carl's Last Ride" (Victor V-40169, 1929; Montgomery Ward M-4470, 1934)
Marc Williams, "Utah Carroll" (Brunswick 304, 1929; rec. 1928)
NOTES: Logsdon, in his notes to CowFolkCD1, states definitively that [N. Howard] Thorp composed this piece, sending it to Kenneth S. Clark to be included in one of his cowboy song folios. - PJS
Against this we must set the observation that Thorp did not include the piece in _Songs of the Cowboys_ even in the 1922 edition after Lomax had already published it. - RBW
File: LB04
===
NAME: Vacant Chair, The
DESCRIPTION: "We shall meet but we shall miss him, There will be one vacant chair, We shall linger to caress him While we breathe our evening prayer." The family remembers its beloved Willie, who now lies dead in a narrow grave, killed for his country
AUTHOR: Words: Henry Washburn/Music: George F. Root
EARLIEST_DATE: 1861
KEYWORDS: Civilwar death burial mourning family
FOUND_IN: US(So)
REFERENCES: (4 citations)
Randolph 251, "The Vacant Chair" (1 text)
Silber-CivWar, pp. 30-31, "The Vacant Chair" (1 text, 1 tune)
Silber-FSWB, p. 269 "The Vacant Chair" (1 text)
DT, VCNTCHAR*
Roud #7714
RECORDINGS:
Columbia Stellar Quartet, "The Vacant Chair" (Columbia A1808, 1915)
Frank Coombs, "The Vacant Chair" (Columbia A913, 1910)
Byron G. Harlan, "The Vacant Chair" (CYL: Edison 8535, 1903)
Charles Harrison, "The Vacant Chair" (Resona 75074, 1920)
Frank & James McCravy, "The Vacant Chair" (Brunswick 4455, 1929; Supertone 2024-S, 1930; rec. 1928)
McKee Trio, "Vacant Chair" (Victor 18230, 1917)
New Lost City Ramblers, "The Vacant Chair" (on NLCREP4)
Shannon Four, "The Vacant Chair" (Pathe 20606, c. 1921)
Elizabeth Spencer, "The Vacant Chair" (Edison 1713, n.d.)
NOTES: Ironically, this song for a dead soldier was written in early 1861, when few battles had been fought. At this time, a few tens of thousands were mourning their lost soldier boys; four years later, those who had lost a loved one or friends would number in the millions (total losses in the Civil War exceeded 600,000, with the bulk of the losses coming in 1862-1864). - RBW
File: R251
===
NAME: Valiant London Apprentice, The [Laws Q38]
DESCRIPTION: The youth, sent to Turkey, praises Queen Elizabeth above all kings. When challenged, the youth breaks the Turkish prince's neck. Thrown to the lions, he kills the beasts. The Turkish emperor admits English superiority; his daughter marries the youth
AUTHOR: unknown
EARLIEST_DATE: c. 1595
KEYWORDS: royalty fight animal contest marriage apprentice
HISTORICAL_REFERENCES: 1558-1603 - Reign of Elizabeth I of England
FOUND_IN: Canada(Mar)
REFERENCES: (4 citations)
Laws Q38, "The Valiant London Apprentice"
Creighton/Senior, pp. 124-126, "The Wealthy London Prentice"(1 text, 1 tune)
BBI, ZN2080, "Of a worthy London Prentice"
DT 749, LONDPREN*
Roud #1016
File: LQ38
===
NAME: Valiant Sailor, The: see Polly on the Shore (The Valiant Sailor) (File: Wa057)
===
NAME: Valiant Seaman's Happy Return to His Love, After a Long Seven Years' Absence, The: see A Seaman and His Love (The Welcome Sailor) [Laws N29] (File: LN29)
===
NAME: Valiant Soldier, The: see The Bold Soldier [Laws M27] (File: LM27)
===
NAME: Valley Below, The (She Lives in the Valley Below)
DESCRIPTION: "The broom bloomed so fresh and fair... As I wandered to breathe the fresh air, By chance a rich treasure I found." The singer praises the beauty and voice of the girl he sees. He will offer her his home and wealth if she will come with him
AUTHOR: unknown
EARLIEST_DATE: 1924 (Sam Henry collection)
KEYWORDS: love beauty
FOUND_IN: Ireland Britain
REFERENCES: (1 citation)
SHenry H47, pp. 236-237, "The Valley Below" (1 text, 1 tune)
Roud #9446
NOTES: Henry offers evidence (based on birds mentioned in the song) that this piece must have originated in England, and a British printing is known. But the plot and style are very Irish.
Kennedy lumps this with "Well Met, Pretty Maid (The Sweet Nightingale)." He's nuts. - RBW
File: HHH047
===
NAME: Valley of Kilbride, The
DESCRIPTION: On a French battlefield, a soldier from Newfoundland thinks back to "boyhood days in the valley of Kilbride." A dying soldier asks him to comfort his parents, sister, and the girl he used to walk with "in Bowring Park."
AUTHOR: unknown
EARLIEST_DATE: 1976 (Lehr/Best)
KEYWORDS: war dying France soldier death family farewell
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 113, "The Valley of Kilbride" (1 text, 1 tune)
NOTES: Lehr/Best speculates that "this song was possibly written by Johnny Burke." If [this] is right, the ballad refers to World War I. Burke died in 1930.
Bowring Park in Saint John's was opened in 1911 (Source: Tide's Point Magazine site for the "Newfoundland and Labrador Magazine for Workers"). GEST Songs of Newfoundland and Labrador site includes the following note for "The Valley of Kilbride," but does not claim the battle is the inspiration for the Ballad: "Between 7:30 and 8:00 a.m., on July 1, 1916, the First Newfoundland Regiment, part of the 29th British Division, was virtually annihilated at Beaumont Hamel as they advanced into point-blank enemy fire. Of the 801 who went into battle, only 68 were able to answer the roll call the next day." 
Kilbride is a suburb south of St John's. I don't know about a Valley of Kilbride. - BS
File: LeBe113
===
NAME: Valley of Knockanure (I), The
DESCRIPTION: Coming from Mass, three IRA flying column boys are caught "on a bridge near Gortaglanna ... In the Valley of Knockanure" in May 1921. The three are named. They are beaten and shot.
AUTHOR: Tim Leary (source: OLochlainn-More)
EARLIEST_DATE: 1955 (OLochlainn-More)
KEYWORDS: battle rebellion execution patriotic IRA
HISTORICAL_REFERENCES: May 12, 1921 - A troop of Black and Tans capture and shoot Lyons, Walsh and Dalton in Gortaglanna, Knockanure, County Kerry. (source: the Moyvane site)
FOUND_IN: Ireland
REFERENCES: (1 citation)
OLochlainn-More 42, "The Valley of Knockanure" (1 text, 1 tune)
Roud #17752
CROSS_REFERENCES:
cf. "The Valley of Knockanure (II)" (subject)
NOTES: The "Black and Tans" were British reinforcements to regular British soldiers sent to Ireland in 1920. The "Auxiliary Cadets" were veteran British army officers sent to help the Black and Tans. (source: _Michael Collins: A Man Against an Empire_ copyright by and available on the History Net site). For more information see RBW note for "The Bold Black and Tan" - BS
The IRA's "flying columns" were not quite what is usually meant by this term. They were guerrilla groups, usually of only a few dozen men, who did most of their damage in small raids on supply lines. Nonetheless, they were very effective -- the main strength of the rebellion, in fact. As a result, they were subject to severe punishment when caught.
This particular atrocity was fairly typical of the Black and Tan war -- minor enough that it is not mentioned in any of the history books I checked. Sadly, there are many similar incidents recorded. This one is remembered because it caught the fancy of poets.
The existence of two songs called "The Valley of Knockanure," both referring to the same event, has caused some confusion. (Not least in earlier versions of this index). 
O Lochlainn lists the author of this as Tim Leary of Listowel, while Tunney lists the author of "Knockanure (II)" as Brian McMahon of Kerry. But the Digital Tradition lists "Knockanure (II)" as by "Tim Leahy" (presumably an error for Leary) Tunney's claim of (II) for McMahon is supported also by Soodlum's Irish Ballad Book.  - RBW
File: OLcM042
===
NAME: Valley of Knockanure (II), The
DESCRIPTION: "You may sing and speak of Easter week and the heroes of ninety-eight" but nothing was said about Knockanure. Dalton, Walshe, and Lyons are killed by the Black and Tans. Dalton's mother wishes she could kiss him before burying him.
AUTHOR: Bryan McMahon (source: Tunney-SongsThunder)
EARLIEST_DATE: 1950 (Tunney-SongsThunder)
KEYWORDS: battle rebellion execution patriotic IRA
HISTORICAL_REFERENCES: May 12, 1921 - A troop of Black and Tans capture and shoot Lyons, Walsh and Dalton in Gortaglanna, Knockanure, County Kerry. (source: the Moyvane site)
FOUND_IN: Ireland
REFERENCES: (2 citations)
Tunney-SongsThunder, pp. 46-48, "The Valley of Knockanure" (1 text)
DT, KNOCKNUR*
Roud #9761
CROSS_REFERENCES:
cf. "The Valley of Knockanure (I)" (subject) and references there

NOTES: The first line is a reference to songs: "Who fears to speak of Ninety-Eight?" from John Kells Ingram's "The Memory of the Dead," and the 1916 song "Who fears to speak of Easter Week?" - BS
For background on this song, and the confusions about authorship, see the notes to "The Valley of Knockanure (I)." - RBW
File: TST046
===
NAME: Valleys of Screen, The
DESCRIPTION: The singer tells the listeners of the beautiful girl he has seen. He gives directions for finding her, and describes her beauty. He recalls speaking to her, and her refusal to give her name. He compares her to classical beauties
AUTHOR: unknown
EARLIEST_DATE: 1938 (Sam Henry collection)
KEYWORDS: love courting beauty
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H752, p. 245, "The Valleys of Screen" (1 text, 1 tune)
Roud #9481
File: HHH752
===
NAME: Van Dieman's Land (I) [Laws L18]
DESCRIPTION: Three poachers are taken and sent to Van Dieman's Land. Sold to planters, they are used to drive plows and live miserable lives until (Susan Summers), a fellow prisoner now married to a planter, treats them somewhat better
AUTHOR: unknown
EARLIEST_DATE: before 1830 (broadside, Bodleian Harding B 25(1979))
KEYWORDS: transportation abuse help poaching
FOUND_IN: Britain(England(Lond,South),Scotland(Aber)) Canada(Mar,Newf) Ireland Australia US(MW)
REFERENCES: (18 citations)
Laws L18, "Van Dieman's Land"
GreigDuncan2 252, "Van Dieman's Land" (5 texts, 2 tunes)
Colcord, p. 172, "Van Dieman's Land" (1 text)
Hugill, p. 412, "Van Dieman's Land" (1 text, 1 tune) [AbEd, p. 314]
Dean, p. 95, "Vandiemens Land" (1 text)
Leach, pp. 708-709, "Van Dieman's Land" (1 text)
Creighton-NovaScotia 63, "Van Diemen's Land" (1 text, 1 tune)
Mackenzie 122, "Van Dieman's Land" (1 text, 1 tune)
Kennedy 262, "Van Dieman's Land" (1 text, 1 tune)
OLochlainn 21, "Van Diemen's Land" (1 text, 1 tune)
Fahey-Eureka, pp. 20-21, "Van Dieman's Land" (1 text, 1 tune)
Hodgart, p.224, "Van Diemen's Land" (1 text)
Ord, pp. 384-285, "The Poachers" (1 text, 1 tune)
Manifold-PASB, pp. 14-15, "Van Dieman's Land" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 55-58, "Van Diemen's Land" (1 text)
MacSeegTrav 93, "Van Dieman's Land" (1 text, 1 tune)
Silber-FSWB, p. 334, "Van Dieman's Land" (1 text)
DT 426, VANDIEMN*
Roud #519
RECORDINGS:
Robert Cinnamond, "Van Dieman's Land" (on IRRCinnamond01)
Jimmy MacBeath, "Van Diemen's Land" (on FSB7)
BROADSIDES:
Bodleian, Harding B 25(1979), "Van Dieman's Land," T. Birt (London), 1828-1829; also Firth b.34(147), Firth c.17(40), Firth c.17(41), Firth c.19(60), Harding B 11(1808), Harding B 11(1850), Harding B 11(2815), Harding B 11(3964), Harding B 17(325b), Harding B 20(177), Johnson Ballads 6, Firth b.34(119), "Van Dieman's Land"
Murray, Mu23-y4:034, "Van Dieman's Land," unknown, 19C
CROSS_REFERENCES:
cf. "Van Dieman's Land (II - Young Henry's Downfall)" (plot)
cf. "Rounding the Horn" (tune)
cf. "Those Poor Convicts" (tune)
NOTES: The "other" "Van Dieman's Land" has a plot so similar that I was not sure but that they should be classified as one. The tunes and texts are, however, distinct.
A typical stanza for this text would run
Poor Tommy Brown from Nenagh Town, Jack Murphy and poor Joe
We were three daring poachers as the gentry well do know.
One night we were trepanned by the keepers hid in sand,
Who for fourteen years transported us unto Van Dieman's Land.
Van Diemen's Land was named after Anthony Van Diemen of the Dutch East India Company; Van Diemen chartered the expedition which discovered the island. Said expedition was led by Abel Tasman, who found the island in 1642 (as well as sighting New Zealand and some lesser islands).
The reputation of Van Diemen's Land was so bad that the residents in the nineteenth century demanded a name change. It therefore was renamed Tasmania after its discoverer.
The irony is that Van Diemen's Land was not really overburdened with "hard cases"; some were sent to the island, but most wound up on Norfolk Island or in settlements like Moreton Bay. But the settlers of Van Diemen's Land were perhaps the most destructive of all the colonists; the Tasmanian aborigines were systematically eradicated, as opposed to simply being brushed aside in most of Australia.
The reference to convicts driving the plows is an exaggeration -- of the wrong sort. At many of the British colonies, the convicts were indeed used instead of draft animals (few of which were available). But they didn't normally use plows; they had to hoe their own furrows! - RBW 
File: LL18
===
NAME: Van Dieman's Land (II -- Young Henry's Downfall)
DESCRIPTION: (Six) poachers are taken and sent to Van Dieman's Land. Destined to work for a planter, the singer is frightened to see the conditions of the workers, but is instead picked out to be a bookkeeper. He meets another prisoner, Rosanna; they fall in love
AUTHOR: unknown
EARLIEST_DATE: before 1845 (broadside, Bodleian Firth c.19(62))
KEYWORDS: transportation poaching love
FOUND_IN: Australia Britain(England(Lond))
REFERENCES: (2 citations)
Fahey-Eureka, pp. 16-17, "Henry's Downfall" (1 text, 1 tune)
DT, VANDIEM2
Roud #221
RECORDINGS:
Walter Pardon, "Van Dieman's Land" (on Voice04)
BROADSIDES:
Bodleian, Firth c.19(62), "Young Henry the Poacher," J. Pitts (London), 1819-1844; also Harding B 11(4369), Harding B 11(4370), Harding B 11(4371), Harding B 11(4372), "Young Henry the Poacher"; Firth c.19(61), "Henry's Downfall"; Harding B 17(349a), "Young Henry's Downfall"
CROSS_REFERENCES:
cf. "Van Dieman's Land (I)"  [Laws L18] (plot)
cf. "The Girls of the Shamrock Shore" (floating lyrics)
NOTES: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 4" - 19.8.02: "Roy Palmer has traced this song (which has been found only in England [sic]) to two real poaching affrays that occurred in Warwickshire in 1829." - BS
The "other" "Van Dieman's Land" has a plot so similar that I was not sure but that they should be classified as one. The tunes and texts are, however, distinct.
A typical stanza of this version is:
I and five more went out one night
To Squire Dunhill's park
To see if we could get some game
But the night it proved too dark.
And to our sad misfortune
They've hemmed us in with speed
They sent us off to Warwick Gaol
Which caused our hearts to bleed.
Chorus:
Young men all now beware
Lest you are drawn into a snare.
For notes on the history of Van Diemen's Land, see the entry on "Van Diemen's Land (I)." - RBW
File: FaE16
===
NAME: Vance Song, The [Laws F17]
DESCRIPTION: [Abner] Vance is charged falsely with murder. Recalling his beautiful home, he castigates those who have caused his unjust condemnation. He bids his family farewell
AUTHOR: unknown
EARLIEST_DATE: 1918 (Cox)
KEYWORDS: murder execution farewell
FOUND_IN: US(Ap,SE,So)
REFERENCES: (6 citations)
Laws F17, "The Vance Song"
JHCox 41, "The Vance Song" (3 texts)
Hudson 107, pp. 246-247, "The Vance Song" (1 text)
Combs/Wilgus 67, pp. 163-164, "The Vance Song" (1 text)
Burt, pp. 222-223, "The Vance Song" (1 text plus an excerpt Burt thinks might be of another Vance song)
DT 738, VANCESNG
Roud #2216
ALTERNATE_TITLES:
Vance's Song
NOTES: This is one of the few "confession" songs that Laws believes was actually written by the narrator. Abner Vance was hanged for murder after shooting Lewis Horton (for seducing Vance's daughter). Laws does not offer a precise date; it was probably in the second quarter of the nineteenth century. Some further details, including those surrounding the trial and murder, are found in Cox, but again, no date. Burt offers a date c. 1910.
We might note, however, the inscription on Cox's "A" text. This appears to be the original broadsheet slip of the song, and is dated 1897.  I do not think this (quite) proves the date of the song, but it gives us a rough date for either the song or the murder. - RBW
File: LF17
===
NAME: Vandiemens Land: see Van Dieman's Land (I) [Laws L18] (File: LL18)
===
NAME: Varsouvienna: see references under Put Your Little Foot (Varsouvienna) (File: Ohr045)
===
NAME: Varsouvienne: see references under Put Your Little Foot (Varsouvienna) (File: Ohr045)
===
NAME: Varsoviana: see references under Put Your Little Foot (Varsouvienna) (File: Ohr045)
===
NAME: Venadito
DESCRIPTION: Spanish: "Young Dear." First line: "Lo que digo de hoy en dia Lo que digo sostengo." The singer promises that "What I say today I will always say." (He) will wait for (her) in the kiosk at eleven o'clock, and "you will know I love you."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: love courting nonballad Mexico foreignlanguage
FOUND_IN: Mexico
REFERENCES: (1 citation)
Sandburg, pp. 294-295, "Lo Que Digo" (1 text plus translation, 1 tune)
File: San294
===
NAME: Veni Emmanuel (O Come, O Come, Emmanuel)
DESCRIPTION: Latin: "Veni veni Emmanuel, Captivum solve Israel...." English: "O come, o come, Emmanuel, And ransom captive Israel." The advent of Emmanuel the savior, descendant of David, is requested, and people are told to celebrate his coming
AUTHOR: J. M. Neale (1818-1866)
EARLIEST_DATE: English words by J. M. Neale, 1851; Latin words and tune 15th century or earlier
KEYWORDS: religious Jesus nonballad rescue
FOUND_IN: US
REFERENCES: (1 citation)
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), p. 13, "O Come, O Come Emmanuel" (1 text, 1 tune)
NOTES: Although I know of no field collections which include this song, it seems to me that it is now widely enough sung that it belongs in the Ballad Index.
Certainly it is *old* enough. Johnson claims the words come from the seventh century. This is probably too early (my guess is that that's based on theories about the history of Latin hymnwriting). But the whole is found in the French National Library manuscript (Bibliotheque Nationale) fonds latin MS 10581.
Manuscripts of this era are very difficult to date; book hands hardly changed from the twelfth to fifteenth centuries. The _New Oxford Book of Carols_ proposes a thirteenth century date. We can at least say that it is from the fifteenth century or earlier, with the text very likely older.
The standard translation is by J. M. Neale, who also gave us the much weaker "Good King Wenceslas." The _New Oxford Book of Carols_ gives an alternate translation (termed a revision) by T. A. Lacey. It appears, at first glance, a more accurate translation -- but distinctly worse as poetry (e.g. the last line of the first Latin stanza is "privatus Dei Filio," loosely, "deprived of the Son of God." Neale butchers this as "until the Son of God appear," but at least gets an easy-to-sing line. Lacey produced "far from the face of God's dear son").
"Emmanuel" ("God With Us") refers back to Isaiah 7:14, where Isaiah prophecies that the threat to Judah from Israel and Damascus shall ease before the new-born child Immanuel (as it is properly transliterated from the Hebrew) reaches the age of having moral sense.
This prophecy is picked up in Matthew 1:23, which uses the Greek spelling "Emmanuel" (which worked its way into Latin and hence into the song). There is rather a curiosity here, in that Matthew normally translates the Hebrew himself, but in this particular version cites the previous Septuagint translation, which has in fact a mistranslation (Septuagint and Matthew read "a virgin shall bear a son," but the Hebrew reads "a young woman shall bear a son"). Clearly this ties in somehow with the Matthean doctrine of the Virgin Birth (which is found in full form only in Matthew; while Luke calls Mary a virgin at the time of her betrothal, he doesn't say that Joseph didn't touch her after that).
Several verses of the song refer to Emmanuel as a descendent of David. This does not come from Isaiah; again, it's Matthew who provides the link, giving a genealogy of Jesus going back to David (Matt. 1:2-16, though Matthew's genealogy omits several names known from the Book of Kings, plus it is at least six or seven generations too short to bring us from the Exile to the time of Jesus).
All of this is somewhat reinforced by Luke. Luke never mentions Emmanuel, but he does have a genealogy linking Jesus to David (Luke 3:23-38), though it differs from Matthew's in irreconcilable ways. (Not that it matters. It was a thousand years from David to Jesus. By the time Jesus was born, everyone in Judea was descended from David, though not necessarily in the male line). Luke also provides much of the imagery of celebration at the arrival of the Messiah (see chapter 2). - RBW
File: CJ013
===
NAME: Verdant Braes o' Skreen, The: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Verdant Braes of Skreen, The: see The False Young Man (The Rose in the Garden, As I Walked Out) (File: FJ166)
===
NAME: Vermont Sugar-Maker's Song
DESCRIPTION: "When you see the vapor pillars lick the forest and the sky, You may know the days of sugar-making then are drawing nigh." A brief description of sugar-making; "Sweetest joys indeed we sugar-makers know." Use of sugar is strongly advised
AUTHOR: Perrin B. Fiske ? (born 1837)
EARLIEST_DATE: 1931 (Flanders/Brown)
KEYWORDS: food work nonballad
FOUND_IN: US(NE)
REFERENCES: (1 citation)
Flanders/Brown, p. 33, "Vermont Sugar-Maker's Song" (1 text)
ST FlBr033 (Partial)
Roud #5444
File: FlBr033
===
NAME: Versos de Montalgo
DESCRIPTION: Spanish. First line: "En el mil nueve cientos y diez -- Y los cuento sin edal...." Montalgo is killed from ambush in 1910 ten years after he killed Encarnacion. A month later, his body is found. His family mourns. Last verse says the other verses are lies
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: Mexico murder death trick foreignlanguage
FOUND_IN: Mexico
REFERENCES: (1 citation)
Sandburg, pp. 302-303, "Versos de Montalgo" (1 text, 1 tune)
NOTES: Sandburg prints this report from Frank J. Dobie: "In the year 1900, Encarnacion Garcia waylaid and killed another Mexican in Cameron County. Montalgo, a Mexican deputy sheriff, rode up on Encarnacion as the latter was burying his victim. Encarnacion resisted arrest, or at least Montalgo always so claimed, and Montalgo killed him. Ten years later to a day, Encarnacion's gente got their revenge by killed Montalgo." - RBW
File: San302
===
NAME: Very Unfortunate Man, The: see The Warranty Deed (The Wealthy Old Maid) [Laws H24] (File: LH24)
===
NAME: Vesta and Mattie's Blues
DESCRIPTION: "I've got a belly full o' whiskey an' a head full o' gin, The doctors say t'will kill me but they don't say when." Chorus: ""I'm a long line skinner an' my home's out west, Lookin' for a man to buy me a hobble dress." Verses float between blues
AUTHOR: unknown
EARLIEST_DATE: 1926 (Arrangement copyright by W. C. Handy)
KEYWORDS: floatingverses drink love separation clothes
FOUND_IN: US
REFERENCES: (1 citation)
Handy/Silverman-Blues, p. 60, "Vesta and Mattie's Blues" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "Easy Rider" (floating lyrics)
NOTES: This looks to me like another one of those blues collections of floating verses (in addition to the first, from "Cocaine Blues" or the like, the second is from "Easy Rider": "Pretty papa, pretty papa, look what you've done: You made your mama love you, now your woman's come"). The notes in Handy, however, imply that it is an actual folk song, so here it is. - RBW
File: Handy060
===
NAME: Veteran's Song, The
DESCRIPTION: The Union veteran lists all the fights he's fought, and all the wounds he's received, and notes that he consistently gave better than he got. He says "[I] will not sheathe my sword Until from Florida to Maine the Stars and Stripes shall proudly float"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: Civilwar soldier injury
HISTORICAL_REFERENCES: July 21, 1861 - First Battle of Bull Run
May 31-June 1, 1862 - Battle of Fair Oaks/Seven Pines
Sept. 17, 1862 - Battle of Antietam
Dec. 13, 1862 - Battle of Fredericksburg
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 392, "The Veteran's Song" (1 text)
Roud #11754
NOTES: This is unquestionably a composed song, and not about an actual individual. You don't take "a grapeshot in my knee" and walk again thereafter!
There are other signs of confusion in the song -- e.g. there is a reference, between the mention of Fair Oaks and that of the Peninsula, to service in "Fighting Joe's Brigade" and crossing the Rapidan at Culpeper with Averell. But "Fighting Joe" Hooker never commanded a brigade in combat in the Peninsular campaign; he was already in charge of a division. And while William Woods Averell did lead a rearguard action in the Peninsula, it was during the retreat to the James. The reference to Culpeper is probably an errant reference to the Chancellorsville campaign.
The reference to General Bragg also seems out of place in the story of an Eastern soldier. - RBW
File: Br3392
===
NAME: Vi Styrte Utover Atlanten (We Set Out Over the Atlantic)
DESCRIPTION: Swedish shanty. No story line, just sailing comments and complaints. i.e. "Callao was our port, so we go... Like a louse on a tarry fist." Chorus: "Hala hem! Hala hem! Hala hem a belagg! (Haul them home, haul them home, haul them home and belay)"
AUTHOR: unknown
EARLIEST_DATE: 1903 (Sternvall, _Sang under Segel_ )
KEYWORDS: foreignlanguage shanty sailor
FOUND_IN: Sweden
REFERENCES: (1 citation)
Hugill, p. 552, "Vi Styrte Utover Atlanten" (2 texts-Swedish & English, 1 tune)
NOTES: Note in Sternvall that this was sung aboard the _Richelieu_ of Stromstad in 1903. - SL
This is not unlikely, since the late nineteenth century was they heyday of the South American guano trade (for which see the notes to "Tommy's Gone to Hilo"). Ilo and Callao were the two chief ports of this trade. And, of course, carrying guano was one of the less pleasant jobs for a sailor, and did generate complaints. - RBW
File: Hugi552
===
NAME: Vicar of Bray, The
DESCRIPTION: "In good King Charles's golden days... A zealous high churchman was I, and so I got preferment." In the reigns that follow, the Vicar changes his opinions to suit the monarch, "That whatsoever king shall reign, I'll be the Vicar of Bray."
AUTHOR: unknown
EARLIEST_DATE: before 1813 (broadside Bodleian, Douce Ballads 4(49))
KEYWORDS: clergy political royalty
HISTORICAL_REFERENCES: 1660-1685 - Reign of Charles II (an Anglican, but devoted to "High Church" and probably baptised Catholic on his deathbed)
1685-1688 - Reign of James II (brother of Charles II; Catholic)
1688 - Glorious Revolution. William III of Orange overthrows James II in his own behalf and on behalf of his wife, James's daughter Mary II. William is Dutch, and favors a more Reformed faith.
1688-1702 - Reign of William III (first cousin of Mary and nephew of James. Mary died in 1694)
1702-1714 - Reign of Anne (second daughter of James II; Protestant but conservative)
1714-1727 - Reign of George I (a cousin of Charles II and James II, and far down in the line of succession -- but the closest relative of the Stuarts to be safely Protestant)
FOUND_IN: Britain(England) US(SE)
REFERENCES: (5 citations)
Chappell/Wooldridge II, pp. 122-123, "The Country Garden, or, The Vicar of Bray" (1 text, 1 tune)
Silber-FSWB, p. 314, "The Vicar of Bray" (1 text)
cf. Fuld-WFM, p. 187, "Country Gardens"
BBI, ZN1416, "In Charles the second's Golden Reign"
DT, VICARBRY*
Roud #4998
BROADSIDES:
Bodleian, Douce Ballads 4(49), "The Time Server, or, Vicar of Bray," T. Evans (London), 1790-1813
CROSS_REFERENCES:
cf. "When the Rebels Come A-Marchin'" (theme)
NOTES: For the references cited in these notes, see the bibliography at the end.
Although this song is mostly a commentary on political trimming, it also reveals the strange and complex religious situation in late seventeenth century England. The ferment had been rising since the death of Elizabeth, really: James VI and I (reigned over England 1603-1625, having previously been king of Scotland) was inclined toward absolute monarchy, and his son Charles I (reigned 1625-1649) was even more so. This also naturally inclined them toward a heirarchical, ritualistic church. Neither king was popular, so they could do little to prevent the rise of the hard-line puritan denominations.
And then, of course, came the rebellion against Charles I, with Scotland turning to the Covenanting version of Presbyterian and England increasingly Puritan. When Oliver Cromwell died and the Commonwealth crumbled, Britain restored the monarchy, but it didn't at once solve the issue of the national faith. And, of course, for many years, the monarch had been the primary influence on the church: Henry VIII had instituted the Anglican church, Edward VI (or, rather, his ministers) had tried to codify it, then Mary I had inclined back toward Catholicism, leaving it for Elizabeth I to try to find a middle road.
It doesn't seem to have been a particularly big deal to Charles II on his restoration. Clark, p. 18, writes, "The king himself was the son and heir of one who was regarded as a martyr for the church of England, but he never showed much feeling for that church. He was without serious personal religion, and his theological opinions, so far as he had any, were those of the deism which was by this time common among unprejudiced men of position. He was therefore inclined to be tolerant of differences of belief, and he was disposed to be particularly indulgent to the Roman Catholics, that body among his subjects who were the most generally feared and ill-treated." Hence, perhaps, the description of the era as a "golden time."
But there seemed to be something about Catholicism that struck a note in the heart of all the Stuarts. Prall, p.44, records that "Charles II had developed a feeling of sympathy for the Roman Catholic Church and for French ways during his years of exile. How deeply his religious views went is certainly problematic, but there was an air about the court at Versailles [where Charles II spent much time after his father's execution and his own exile], Catholic and monarchical, that deeply impressed the young man in exile."
Certainly Charles liked control -- in the latter years of his reign, funded by a subsidy from France as well as revenues voted him for life by his subjects, he dispensed with parliament (Trevelyan, p. 22). Hence, presumably, the line in the song, "Kings are by God appointed" (something his father and grandfather believed even more profoundly; James I had actually written a book _Trew Law of Free Monarchies_, which in fact set forth his belief in the Divine Right of Kings; Davies, p. 30. Charles I didn't write any books, but he did say that he "owe[d] the account of [his] actions to God alone, and that a king "cannot be tried by any superior jurisdiction"; Davies, p. 32. Compare also the quotes from Charles I's trial in Wedgwood-Coffin, pp. 121-134. Somehow, that didn't stop parliament from executing him). Charles II is said to have joined the Catholic church on his deathbed (Kenyon, p. 224; Prall, p. 89).
And Charles II had no heir; he had sundry illegitimate children, the most important of whom became Duke of Monmouth, but even when England had had illegitimate Kings (William the Conqueror, Henry VII), great effort was made to pretend they were legitimate. Nor was Monmouth to prove a particularly good leader; shortly after his father's death in 1685, he tried to raise a rebellion (Chandler, p. 3, and most of the rest of his book; Trevelyan, pp. 26-27; Clark, pp. 113-115, etc.), and was quickly quashed at the battle of Sedgrmoor; he was executed, and his followers suffered very badly (Kenyon, pp. 228-229), as songs of the time tell:
Oh Lord, where is my husband now --
Where once he stood beside me?
His body lies at Sedgemoor
In grave of oak and ivy;
Come tell me you who beat the drum,
Why am I so mistreated? (Chandler, p. 92)
But that left only one other possible successor to Charles II: His brother James (II and VII). James, contrary to the song, did not "usurp" the throne -- but he was Catholic. Proudly and openly Catholic. Maybe it was the family attitude; maybe it was the effects of the exile he had shared with Charles II. But he openly professed the Roman faith (Prall, p. 46). At this time, Catholics were barred from almost every office in England by the Test Act and the penal laws. And here was one on the throne! (It is perhaps possible that a parliament might have barred James from the throne, but as noted, Charles II managed to avoid summoning parliament in the latter years of his reign; they had no opportunity to do so.)
What's more, James gained firm control in the aftermath of Monmouth's rebellion, and although he failed to induce parliament to repeal the penal laws against Catholics (Trevelyan, pp. 33-34; Kenyon, p. 229, says that he never even raised the issue), he *did* induce them to vote him subsidies for life (parliament would learn from this, and never again give a monarch life subsidies; Trevelyan, p. 26). Free of financial needs, James prorogued the parliament after it met for just a week and a half (this even though it was the most pro-Monarch parliament in decades; Prall, p. 92, says that its composition would have "made any Tudor or earlier Stuart king weep with envy").
Free of outside restrictions, James began to show clear favor to Catholics -- and to turn the machinery of government over to them ("Every effort was made to recruit Catholics and suitable Dissenters as magistrates and sheriffs" -- Kenyon, p. 238). And he was intent on creating a standing army -- something that was anathema to both the radical Whigs (because they didn't trust him) and the otherwise reliable Tories (because they remembered Cromwell and the Commonwealth and what it had done to the Church of England; Trevelyan, pp. 29-30). Trevelyan, p. 34, writes, "James, in short, in his desire to restore Romanism in England, found it necessary to become an absolute monarch like the other Princes of Europe."
The reference to the Vicar "read[ing] the Declaration" in the reign of James is perhaps somewhat confusing, because the natural thought would be that he is referring to the Declaration of Right, issued by William and Mary when they came to the throne. But James had made his own Declaration -- the Declaration of Indulgence (1687). This was, in effect, a unilateral repeal of the Test Act and anti-Catholic legislation (Prall, p. 126). This, on its face, was a liberal move -- James not only  lifted the restrictions on Catholics but on Protestant Dissenters (Kendall, p. 236). But it was clear that he meant to use it to appoint more Catholics to high positions. And -- the key point, this -- he had done it without consent of parliament. The Test Act might be needless; it was certainly (by modern standards) odious, but it was the law. What James had done was patently unconstitutional.
Fortunately for the peace of the country, James's two daughters, Mary (born 1662) and Anne (born 1665), were safely Protestant, and Mary, his heir, was safely married to the equally Protestant William of Orange. Unfortunately, James's first wife Anne Hyde had died in 1671. And his second wife, Mary of Modena (1658-1718), was Catholic (Clark, p. 77). Parliament had opposed this marriage in 1674, but Charles II had allowed it to go forward (Kenyon, p. 209). It had looked for a time as if it wouldn't matter; Mary became pregnant five times, and none of the children lived (Kenyon, p. 239, attributes this to a venereal disease -- James's, not Mary's). And she had been barren for several years by  the time James came to the throne. But then, in late 1687, it was announced that she was pregnant (Prall, p. 173). And the child proved to be a boy -- the future Old Pretender, "James III," of Jacobite fame. He proved to be not a very forceful character, but he was healthy, and everyone knew he would be raised Catholic, and he was now heir to the throne (Trevelyan, p. 49). The fragile religious balance in England was suddenly no balance at all.
And across the channel was William of Orange, stadtholder of the Netherlands, the husband of James's daughter Mary. Being both James's nephew (being the son of James's older sister Mary) and his son-in-law, he had long expected to succeed James (Prall, pp. 173-175). And, indeed, he desperately *needed* to succeed James, because his tiny country was trying to hold off the France of Louis XIV, and he could hardly hope to hold out much longer on his own. (This was a big reason Louis XIV had paid off first Charles II and then James II: To keep England from joining the Dutch war on the side of a fellow Protestant nation.)
On June 30, 1688, a group of English barons, frightened of James and his policies, issued an appeal to William of Orange to do something about the King (Trevelyan, p. 50; Clark, p. 127; Kenyon, p. 243, described William as actively inducing them to make their appeal; this may be his interpretation of a comment by William that he would not intervene in English affairs unless invited. For this situation, see Clark, p. 127f., Prall, p. 174fff.).
Whatever William's original intentions, once the invitation came, he pounced. His timing was excellent; the French navy was unavailable and could not stop him (Clark, p. 129), and the French army headed off on a wild goose chase into Germany (Clark, p. 130; Trevelyan, p. 56). William managed to get to sea by November. And he succeeded in a great gamble: He chose to sail past the English fleet (which, to be sure, was in a state of near-mutiny after James had installed Catholic chaplains; Clark, p. 132). Helpful weather allowed him to sail past them and land in the southwest of England; the conditions worked so well that people called it a "Protestant Wind" (Kenyon, p. 249); note the reference in the song to the "new wind."
James of course was still "in possession" in England, but it was not to last. The people were whistling "Lillibullero" (Trevelyan, p. 58), which was to "whistle James from his throne," and the lords started bailing out not long after (Trevelyan, p. 61). Hence the Vicar set aside the "doctrine of non-resistance" and "passive obedience," which basically meant, when ordered by a monarch to do something immoral, to refuse to do it but remain loyal (Clark, p. 33; the doctrine is stated most explicitly in 1 Peter 2:13-17, but is in accordance with passages such as Matthew 5:39). With the whole country turning against him, James's government fell apart.
The outcome was settled when James went into a panic. Everyone expected a parliament to be called -- but James, rather than letting it meet and hoping to dominate it, burned the writs of summons and fled to France (Prall, pp. 237-238). Perhaps, with his absolutist trend of mind, he thought that the government would be paralyzed -- it was, after all, the King's government, and without him parliament could not meet. In theory (cf. Trevelyan, p. 67). In practice -- well, England wasn't Iraq; they managed to use a legal fiction to cover up what had happened. By fleeing, James II was held, after some discussion, to have abdicated (Kenyon, pp. 254-257; Prall, p. 261; Trevelyan, p. 77). Parliament was regarded as having been properly summoned. And that parliament declared the infant James (who of course had gone off with his father; Kenyon, p. 255) illegitimate, or at least inelligible for the crown (Kenyon, pp. 259-260) because of his presumed Catholicism (Trevelyan, pp. 77-78).
Another compromise made the William of Orange and James's daughter Mary joint monarchs -- William III and Mary II -- with William being given control but it being understood that whichever lived longer would be sole monarch after the death of the other, and their children if any would succeed them, with Mary's sister Anne being next in line. (Since William was a dozen years older than Mary, and sickly, it was expected that she would outlast him, so it wasn't expected that the joint monarchy would matter. As it turned out, Mary died in 1694, and William in 1702, and they had no children -- a problem suffered by several other Stuarts as well). 
A series of additional compromises -- the "Glorious Revolution" -- assured greater religious freedom and a more constitutional government, with an independent judiciary and stronger parliamentary controls (Trevelyan, p. 88, etc.), enshrined in the "Declaration of Right" (Trevelyan, p. 79). Not everyone was reconciled to the Revolution -- most of Ireland would follow James II to the banks of the Boyne, and Scotland would later break out in the Jacobite rebellions -- but the matter was pretty well settled in England, and what England said, went. Hence the Vicar's prompt conversion.
(Incidentally, it was probably a very good thing that James was displaced. Had William and Anne not been monarchs at the start of the eighteenth century, the France of Louis XIV would very likely had won the War of the Spanish Succession, resulting in France dominating all of Europe -- possibly for centuries to come.)
William himself, and his closest Dutch advisors, were "Calvinists in belief, congregationalists in religious observance -- the English dissenters were in a very real sense their coreligionists" (Kenyon, p. 236). But the Netherlands by this time was fundamentally tolerant; William did not impose any real religious restrictions. The Vicar needed only to return to the Protestant fold.
But then Mary died, followed by William, and Anne took the throne. William and Mary had in effect governed from the center of the newly-forming Whig/Tory spectrum -- the deposition of James II was entirely a Whig idea, but James's behavior had forced most Tories to join the anti-James crowd (Trevelyan, pp. 76-77); only the Jacobite extremists still held out for the full Tory position.
Anne wanted no part of this; she had the Stuart conservatism in a fairly pure form, and insisted on a Tory government. Most agree that she was a firm believer in High Church Anglicanism, and even Kenyon, who thinks she wasn't, admits that everyone *thought* she was (Kenyon, p. 299). And, politically, even Kenyon admits that her "reign opened with a bang, with the dismissal of every Whig in sight and their replacement with firm Tories" (Kenyon, p. 300). And even Kenyon (p. 299) admits she had no use at all for the habit of "occasional conformity" -- the fairly common practice of a Dissenter going to an Anglican church a few times a year  to meet the requirements of the Test Act, allowing them to serve in government. Anne in 1711 pushed through a bill stopping this practice (Clark, p. 222), which the Vicar naturally approved of, as long as it was on the statute books.
It didn't last long. Anne herself died in 1714. Which revived the succession problem. When the Glorious Revolution took place, the succession had been defined only as far as Anne, to succeed William and Mary; Anne had just given birth at that time to the future Duke of Gloucester, and it seemed likely that the succession could pass through him.
But the Stuarts truly were jinxed. It is possible that this is due to the genes of King Charles VI of France. The mad king was the father of Queen Katherine of Valois, wife of Henry V. Her son by Henry V, who became King Henry VI, was feeble-minded and had at most one son. By her second husband/paramour Owen Tudor, Katherine was the grandmother of King Henry VII -- and while Henry VII was healthy, his heir Henry VIII's wives repeatedly miscarried, and of his three children to reach the age of one year, none would have offspring of their own. Charles I was the great(x6)-grandson of Charles VI -- via Katherine of Valois, Owen Tudor, Henry VII, Margaret Tudor, James V of Scotland, Mary Queen of Scots, and James VI and I -- and had nine legitimate children, six of whom died without legitimate issue. Of the remaining three, James II, like Henry VIII before, caused his wives to miscarry repeatedly, and Mary the mother of William of Orange had only one child. William and Mary, both grandchildren of Charles I were childless, and Mary herself had been through miscarriages. James the Old Pretender had two sons, but neither produced a legitimate heir. And Anne -- well, Anne went through many pregnancies, almost all of which produced babies who died very young. The child of 1689 lived to become the Duke of Gloucester -- but then died in 1700 while still a boy.
That produced a crisis, which William of Orange sort of resolved by passing the Act of Settlement in 1701 (Prall, pp. 287-288). This made it official: A Catholic could not ascend to the throne of England (later broadened to all of Britain by the passage of the Act of Union in 1707), nor could the monarch marry a Catholic. This was the "Protestant Succession."
Anne had repeatedly talked, at the end of her life, of passing the throne to the Old Pretender, who was after all her closest living relative (her half-brother). Thackeray wrote, "Had the Queen lasted a month longer; had the English Tories been as bold and resolute as they were clever and crafty; had the Prince whom the nation loved and pitied been equal to his fortune, George Louis had never talked German in St. James's Chapel Royal" (quoted in Sinclair-Stevenson, p. 11). But Anne died too soon, and the law was not altered. The hunt was on for a Protestant heir.
In fact, the Protestant heir was already known -- except that he was far down the line of succession. Several people could have supplanted him -- but they would have had to give up their Catholic faith.
It really helps to see a genealogy here; I used the one in Oman, p. 458. Under strict blood succession, the heirs of Anne (after setting aside the Old Pretender) would have been the descendants of Henrieta, the daughter of Charles I who had married Philip, Duke of Orleans. These were, apart from the Old Pretender, the only legitimate descendents of Charles I. But they were all Catholic. That left the offspring of Elizabeth, the daughter of James I. (She and Charles I were the only children of James I to live to have children.)
Elizabeth had had a truly sad history: Born in 1596 (Oman, p. 1), her early portraits show a very pretty red-haired girl, who apparently was also quite clever (Oman, p. 36). Not too surprisingly, half a dozen princes were mentioned as possible marriage prospects (for the list, see p. 469 in Oman's index). Somehow, though, James decided to favor the suit of Frederick V, who, when he came of age in 1614, would be the Elector Palatine of the Holy Roman Empire (Oman, pp. 52-53). James's wife Anne of Denmark wasn't so happy (Oman, p. 62), but the young pair (Frederick was the older by just a few days; Oman, p. 54) were formally betrothed at the end of 1612. (Some think that Shakespeare's "The Tempest," or at least the Masque in IV.I.106 and following, was modified to suit her wedding; we know, according to _The Riverside Shakespeare_, p. 1606, that it was performed as part of the elaborate marriage festivities.)
Dill, p. 33, describes Frederick as Òyoung, handsome, charming... and a Calvinist," but not even that combination of traits could bring calm to Germany. The rest of Elizabeth's life was not so happy. Frederick soon decided to accept the vacant throne of Bohemia (Oman, p. 170), against the advice of most of those around him (Wedgwood-Thirty, pp. 97-99; the Bohemians, after all, had just ousted the previous King even as he was being elected Holy Roman Emperor; Wedgwood-Thirty, pp. 90-97).
That decision put Frederick squarely at the center of the Thirty Years' War; Bohemia, which was trying assure its Protestantism, was the front line. Elizabeth came to be called "The Winter Queen," because it was foretold that her husband, "The Winter King," would vanish with the snows (Oman, p. 202). He did. In November 1620, his forces lost the Battle of the White Mountain (Oman, pp. 223-224, etc.; Wedgwood-Thirty, pp. 122-125, describes the Bohemian forces, who were few, ill-paid because of the poverty of the crown, and ill-led, being destroyed in almost no time despite what should have been a strong position. Dill, p. 33, adds that James I of England provided no help to the Protestants, since he was "dallying with an alliance with the Spanish Habsburgs").
Frederick, and the Bohemian Protestants, were driven out as the Habsburg Emperor re-imposed Catholicism. (Elizabeth is surely the only Stuart to get in trouble for not being Catholic enough!) Frederick formally allowed Maximilian of Bavaria to become Elector, and got out of there. Elizabeth spent the rest of her life in exile of one sort or another: She and her husband, living in (by royal standards) poverty, tried to improve their position until Frederick died in 1632. Her son finally regained his status as Elector in 1648, but by then the Stuart dynasty in England was on the ropes. She finally returned to England in 1661 after the Stuart restoration -- and promptly died (Oman, p. 455). It was quite a drama -- but it shouldn't have mattered much in England, except for the failure of the Stuart line.
Even if you ignore the sad history of her life, Elizabeth had a typical Tudor/Stuart story: She had thirteen children (ncluding the famous Prince Rupert). But nine died without any children at all, and Rupert had no legitimate children. That left three: Charles Louis, the Elector Palatine (restored after the 1648 Peace of Westphalia, but with reduced territory; Dill, p. 37), whose offspring were Catholic; Edward, whose offspring were Catholic, and Sophia, who married the Elector of Hanover. (It is interesting to note that the Guelfs of Hanover had only recently become electors -- they were given a new, ninth electorate in 1692; Dill, p. 43. Thus the Hanoverian dynasty only became Electors *after* the Glorious Revolution!)
If it's any consolation to the memory of Elizabeth, it appears that *every* remaining crowned head of Europe is her descendant; the monarchs of Britain, Denmark, the Netherlands, Norway, and Sweden are all descended from Sophia of Hanover (as were the pre-World War II monarchs of Greece, Yugoslavia, and Romania among others), and the royal house of Belgium, along with the extinct dynasties of Bulgaria and Italy and others, descend from Liselotte daughter of the Elector Palatinate (Oman, p. 457).
By 1710, it was of course clear that none of the people ahead of her would turn Protestant, so Sophia became Anne's heir apparent. She did not quite live to succeed, dying in 1714 at the age of 84 (perhaps, some have argued romantically, as a result of news from England which seemed to imply that Anne would disinherit her; Sinclair-Stevenson, pp. 13-15).
And so, in default of anyone else, George Lewis, Elector of Hannover, became King George I of England. He was not in any way exceptional -- Sinclair-Stevenson, p. 24, quotes an unnamed source as saying, "To imagine George I possessed any exalted views regarding either the supremacy of the Protestant religion or the economic and progressive development is to credit a mollusc with the aspirations of an eagle." As it turned out, none of his descendants to the present day has been exceptional, either (except George III, who was exceptional for stupidity); the only one whom I can imagine making even a decent ruler in his own right is George V. But England had had its handsome Plantaganets and its triumphant Lancastrians and its romantic Stuarts, maybe it had had enough of exceptional monarchs. George was much laughed at -- for his lack of English, his two ugly mistresses, his clan of German friends (Sinclair-Stevenson, p. 26). But even though he faced two Jacobite rebellions (1715 and 1719), there was never any serious danger of his overthrow. Even the Vicar had little to say about George's theology -- except that he would follow it.
The reference to George arriving in Pudding Time has perhaps as many as three meanings. It refers to a the beginning of a meal, as George was the beginning of a new dynasty. It also implies a good meal, in which case the Vicar might be using it to try to compliment the new king. And -- well, George I, by the time he succeeded to the English throne, was rather pudgy, and his expansive cheekbones made him appear pudgier. He had the look of a man fond of his pudding.
There does not seem to have been an actual Vicar of Bray, but this sort of shifting-of-allegiance is by no means unknown in British history. The ultimate example of this is probably the brothers Thomas Stanley (c. 1435-1504), later Earl of Derby, and his brother Sir William Stanley (c. 1440-1495). Thomas Stanley succeeded his father as Lord Stanley in 1459 (a title bringing with it control of the Isle of Man); this was in the reign of Henry VI, though the Wars of the Roses were already underway. Longford, p. 48, says that Henry VI admitted him to the Order of the Garter (though Kendall, p. 381, attributes this to Richard III), then Edward IV made him Steward of the Household. Stanley retained power under Richard III, even though he had married Margaret Beaufort (the mother of the future Henry VII) around 1482. He brought an army to Bosworth (where Richard III died), carefully did not fight in the battle, but when Richard died, reportedly put the crown on Henry VII's head.
In fact it appears the situation was even more complicated than Longford admits. Kendall, p. 404, notes that the Stanleys "thrived by daring to make politics their trade, by sloughing off the encumbrances of loyalty an honor, by developing an ambiguity of attitude which enabled them to join the winning side."
Kendall implies that, early on, the brothers Stanley deliberately played both sides (see pp. 404-406): In 1459, William joined the Yorkists (and was attainted by a Lancastrian parliament), while Thomas, claiming to be Lancastrian, kept his troops idle at Blore Heath. Thomas did fight for the Lancastrians at Northampton, but when Edward IV became King, Thomas was made Chief Justice of Cheshire and Flint.
When in the late 1460s the Earl of Warwick made the first of two attempts to bring back Henry VI, Thomas made sympathetic noises but did nothing and was taken back into favor. In the second attempt, he joined Warwick -- but did nothing at the battles of Barnet and Tewkesbury. Since William had joined the Yorkists, Thomas was allowed to rejoin the government. It was after this that he became Steward. During the reign of Richard III, even though his wife lost her estates after Buckingham's rebellion, Thomas Stanley became treasurer.
Then came the invasion of Henry VII, which eventually overthrew Richard. Stanley was, by now, the third-greatest landholder in England, after the Howard Duke of Norfolk and the Percy Earl of Northumberland. When Henry VII landed, Stanley asked to be allowed to leave Richard. Richard consented, though he made Stanley turn over his son Lord Strange as a hostage. (But, we note for the Richard III haters out there, once it was clear that Stanley would not support Richard at Bosworth, Richard let Strange live.)
Even after the death of Richard, the Stanleys kept their feet in both camps. Thomas became Earl of Derby (a title that is still in his family) -- though Kendall, p. 457, says that Margaret Beaufort eventually refused to share his bed any longer. But William, the man who had ordered the counter-charge that killed Richard III and won England for Henry, did not even receive a peerage. He allegedly conspired with the pretender Perkin Warbeck, and the Stanley luck finally ran out; Henry VII had him executed. (To be sure, there are those who think Henry just wanted Sir William's money; Poole, p. 18)
It should be noted that Kendall's was the most vigorous defence of Richard III in the twentieth century; to preserve Richard, he must inherently blacken the Stanleys. But others tell the same story. Gillingham seems to try to be balanced, in that it does not condemn Richard out of hand (but he betrays his bias in failing to note that Henry VII faced as many rebellions in his first two years as Richard did in his, and had a little support from peers; the only difference is that Richard was killed at Bosworth, whereas Henry won his battle at Stoke -- fortunately, since there would have been at least one more round of civil wars had he lost). But Gillingham's account of the Bosworth campaign (pp. 233-242) cannot conceal the extensive treachery of the Stanleys, though it tries to hide it under the cloak of necessity.
Seward-Roses, pp. 303-304, in the space of two pages manages to refer to "Lord Stanley's well-deserved reputation for trimming," and his "treacherous behavior in 1470-1471," also mentioning that "Thomas Stanley had survived the Wars of the Roses... by his shrewdness in identifying and backing the more powerful side" and noting that Henry and the Stanleys "were men of utmost cynicism," as well as that "the Stanleys were never men of their word."
Long after I wrote the above, I was amazed to find that Ross, p. 162, took exactly the same view, referring to "the Vicar of Bray attitude which the Stanley family usually adopted."
Perhaps the best evidence of all comes from the will of William Catesby, one of Richard III's closest associates. Three days after the Battle of Bosworth, as he prepared for execution, he wrote his will. Cunningham, pp. 76-77, shows a reduced image of the will, which reads in part, "My lords, Stanley, Strange and all taht blood help and pray for my sould for have not for my body as I trusted in you."
No matter what source you consult, both brothers had careers with even more changes of coat than the Vicar of Bray (who just went along with whoever was in charge). Can you imagine what George W. Bush would have made of these people?
For additional details on Richard III's story, see the notes to "The Children in the Wood (The Babes in the Woods) [Laws Q34]" and "The Rose of England" [Child 166].  - RBW
The form of broadside Bodleian Firth c.8(33), "Beef and Butt Beer, Against Mum and Pumpernickle" or "A Bumper to Old England, Huzza," B. C. (London), 1743, shows it either to be a forerunner or derivative of "The Vicar of Bray." Here is the first verse:
In good King G---'s golden days,
Whoe'er advis'd the King, Sir,
To give H---r the Bays,
Deserv'd a hempen String, Sir.
For this is true, I will maintain,
Give H----r away, Sir,
Or whatsoever K---g shall reign,
Will ne'er have a happy Day, Sir. - BS
The king in the item above must be one or another King George (no other English king has had the initial "G," unless you count Richard of Gloucester). And since the king mentioned clearly is no longer on the throne, and the song was published in the 1740s, it must be George I.
This strongly implies that "H---r" is Hanover, the German principality that England had inherited with George I.
My guess is that the reference is to the Battle of Dettingen (1743) during the War of the Austrian Succession (1740-1748). Britain had joined the war on the Austrian side, partly because France was on the other side, partly because Hanover was part of the Holy Roman Empire (of which the Habsburg Emperor of Austria was usually Emperor, though an exception had had to be made at this time; Maria Theresa of Austria was a woman and therefore ineligible), and partly because Britain wanted to maintain the balance of power.
The War of the Austian Succession was very expensive for Britain, and unpopular, causing several governments to fall rather spectacularly. Dettingen was of particular note because it was very bloody, and a strategic defeat for the British, who had to retreat -- and because George II personally led troops (the last time a British monarch was directly involved in battle).
George I was, of course, the last King mentioned in the "standard" Vicar of Bray. It thus seems likely that the Bodleian broadside is a follow-on to the Vicar -- which in turn implies that the Vicar was in existence by the reign of George II if not earlier.
Just how traditional "The Vicar of Bray" is is an open question. That it's well-known, however, cannot be denied.
Improbable as it sounds, a bark named _The Vicar of Bray_ was built in 1841. After a complicated career, it ended up in a decrepit state in Port Stanley in the Falklands. It still exists as part of a pier there, and is believed to be the only surviving ship to have made the voyage to San Francisco during the 1849 gold rush. (See Paine, pp. 546-547).
The song also gave its name to a biological theory. Ridley, p. 31 etc., describes how biologists for long thought that sex existed in order to promote the diffusion of good genes, helping along evolution. This came to be called the "Vicar of Bray" theory. Alternatives go by such names as the "Tangled Bank" and the "Red Queen" (after the Red Queen's Race in _Through the Looking Glass_).
Unlike its namesake, though, the "Vicar" theory proved inadequately adaptable. The basic premise is sound: Sex allows the diffusion of genes (i.e. it allows genes A and B, which arose independenty, to end up in the same organism), and sharing of genes is indeed helpful when a species must seek to optimize behavior; it is the best way to create superior mixes of genes. But this does not explain why so many creatures reproduce only by means of sex. Mammals use sex exclusively, and most other vertebrates and many invertebrates also reproduce exclusively sexually.
The problem with the Vicar of Bray is that sex is not needed for genetic diffusion. It's perfectly possible to swap genes without sex; bacteria often do it, and viruses manage it by invading a cell at the same time. And in the ordinary course of things asexual reproduction (cloning or fissioning) is a faster way to reproduce. Indeed, we see a mix of such strategies in many creatures (strawberries, for instance, send out runners to populate their local area, while spreading seeds to the wind. And there are a number of species which reproduce primarily asexually while going through an occasional sexual phase, e.g. at the end of a growing season).
Plus, while sex serves to distribute good genes, it also serves to break up good gene combinations. As Ridley puts it on page 47, "Sex disobeys that great injunction, 'If it ain't broke, don't fix it.'"
It has been noted, however, that asexual reproduction seems to be a very rare thing; if one looks at a "Tree of Life" (one of those drawings that show species splitting off from each other), and marks the multicellular creatures which reproduce asexually, they are few and scattered (see the description in Dawkins, p. 425). The one major exception is the bdelloid rotifers, which -- unlike all other rotifers -- reproduce exclusively asexually, and have managed to persist for an estimated 85 million years and spawn some 360 species (Judson, pp. 219-220; Dawkins, p. 425). Judson, p. 213, calls it a "notorous scandal" (in the circles of evolutionary biology). According to Ridley, p. 85, it was John Maynard Smith who first used the term. Scandal they may be, but they are still very much the exception. Almost every other species reproduces sexually. It must have some strong advantage -- but no one knows what.
(This gives rise to an irony: The Vicar of Bray in the song kept himself in business by selfishly concerning himself solely with his own survival. The Vicar of Bray hypothesis regarding evolution failed because it does not take into account the selfish desires of each creature that its genes, and only its genes, survive.)
Because of these problems, there is still debate about why sex persists. It will be interesting to see the name applied to the consensus theory if and when a consensus forms. - RBW
>>*BIBLIOGRAPHY*<<
Chandler: David Chandler: _Sedgemoor 1685: From Monmouth's Invasion to the Blody Assizes_ (Spellmount, 1985, 1999)
Clark: G.N. Clark, M.A., _TheLater Stuarts, 1660-1714_ (Oxford, 1934, 1944)
Cunningham: Sean Cunningham: _Richard III: A Royal Enigma_ ([English] National Archives, 2003)
Davies: Godfrey Davies, _The Early Stuarts: 1603-1660_ (Oxford, 1937)
Dawkins: Richard Dawkins, _The Ancestor's Tale_ (2004; I use the 2005 Mariner Books edition)
Dill: Marshall Dill, Jr., _Germany: A Modern History_, University of Michigan Press, 1961
Gillingham: John Gillingham, _The Wars of the Roses_ (Louisiana State University, 1984)
Judson: Olivia Judson, _Dr. Tatiana's Sex Advice to All Creation_ (Henry Holt, 2002; I use the 2003 Owl Books edition)
Kendall: Paul Murray Kendall, _Richard the Third_ (Norton, 1955, 1956)
Kenyon: J. P. Kenyon, _Stuart England_ (The Pelican History of England 6) (Pelican, 1978)
Longford: Lord Longford, _A History of the House of Lords_ (Sutton, 1988, 1999)
Oman: Carola Oman, _The Winter Queen: Elizabeth of Bohemia_ (1938; I used the 2000 Phoenix edition)
Paine: Lincoln P. Paine, _Ships of the World: An Historical Encylopedia_ (Houghton Mifflin, 1997)
Poole: Stanley B. R. Poole, _Royal Mysteries and Pretenders_, Barnes & Noble, 1993
Prall: Stuart Prall, _The Bloodless Revolution: England, 1688_ (Doubleday Anchor, 1972)
Ridley: Matt Ridley, _The Red Queen_ (Penguin, 1993)
Ross: Charles Ross, _Richard III_ (University of California Press, 1981)
Seward-Roses: Desmond Seward, _The Wars of the Roses_ (Penguin, 1995)
Sinclair-Stevenson: Christopher Sinclair-Stevenson, _Blood Royal: The Illustrious House of Hanover_ (Doubleday, 1980)
Trevelyan: G. M. Trevelyan, _The English Revolution 1688-1689_ (Oxford, 1938)
Wedgwood-Coffin: C. V. Wedgwood, _A Coffin for King Charles: The Trial and Execution of Charles I_ (1964; I used the 1966 Time-Life edition with introduction by A. L. Rowse)
Wedgwood-Thirty: C. V. Wedgwood, _The Thirty Years War_ (1938; I used the 1961 Doubleday-Anchor printing)
File: ChWII122
===
NAME: Vicksburg Round the Bend: see Captain Jim Rees and the Katie (File: MWhee010)
===
NAME: Vicksburg Soldier, The: see The Battle of Vicksburg (File: R225)
===
NAME: Victorious Goalers of Carrigaline and Kilmoney, The
DESCRIPTION: "There's joy throughout the nation... our goalers ... have won the victory... on the plains of Onnabuoy" Ancient heroes of the game would join the acclamation. The game is described. O'Day is the hero. Players on both teams are named.
AUTHOR: unknown
EARLIEST_DATE: 1839 (Croker-PopularSongs)
KEYWORDS: pride sports Ireland moniker
FOUND_IN: 
REFERENCES: (2 citations)
Croker-PopularSongs, pp. 148-155, "The Victorious Goalers of Carrigaline and Kilmoney" (1 text)

CROSS_REFERENCES:
cf. "Mourneen Gal Ma Chree" (tune, according to Croker-PopularSongs)
cf. "Bold Thady Quill" (subject of hurling) and references there
cf. "The Carrigaline Goalers Defeated" (subject of hurling, plus these particular games)
NOTES: The name of the Irish game is "goal" or "hurling." This match takes place near Cork harbour. 
Croker-PopularSongs quoting "Miss Conner, sister to the hero of the ballad": "The famed contests of Onnabuoy occurred in December, 1828, and the second in April, 1829." - BS
File: CrPs148
===
NAME: Victorious March
DESCRIPTION: General Grant sets out to capture Vicksburg. He wins assorted small battles and besieges the city; it surrenders on July 4.
AUTHOR: unknown
EARLIEST_DATE: 1909 (Belden), based on a diary entry from 1864
KEYWORDS: Civilwar battle
HISTORICAL_REFERENCES: Nov 1862 - Union general Ulysses S. Grant begins his Vicksburg campaign. His first four attempts to reach the city fail
Apr 16, 1863 - Porter's gunboats run past Vicksburg, opening the way for Grant's final successful campaign
May 12-17, 1863 - Grant fights a series of minor battles which bring him to the defences of Vicksburg
May 22, 1863 - Grant's attempt to take Vicksburg by storm is a bloody failure. The Union army settles down to a siege
July 4, 1863 - Lt. General Pemberton surrenders Vicksburg
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 369-371, "Victorious March" (1 text)
Roud #7765
CROSS_REFERENCES:
cf. "The Battle of Vicksburg" (subject)
cf. "Late Battle in the West" (subject)
NOTES: Historical allusions in this piece include:
"In the early part of May": Grant actually brought his forces across the Mississippi below Vicksburg on April 30, 1863
"Grand Gulf": On May 1, two Confederate brigades arrived from Grand Gulf to dispute Grant's crossing. The actual battle was fought at Port Gibson, and resulted in a rebel defeat. The survivors then abandoned Grand Gulf to Grant.
"Raymond": After crossing the river, Grant had intended to head downstream and capture the auxiliary fortress of Port Hudson, but instead decided that Vicksburg was his primary objective. He moved inland, defeating a small force at Raymond, Mississippi on May 12
"Jackson" and "the seniors of rebellion": There were two rebel forces in central Mississippi: Pemberton's Vicksburg garrison, and an additional force under Joseph E. Johnston near Jackson. Johnston was the senior officer in the west, and in theoretical charge of Pemberton -- but he couldn't get Pemberton to obey him, and his own force was small (no more than 12, 000 men, and probably less than 10,000). Grant, with at least a 4:1 advantage, beat the force at Jackson on May 14, freeing him to deal with Pemberton without worrying about his back.
"Champion Hill": Properly Champion's Hill. Johnston had vainly tried to get Pemberton to pitch into Grant's army while Johnston was still fighting. Pemberton sat -- then finally came on on May 15, changed his mind, and awaited Grant on the hill. Grant attacked on May 16, and after a bloody battle pushed Pemberton back toward Vicksburg
"Black River": On May 17, Pemberton tried a rearguard action at the river crossing. Grant forced a crossing without much trouble, and Pemberton was trapped. Grant besieged the city starting May 19, although his initial assault was defeated
"Genral Pem": Lt. Gen. John C. Pemberton (1814-1881), the commander of the Vickburg garrison. His handling of the campaign was so inept that some confederates accused him of treason (he was born in the North).
"General Logan": John A. Logan (1826-1886). Commander of a division in the Union army
"Their works he undermined": Union engineers twice (June 25, July 1) exploded mines under the confederate works. Neither explosion produced a breakthrough, though they may have influenced Pemberton's decision to surrender.
"All hope of Johnston's aid": After the battle of Jackson, Johnston tried to assemble a relieving force, but the only troops available were green as grass. In addition, Grant was given some 30,000 additional troops, with which to hold off Johnston. Johnston declared on June 15 that Vicksburg could not be saved. - RBW
File: Beld369
===
NAME: Victory: see On Board of The Victory (File: Peac484)
===
NAME: Victory Shall Be Mine
DESCRIPTION: "Victory, victory shall be mine (x2); Just hold your peace and the Lord will fight your battles, Victory, victory shall be mine." "Victory, victory shall be mine in the morning..."
AUTHOR: unknown
EARLIEST_DATE: 1937 (Warner)
KEYWORDS: religious
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 176, "Wictory Shall Be Mine" (1 text, 1 tune)
ST Wa176 (Partial)
Roud #16403
NOTES: Yes, the Warners' informant (name uncertain) pronounced it "wictory" -- a peculiar error for an American, as it is considered characteristic of Cockney speech (and even in that dialect, some insist that its frequency is exaggerated).
The tune has another, even more surprising, peculiarity: It uses quarter tones. And not just any quarter tone; it has a quarter tone in place of the fifth (i.e. Ab# instead of G in the key of C). - RBW
File: Wa176
===
NAME: Victory She Came Bearing Down, The: see Nelson's Fame, and England's Glory (File: GrD1146)
===
NAME: Victory Won at Richmond, The
DESCRIPTION: "The southern boys may longer lie On the first and fourth of sweet July, Our General Beauregard resound For his southern boys at Richmond." In a bloody battle, the southerners save Richmond while the Yankees run
AUTHOR: unknown
EARLIEST_DATE: 1917 (Cox)
KEYWORDS: battle Civilwar
FOUND_IN: US(Ap)
REFERENCES: (2 citations)
JHCox 66, "The Victory Won at Richmond" (1 text)
DT, VRCHMND
ST JHCox066 (Full)
Roud #3629
CROSS_REFERENCES:
cf. "The Heights of Alma (I)" [Laws J10] (meter, lyrics)
NOTES: This song is item dA37 in Laws's Appendix II. Laws lists two texts in Cox, but this is a typographical error.
This song is truly a curiosity. The form and lyrics are straight from "The Heights of Alma" (with this clearly being a rewrite) -- yet "The Heights of Alma" was about an event of the Crimean War; what was it doing being parodied in the American South in the 1860s? I suppose there could be an earlier song which inspired both (Alma was hardly the sort of battle to produce a brilliant broadside), but I hadn't found it.
The history here is also confused. The only general named on either side is Beauregard. But Beauregard never commanded at Richmond. He could be treated as the Confederate commander at First Bull Run/Manasses (though the actual field commander was Joseph E. Johnston), but that was a long way from Richmond. Beauregard did command the defenses of Petersburg (south of Richmond) in 1864, and fought the Yankees in the Bermuda Hundred campaign -- but this was as a subordinate of Lee's.
It seems likely that this line is an interpolation, as it does not fit the stanza form. But that just leaves things more murky. So do the initial dates: The first and fourth of July. No significant battles happened on those days -- except the Battle of Gettysburg and the surrender of Vicksburg, neither of which a Confederate would celebrate.
The description of the battle also fails to match any actual battle. The casualty ratios are reminiscent of two fights (Fredericksburg and Cold Harbor), but again, these were Lee's battles, and neither was fought near Richmond. In any case, the Confederates fought all of the above battles on the strict defensive; nowhere did they capture a height.
If one were to list one battle as a "Victory at Richmond," it would probably be the Seven Days' Battles, but this was Lee's fight, with an army recently Johnston's; Confederate losses *exceeded* Union casualties, and at no point did the Confederates take a ridge (they in fact signally failed to take one in the Battle of Malvern Hill).
I think the only possible conclusion is that this is a localized version of "The Heights of Alma," not based on an actual battle but rather on a few names the writer had heard. It may even be  conflation of northern and southern versions (that would explain a lot of the confusions). It's too bad, in a way; the version of "Heights of Alma" I know is incredibly energetic, and could use a solid American version.
As a footnote, there was a "Battle of Richmond" in Civil War annals. But it was a small conflict fought near Richmond, Kentucky in August 1862. Beauregard was not involved, of course. - RBW
File: JHCox066
===
NAME: Vilikens and his Dinah (William and Dinah) [Laws M31A/B]
DESCRIPTION: Dinah is in love with (William/Vilikens); her father insists that she will marry someone else. Dinah steals away, writes a note to her love, and drinks poison. Her love finds her body and in turn kills himself. They are buried in the same grave
AUTHOR: unknown
EARLIEST_DATE: M31A: before 1821 (broadside, Bodleian 2806 c.17(469)).
M31B: before 1853 (broadside, Bodleian Harding B 26(662))
KEYWORDS: courting death poverty
FOUND_IN: US(Ap,MA,MW,NE,So,SE) Canada(Mar) Britain(Scotland(Aber))
REFERENCES: (19 citations)
Laws M31A, "William and Dinah A"/M31B "Vilikens and His Dinah (William and Dinah B)"
GreigDuncan2 211, "Villikens and His Dinah" (1 fragment, 2 tunes)
Belden, pp. 147-148, "Wilkins and Dinah" (1 text)
Randolph 80, "Vilikens and Dinah" (1 text plus an excerpt, 1 tune)
Eddy 50, "Vilikens and his Dinah" (2 texts, 1 tune)
Gardner/Chickering 162, "Young Diana" (2 texts plus mention of 1 more, 1 tune; the "A" text is "William and Dinah"; "B" is "Vilikens")
JHCox 105, "Vilikins and His Dinah" (1 text)
Fuson, p. 90, "Billy and Diana" (1 short text)
BrownII 204, "Wilkins and His Dinah" (1 text plus 1 excerpt and mention of 3 more)
Hudson 33, pp. 146-147, "Villikins and His Dinah" (1 text)
Flanders/Brown, p. 49, "Dinah's Lovers" (1 text, in which William becomes "Sambo"!)
Linscott, pp. 301-303, "Willikins and His Dinah" (1 text, 1 tune)
Creighton-NovaScotia 17, "Diana and Sweet William" (1 text, 1 tune); 18, "Villikens and his Dinah" (1 text, 1 tune)
Leach, pp. 767-769, "Villkins and his Dinah" (2 texts)
Spaeth-ReadWeep, pp. 53-54, "Vilikins and His Dinah" (1 text, 1 tune)
Darling-NAS, pp. 118-119, "William and Dinah" (1 text)
Silber-FSWB, p. 266, "Villikins And His Dinah" (1 text)
Fuld-WFM, pp. 603-604, "Vilikens and His Dinah -- (Sweet Betsey from Pike)"
DT 435, VILDINAH*
Roud #271
RECORDINGS:
Logan English, "William and Dinah" (on LEnglish01)
BROADSIDES:
Laws M31A:
Bodleian, 2806 c.17(469), "William and Diana," G. Thompson (Liverpool), 1789-1820; also Harding B 15(379a), Harding B 11(3592), Harding B 11(1311), Johnson Ballads 1842, "William and Dinah"
Laws M31B:
Bodleian, Harding B 26(662), "Villikins and His Dinah," J. Moore (Belfast) , 1846-1852; also Firth c.18(231), Firth b.27(61), "Vilikens and His Dinah"; Firth b.27(159), Harding B 11(3981), Firth c.18(232), "Vilikins and His Dinah"; Harding B 11(3982), "Vilikins and His Dinah!"
LOCSheet, sm1854 551640, "Vilikens and His Dinah," Horace Waters (New York), 1854 (tune) 
LOCSinging, as114360, "Villikins and Dinah," unknown, 19C
CROSS_REFERENCES:
cf. "Sweet Betsy from Pike [Laws B9]" (tune & meter)
cf. "The Grand Hotel" (tune & meter)
cf. "Squarin' Up Time" (tune & meter)
cf. "Blinded by Shit" (tune & meter)
cf. "Dinky Die" (tune)
cf. "Pokegama Bear" (tune)
cf. "The H'Emmer Jane" (tune)
cf. "Johnston's Hotel" (tune)
cf. "Moses Ritoora-li-ay" (tune)
cf. "Duncan Campbell (Erin-Go-Bragh)" [Laws Q20] (tune)
cf. "Four Horses" (tune)
cf. "Nothing at All" (tune)
cf. "Dalmuir Ploughing Match" (tune)
SAME_TUNE:
Sweet Betsy from Pike [Laws B9] (File: LB09)
The Grand Hotel (File: FJ180)
Squarin' Up Time (File: FJ182)
Blinded by Shit (File: EM125)
Dinky Die (File: EM403)
Pokegama Bear (File: RcPokegB)
Johnston's Hotel (File: RcJohHot)
Four Horses (File: Rc4Horse)
Nothing At All (File: RcNoAtAl)
Dalmuir Ploughing Match (File: GrD3427)
We Sing of the Polar Bear (Pankake-PHCFSB, p. 43)
The Abolition Show (words by Stephen Foster; Saunders/Root-Foster 2, pp. 12-13+418)
They Died as They Lived (per broadside Bodleian Firth b.27(61))
ALTERNATE_TITLES:
Diana
Jimmy and Diana
Billikins
NOTES: As Laws's numbers show, this ballad has two versions. The first, "William and Dinah," is a straightforward tragic piece. At some point this was rewritten as a comic piece, "Vilikens and His Dinah." The two retain enough similarity that they can still be treated as one song.
In the department of Truly Useless Knowledge, we might note that the cat Dinah of Caroll's _Through the Looking Glass_ derived its name from this song. The two cats kept by the Liddell family were Vilikens and Dinah. - RBW
File: LM31
===
NAME: Village Pride (I), The: see The Paisley Officer (India's Burning Sands) [Laws N2] (File: LN02)
===
NAME: Village Pride (II), The: see Mary of the Wild Moor [Laws P21] (File: LP21)
===
NAME: Villkins and his Dinah: see Vilikens and His Dinah [LawsM31A/B] (File: LM31)
===
NAME: Vince Leahy
DESCRIPTION: The singer tells of the drowning of Leahy. The young man is well liked for his hard work at Young's Point. The morning of his death, his mother begs him to stay home. But he goes to work, slips into a "stop log place," and is found much later
AUTHOR: Dave McMahon
EARLIEST_DATE: 1957 (Fowke)
KEYWORDS: death drowning lumbering river family
HISTORICAL_REFERENCES: 1927 - Death of Vince Leahy of Peterborough
FOUND_IN: Canada(Ont)
REFERENCES: (1 citation)
Fowke-Lumbering #43, "Vince Leahy" (1 text, 1 tune)
Roud #3683
File: FowL43
===
NAME: Vingt-cinq de Juillet, Le (The Twenty-fifth of July)
DESCRIPTION: French. July 25 the ship sets sail for France. Surviving a storm, the ship arrives safely at Rochelle. The girls go on board with their men. When the owner is told that his ship has arrived safe and sound with a load of cargo and silver he thanks God.
AUTHOR: unknown
EARLIEST_DATE: 1971 (Lehr/Best)
KEYWORDS: foreignlanguage sex commerce sea ship storm
FOUND_IN: Canada(Newf)
REFERENCES: (1 citation)
Lehr/Best 114, "Le Vingt-cinq de Juillet" (1 text, 1 tune)
RECORDINGS:
Anita Best and Pamela Morgan, "Le Vingt-cinq de Juillet" (on NFABestPMorgan01)
File: LeBe114
===
NAME: Virgin Mary Had a Little Baby
DESCRIPTION: "The Virgin Mary had a little baby, O, glory hallelujah. O, pretty little baby, Glory be to the newborn King." "What you gonna name that pretty little baby?" "Some call him one thing, think I'll call him Jesus"
AUTHOR: unknown
EARLIEST_DATE: 1953 (R. C. Seeger, American Folk Songs for Christmas)
KEYWORDS: religious Jesus Christmas
FOUND_IN: US
REFERENCES: (1 citation)
Silber-FSWB, p. 384, "Virgin Mary Had One Son" (1 text)
Roud #12207
RECORDINGS:
Pete Seeger, "Glory to the New Born King" (on PeteSeeger37, PeteSeeger42)
File: FSWB384A
===
NAME: Virgin Mary Had One Son: see Virgin Mary Had a Little Baby (File: FSWB384A)
===
NAME: Virgin Mary's Bank, The
DESCRIPTION: A ship sees Virgin Mary praying on the bank. The captain leads the crew in jeering and a storm wrecks the ship "on Ichidony's rock." The crew are drowned. Local fishermen call "that hillock green 'the Virgin Mary's bank.'"
AUTHOR: J. J. Callanan
EARLIEST_DATE: 1855 (Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II)
KEYWORDS: death ship storm wreck religious supernatural
FOUND_IN: Ireland Canada(Newf)
REFERENCES: (3 citations)
Lehr/Best 115, "The Virgin on the Strand" (1 text, 1 tune)
O'Conor, p. 77, "The Virgin Mary's Bank" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol II, pp. 177-178, "The Virgin Mary's Bank"
NOTES: 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: LeBe115
===
NAME: Virgin Most Pure, A
DESCRIPTION: "A virgin most pure, as the prophets do tell, Hath brought forth a baby, as it hath befell." "Set sorrows aside; Christ Jesus, our Savior, was born on this tide." Jesus is born in Bethlehem, in a stable -- you know the rest
AUTHOR: unknown
EARLIEST_DATE: 1822 (Gilbert)
KEYWORDS: Jesus religious animal
FOUND_IN: Britain(England)
REFERENCES: (1 citation)
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #3, "A Virgin Most Pure" (1 text)
Roud #1378
NOTES: The history of this song is a little murky; according to the _New Oxford Book of Carols_, the "rejoice and be merry" refrain and 11-syllable lines is attested as early as 1661. It then fades away for a century and a half until found in Gilbert and Sandys. Bradley cites the tune as "Admiral Benbow" as given in Chappell. - RBW
File: PBOC003
===
NAME: Virgin on the Strand, The: see The Virgin Mary's Bank (File: LeBe115)
===
NAME: Virgin Sturgeon, The: see Caviar Comes from the Virgin Sturgeon (File: EM240)
===
NAME: Virginia Lived down in Treoqueen
DESCRIPTION: "Virginia lived down in Treoqueen, Married a Baltimore boy who was long and lean." Sam two-times her; she declares, "You thought I was blind but now I see" -- and admits to having an "off-side man [whp] keeps his light-house on the sea."
AUTHOR: unknown
EARLIEST_DATE: 1929 (Henry, collected from Ray Bohanan)
KEYWORDS: infidelity humorous
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
MHenry-Appalachians, p. 17, "Virginia Lived down in Treoqueen" (1 text)
NOTES: I strongly suspect that this was learned, perhaps indirectly, from a recording (this based on the "hip" euphemisms and the stanza form), but I can't locate a probably original. - RBW
File: MHAp17
===
NAME: Virginia Lover, The
DESCRIPTION: Singer courts (Martha), who returns his affection. Her mother/brother opposes the marriage because he is unpropertied, and offers her land/gowns if she'll reject him. She weeps; he tells her "if you hadn't been so faithful, I wouldn't have been so true"
AUTHOR: unknown
EARLIEST_DATE: 1916 (Cecil Sharp collection)
LONG_DESCRIPTION: Singer courts fair Martha (Polly) (of Blackwaters, dark waters), who returns his affection, but her mother (brother) opposes their marriage because he is unpropertied, and offers her land (or gowns) if she'll reject him. She weeps; he asks if he's given her any occasion to be angry, and tells her "if you hadn't been so faithful, I wouldn't have been so true"
KEYWORDS: grief poverty courting marriage brother lover mother clothes
FOUND_IN: US(Ap, SE)
REFERENCES: (1 citation)
SharpAp 124, "The Virginia Lover" (3 texts, 3 tunes)
Roud #420
CROSS_REFERENCES:
cf. "The Wagoner's Lad" (plot)
NOTES: The plot of this song powerfully resembles others, notably "The Wagoner's Lad," but it seems to be distinct. - PJS
File: ShAp2124
===
NAME: Virginia Strike of '23, The
DESCRIPTION: "In the dear old town of Princeton... Fire hundred railroad employees were as happy as could be... But they believed in Satan and quit their jobs that fall." The singer was one of those fooled into striking. Now he wishes he had his job back.
AUTHOR: Roy Harvey
EARLIEST_DATE: 1929 (recording, Roy Harvey and Earl Shirkey)
KEYWORDS: train strike hardtimes request
HISTORICAL_REFERENCES: 1923 - about two thirds of the employees of the Virginia Railroad go on strike. The union brings in replacements; the company suffers several accidents in coming years but never rehires the strikers
FOUND_IN: 
REFERENCES: (1 citation)
Cohen-LSRail, pp. 591-595, "The Virginia Strike of '23" (1 text, 1 tune)
RECORDINGS:
Roy Harper [pseud. for Roy Harvey] and Earl Shirkey, "The Virginia Strike of '23" (Columbia 15535-D, 1930; rec. 1929)
CROSS_REFERENCES:
cf. "When the Work's All Done This Fall" [Laws B3] (tune)
NOTES: According to Cohen, Roy Harvey was an engineer on the Virgina Railroad, and was one of those who struck in 1923. He and many of his fellow workers came to believe that they had been deceived by their union. He reportedly wrote this song to try to get his job back. Reportedly there was some sympathy for him in the company, but not enough. And then, of course, came the Depression. - RBW
File: LSRai591
===
NAME: Virginia's Alders: see Friends and Neighbors (Virginia's Alders) (File: FSC035)
===
NAME: Virginia's Bloody Soil
DESCRIPTION: The singer calls on his audience to listen as he tells of the troubles of the Civil War, and describes how Unionists sprang to the colors after Fort Sumter. The rest of the song describes the battle of the Wilderness, and the death of the captain there
AUTHOR: James McCoy?
EARLIEST_DATE: 1939 (Warner)
KEYWORDS: Civilwar battle death
HISTORICAL_REFERENCES: May 5-7, 1864 - Battle of the Wilderness
FOUND_IN: US(MA)
REFERENCES: (3 citations)
Warner 24, "Virginia's Bloody Soil" (1 text, 1 tune)
Silber-CivWar, pp. 80-81, "Virginia's Bloody Soil" (1 text, 1 tune)
Lomax-FSNA 52, "Virginia's Bloody Soil" (1 text, 1 tune)
ST Wa024 (Partial)
Roud #2802
NOTES: It appears that this song has been collected only once, by the Warners. Their  informant, "Yankee" John Galusha, said that this was a song local to his area, written by James McCoy about Captain Dennis Barnes, killed at the Battle of the Wilderness.
This seems likely enough. Although two battles were fought in the Rappahannock Wilderness (The Wilderness in 1864 and the earlier Battle of Chancellorsville on May 1-4, 1863), the song seems better suited to the 1864 battle, as it mentions the fires which consumed the Wilderness and also denies that the Federals retreated (after Chancellorsville the Union forces retreated; after the Wilderness, although it had suffered almost as bad a pounding as at Chancellorsville, Grant and Meade forced the federal army on to Spotsylvania).
This song is item dA35 in Laws's Appendix II. - RBW
File: Wa024
===
NAME: Virginny: see Australia (Virginny) (File: FaE012)
===
NAME: Visit to Morans, The
DESCRIPTION: "In the month of January, ninety-two... We harnessed up our team" and visited John Moran in DeGros Marsh. On the way home the snow forces them off the road. They replace a broken harness with rope and make it to Martin's for beer, then go home next day.
AUTHOR: Lawrence Doyle and Patrick William Farrell
EARLIEST_DATE: 1969 (Ives-DullCare)
KEYWORDS: ordeal storm travel
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Ives-DullCare, pp. 204-207, 256, "The Visit to Morans" (1 text, 1 tune)
Roud #14000
NOTES: DeGros Marsh is on the east coast of Kings County, Prince Edward Island. - BS
File: IvDC204
===
NAME: Vivandeer, The
DESCRIPTION: Vivandeer was built "to sail the ocean round ... But they left her on Blackwater Bank, a dire and total wreck." Tinnaberna men launch their boats, step aboard, and, with help of a tug, "brought the gallant Vivandeer safe into Wexford Quay"
AUTHOR: Miley Roche, Kilmuckridge
EARLIEST_DATE: 1939 (Ranson)
KEYWORDS: sea ship wreck sailor help
FOUND_IN: Ireland
REFERENCES: (1 citation)
Ranson, pp. 112-113, "The Vivandeer" (1 text, 1 tune)
Roud #7354
CROSS_REFERENCES:
cf. "The North Star" (tune)
NOTES: 1885: "The new sailing ship Vivandiere struck the Blackwater Bank.... She was abandoned by her crew. A local group from Tinnabearna put out and boarded her. They succeeded in bringing her into Wexford with the aid of a tug." (source: Bourke in _Shipwrecks of the Irish Coast_ v1, p. 71) - BS
File: Ran112
===
NAME: Vive la Canadienne!
DESCRIPTION: French: The singer rejoices in his Canadien girl. He celebrates her blue eyes. He describes their meeting, mentioning how quickly their hearts are beating. "So go the hours a-flying Until our wedding day."
AUTHOR: unknown
EARLIEST_DATE: 1880 (E. Gagnon, "Chansons Populaires de Canada")
KEYWORDS: love courting marriage foreignlanguage
FOUND_IN: Canada(Que)
REFERENCES: (2 citations)
Fowke/Johnston, pp. 146-147, "Vive la Canadienne! (Of My Canadian Girl I Sing)" (1 text, 1 tune)
Fowke/MacMillan 45, "Vive La Canadienne!" (1 English and 1 French text, 1 tune)
RECORDINGS:
Pete Seeger, "Vive La Canadienne" (on PeteSeeger29)
File: FJ146
===
NAME: Vive la Compagnie
DESCRIPTION: "Let Bacchus to Venus libations pour forth, Vive la compagnie. And let us make use of our time while it lasts, Vive la compagnie. Vive la, vive la, vive l'amour...." Bachelors toast their lasses, husbands their wives, all toast their friends
AUTHOR: unknown
EARLIEST_DATE: 1818
KEYWORDS: drink friend nonballad
FOUND_IN: US Britain(England) Germany
REFERENCES: (5 citations)
RJackson-19CPop, pp. 218-221, "Vive la Compagnie" (1 text, 1 tune)
Pankake-PHCFSB, p. 288, "Vive la Compagnie" (1 text)
Silber-FSWB, p. 235, "Vive La Compagnie (Vive l'Amour)" (1 text)
Fuld-WFM, pp. 606-607, "Vive la Compaigne"
DT, VIVLAMOR
ST RJ19218 (Full)
SAME_TUNE:
Vive le Captain John (Pankake-PHCFSB, p. 161)
NOTES: Fuld points out that this song has been printed in England, America, and Germany, but no early French printings are known. It may, in fact, be an English song; at least, the tune is close to "The Lincolnshire Poacher." - RBW
File: RJ19218
===
NAME: Vive La Republican
DESCRIPTION: January 2 "they cried, 'to arms my clever fellows The Russians are advancing.'" "Vive la" the new convention, Republican, America "for it was in you that it a' began." America "have spent their dear heart's blood To plant the tree of liberty."
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan1)
KEYWORDS: America nonballad political
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan1 142, "Vive La Republican" (1 text)
Roud #5775
NOTES: GreigDuncan1: "The war episode suggested in stanza 1 has not been identified. The refrain may refer to the new convention held in Edinburgh in November 1793."
"Vive la" and "Tree of Liberty" occur in Irish political songs. See, for example, "Rouse Hibernians" for the former and "Freedom Triumphant," "Ireland's Liberty Tree" and "The Liberty Tree" for the latter. - BS
File: GrD1142
===
NAME: Vive les matelots!
DESCRIPTION: French (Voyageurs): "Nous etions trois garcons, tous jolis capitaines (x2), Y'en a un a Paris, et a'autre a La Rochelle. Vive les matelots dessus la mer jolie...." Song concerns three captains. One comes to court a girl. He cares not if he is rejected
AUTHOR: unknown
EARLIEST_DATE: 1937
KEYWORDS: courting sailor nonballad foreignlanguage
FOUND_IN: Canada
REFERENCES: (1 citation)
Fowke/Mills/Blume, pp. 21-24, "Vive les matelots!" (1 text, 1 tune)
File: FMB021
===
NAME: Voice from the Tombs (Lonely Tombs)
DESCRIPTION: The singer passes a tomb and hears a voice, "I once lived as you live, walked and talked as you talk, Then from earth I was soon torn away." Other voices chip in about the joys of heaven and the brevity of life. At last his mother's voice says she is safe
AUTHOR: unknown
EARLIEST_DATE: 1938 (recording, Wade Mainer)
KEYWORDS: death ghost religious grief loneliness mother
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 87, "Voice from the Tombs" (1 text, 1 tune)
ST Wa087 (Partial)
Roud #3399
RECORDINGS:
J. E. Mainer's Mountaineers, "Lonely Tombs" (King 661, 1947)
Wade Mainer, "Lonely Tombs" (Bluebird B-7424, 1938)
Preston & Hobart Smith, "Lonely Tombs" (on LomaxCD1704)
CROSS_REFERENCES:
cf. "Hark from the Tombs (Plenary)" (theme)
NOTES: I find, in looking through our keywords, that we have Hell as a place name but not Heaven. Given our subject matter, that's probably appropriate. - PJS
File: Wa087
===
NAME: Volunteer Organist, The
DESCRIPTION: The preacher announces that the organist is ill. No one volunteers to play except a drunken-looking man. He tells his story in music, amazing them all. The preacher doesn't try to preach; he just has the congregation pray as the man leaves
AUTHOR: Words: William B. Gray ("Glenroy") / Music: Henry Lamb
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: music clergy
FOUND_IN: US(So)
REFERENCES: (2 citations)
Randolph 826, "The Volunteer Organist" (1 text)
Spaeth-ReadWeep, pp. 191-192, "[The Volunteer Organist]" (1 excerpt)
Roud #5378
RECORDINGS:
John McGhee, "The Volunteer Organist" (Champion 15483, 1928)
NOTES: Spaeth (_A History of Popular Music in America_, p. 271) calls this "the sport of 1893," and goes on to detail how it spawned a play of the same title -- as well as a short-lived rush to produce imitations. - RBW
File: R826
===
NAME: Volunteers, The
DESCRIPTION: Mabel asks her mother about the passing troops and their leader. Mother answers that the men are the Volunteers and Grattan their leader. "They rose to guard from foreign foes, as well from British guile" Witness "the baffled hosts of Gaul"
AUTHOR: unknown
EARLIEST_DATE: 1855 (Hayes)
KEYWORDS: pride army England France Ireland dialog patriotic
FOUND_IN: 
REFERENCES: (2 citations)
O'Conor, pp. 117-118, "The Volunteers" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859 (reprint of 1855 London edition)), Vol I, pp. 235-236, "The Volunteers"
CROSS_REFERENCES:
cf. "The Song of the Volunteers" (subject) and references there
NOTES: The Belfast Volunteers were formed in 1778 because of the threat of war between France and Britain. Similar groups formed, became politicized, and supported "those in favour of legislative independence from the British parliament and the removal of impediments to Irish commerce." Henry Grattan and Harry Flood supported this program in the Irish House of Commons. (Source} Moylan)
O'Conor shows the author as "M.O.B." I posted an inquiry for speculation as to who "M.O.B." might be. 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" -- gave me two leads. First, he pointed out that Hayes (see ADDITIONAL, above) -- possibly O'Conor's source -- has the author as "M.O'B" and that another good resource might be David James O'Donoghue, _The Poets of Ireland: a Biographical Dictionary_ (O'Donoghue, 1892-3). One possibility in O'Donoghue is O'Brien, M.E., a "very frequent contributor of verse to _Sentimental and Masonic Magazine_ of 1794-5.... He may have been the 'O'B' of _Sentimental and Masonic Magazine_ 1794." (p. 180). - BS
For more on Grattan, see e.g. "Ireland's Glory." For the Volunteers, see among others "The Green Cockade," "The Shamrock Cockade," and "The Song of the Volunteers."
The reference to the "baffled hosts of Gaul" makes me think this might refer to a period somewhat after Grattan's great success (which Ben's research on the author indirectly supports). This sounds as if it might come from around the period of the French failure at Bantry Bay -- when Grattan's parliament was functioning but before the 1798 rebellion. - RBW
File: OCon117
===
NAME: Volunteers' March, The
DESCRIPTION: "Was she not a fool, When she took off our wool, To leave us so much of the Leather, the leather? It ne'er entered her pate, That a sheepskin well beat, Would draw a whole nation Together, together."
AUTHOR: unknown
EARLIEST_DATE: 1780s (Zimmermann)
KEYWORDS: nonballad patriotic clothes
FOUND_IN: Ireland
REFERENCES: (1 citation)
Zimmermann 2, "The Volunteers' March" (1 fragment, 1 tune)
NOTES: The current description is all of the Zimmermann fragment.
Zimmermann p. 117: "'The Volunteers' March' ... represents the first group of really nationalist Irish songs written in English, though most of the words are lost."
Moylan notes the tune Zimmermann uses for this entry and thinks it unlikely. "In fact the verse would fit a slide or jig tune, but not one in 2/4 time. In fact the verse would fit perfectly to the tune 'Larry Grogan' to which song [Zimmermann] 40 below is set, and was in all probability made with that tune in mind." (Moylan 2, "Favourite March of the Old Irish Volunteers") Consider this comment when using the tunes assigned by both Moylan and Zimmermann. - BS
Though it rarely is mentioned in song, one of the worst ways Britain oppressed Ireland was by controlling her trade. One instance of this was that they restricted Irish clothing from entering England. On several occasions England seemed to encourage one or another industry (e.g. linen) only to chop it down.
Robert Kee, in _The Most Distressful Country_ (Volume I of _The Green Flag_) writes on page 21, "The later English parliament took advantage of this constitutional subservience to see that local economic interests in the Kingdom of Ireland should present no threat to those in the Kingdom of England. Irish trading and manufacturing opportunities were severely restricted to protect England's own trades and manufactures. For instance, in 1699 the export of woolen goods from Ireland... was totally forbidden to everywhere but England where English import duties were themselves prohibitive." (Compare Michael Cronin, _A History of Ireland_, pp. 86-87: "The 1699 legislation destroyed the Irish woolen industry at a stroke.")
Similarly, P. Berresford Ellis, _A history of the Irish Working Class_, p. 48, reports, "In 1666 Parliament forbade irish cattle being imported into England thus bringing about the ruin of the cattle industry."
I don't know if this song reflects that, but it might. - RBW
File: Zimm002
===
NAME: Voodoo Man, The
DESCRIPTION: Of a woman courted by a man; when she rejects his advanced because "he had no situation," he "hoodoes" her elaborately. Now she is sick and hopes someone can stop the voodoo man even though all are afraid of him. She wonders if *she* is dead
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: courting poverty rejection magic disease
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 429, "The Voodoo Man" (1 text)
Roud #11773
File: Br3429
===
NAME: Vowels, The
DESCRIPTION: "B-a, ba; b-e, be; B-i, bick-a-bi; B-o, bick-a-bi-bo; B-u, bu, bick-a-bi-bo-bu." Similarly through the alphabet: "C-a, ca; C-e, ce, C-i, cick-a-ci." (The text does not specify whether "cick" is pronounced "sick" or "kick.")
AUTHOR: unknown
EARLIEST_DATE: 1922 (Brown)
KEYWORDS: wordplay nonballad
FOUND_IN: US(SE,So)
REFERENCES: (2 citations)
BrownIII 139, "The Vowels" (1 text)
Randolph 873, "The Alphabet Song" (6 texts, 6 tunes, but the "E" and "F" texts are "The Vowels")
Roud #3303
CROSS_REFERENCES:
cf. "Alphabet Songs"
File: Br3139
===
NAME: Voyage, Le
DESCRIPTION: "Ah! c'est un mariage Que d'epouser le yoyage. Je plains qui s'y engage Sans y etre invite." The life of a voyageur is like a marriage. Safety, comfort and contentment must be given up "dans le course du voyage."
AUTHOR: unknown
EARLIEST_DATE: 1944
KEYWORDS: nonballad foreignlanguage marriage travel
FOUND_IN: Canada(Queb)
REFERENCES: (1 citation)
Botkin-MRFolklr, p. 582, "Le Voyage (The Voyage)" (1 text, 1 tune)
File: BMRF582
===
NAME: Voyez Ce Mulet La
DESCRIPTION: Bamboula in Creole French: "Voyez ce mulet la, Miche Bainjo, Comme il est insolent! Chapeau sur cote, Miche Bainjo, La canne a la maine, Miche Bainjo...." The singer describes the strutting about of "Mister Banjo."
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: foreignlanguage music dancetune nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Scarborough-NegroFS, pp. 119-120, "Voyez Ce Mulet La" (1 short text plus loose English translation, 1 tune)
File: ScaNF119
===
NAME: Vulture (of the Alps), The
DESCRIPTION: A family of shepherds is out with their sheep when a vulture swoops down and carries off their youngest child. Though the baby cries and reaches out to its father, there is nothing the others can do
AUTHOR: unknown
EARLIEST_DATE: set to music c. 1842 and sung by the Hutchinson Family
KEYWORDS: bird family disaster death
FOUND_IN: US(Ap,So)
REFERENCES: (1 citation)
McNeil-SFB2, pp. 108-113, "The Vulture"; "The Vulture of the Alps  (2 texts, 1 tune)
ST MN2108 (Partial)
Roud #4777
CROSS_REFERENCES:
cf. "Lonesome Dove (I - The Minister's Lamentation)" (theme)
cf. "The Lost Babe" (theme)
cf, "Fair Margaret O' Craignaritie" (approximate theme)
NOTES: On its face, this has nothing to do with "The Lonesome Dove," in which a child is carried off by consumption. But that song describes the disease as a vulture. I wonder if this might not be a badly messed up form of the same idea.
It is highly unlikely that a vulture would carry off a baby, and only slightly more likely that an eagle or other carrion bird would do so. At least in America; our babies are too big. But this may well be one of those subliminal fears, like the fear of snakes (now known to be an instinct in monkeys, even those which have never seen a snake). I base this on comments in Lee R. Berger, _In the Footsteps of Eve: The Mystery of Human Origins_, Adventure Press, 2000. pp. 157-163. On page 162, Berger mentions that the Crowned Eagle of South Africa "is a specialist in primate hunting and has even been known to take human children."
What is more, it is Berger's belief that the Taung child -- a member of the species _Australopithecus africanus_ now about three million years old and first documented by Raymond Dart in 1925 -- was killed by an eagle. There remains much debate about just where _Australopithecus africanus_ stands in the lineage of humanity, but it hardly matters. If eagles were hunting that sort of australopithecine, they would hunt the others -- and one of those australopithecine species was our ancestor. American parents probably don't have to worry about vultures -- but we have at least two and a half million years of thinking we should. - RBW
File: MN2108
===
NAME: W. P. and A.
DESCRIPTION: "Where did you get that pretty dress all so bright and gay? I got it from my loving man on the W. P. and A." The singer tells of how the WPA allowed him to re-establish credit and earn good money for little work -- but also how he is resented by friends
AUTHOR: unknown
EARLIEST_DATE: 1959 (Warner)
KEYWORDS: work unemployment hardtimes
HISTORICAL_REFERENCES: May 6, 1935 -- Creation of the Works Progress Administration (W.P.A.), which had been authorized April 8. The program lasted until Dec. 4, 1942
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Warner 138, "W. P. and A." (1 text, 1 tune)
ST Wa138 (Partial)
Roud #7476
CROSS_REFERENCES:
cf. "The W.P.A. Gathering" (subject)
NOTES: The Works Progress Administration was responsible for a number of important building projects during the Depression. One of the key pieces of the New Deal, it helped many unemployed people survive the period. In the North Carolina backwoods, the wages it paid were considered very good, and the work relatively slight. But not everyone could sign on with the W.P.A. Hence this song -- and the resentment it describes. - RBW
File: Wa138
===
NAME: W.P.A. Gathering, The
DESCRIPTION: "Uncle Sam was very kind, He gave the people aid; The W.P.A. is working hard, Good roads will soon be made." This effort makes possible the Lost Hope Hollow Singing Gathering.
AUTHOR: James W. Day ("Jilson Setters")?
EARLIEST_DATE: 1939 (Thomas)
KEYWORDS: music travel nonballad
HISTORICAL_REFERENCES: May 6, 1935 -- Creation of the Works Progress Administration (W.P.A.), which had been authorized April 8. The program lasted until Dec. 4, 1942
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Thomas-Makin', p. 244, (no title) (1 text)
Roud #13961
CROSS_REFERENCES:
cf. "The W. P. and A." (subject)
NOTES: This is even more suspicious than most of the songs in Thomas, since it actually mentions her by her ridiculous title of "The Traipsin' Woman." 
The piece is likely by Jilson Setters, but Thomas's notes make it impossible to be absolutely certain. - RBW
File: ThBa244
===
NAME: Wabash Cannonball, The
DESCRIPTION: In praise of the amazing Wabash Cannonball, a train which can apparently accomplish anything. The song mentions various places the train visits and the impression it makes on the townsfolk. It may close with a eulogy for "Daddy Claxton"
AUTHOR: Original ("TheGreat Rock Island Route") credited to J. A. Roff; rewritten as "Wabash Cannon Ball," perhaps by William Kindt, who copyrighted it; Cohen suspects the rewrite preceded Kindt's 1904 publication, and common tune is not the same as either Roff's or Kindt's
EARLIEST_DATE: 1882 (sheet music, as "The Great Rock Island Route"; first use of the "Wabash Cannonball" title is Kindt, in 1904)
KEYWORDS: train railroading travel
FOUND_IN: US(SE,So)
REFERENCES: (8 citations)
Cohen-LSRail, pp. 373-381, "The Wabash Cannonball" (2 texts, one of them Kindt's, plus a text and sheet music cover of Roff's "The Great Rock Island Route," 1 tune)
Randolph 840, "The Wabash Cannonball" (1 text, 1 tune)
Randolph/Cohen, pp. 385-386, "The Wabash Cannonball" (1 text, 1 tune -- Randolph's 840)
Lomax-FSNA 220, "The Wabash Cannon Ball" (1 text, 1 tune)
Botkin-RailFolklr, p. 462, "The Wabash Cannonball" (1 text, 1 tune)
PSeeger-AFB, p. 85, "Wabash Cannonball" (1 text, 1 tune)
Silber-FSWB, p. 100 "The Wabash Cannonball" (1 text)
DT, WABASHCB*
Roud #4228
RECORDINGS:
Roy Acuff & his Crazy Tennesseeans, "Wabash Cannonball" ((Vocalion/OKeh 04466/Conqueror 9121/Conqueror 9128, 1938; rec. 1936) [despite the band title, Dynamite Hatcher sang lead on this recording]
Roy Acuff & his Smoky Mountain Boys, "Wabash Cannonball" (Columbia 37008/Columbia 37598/Columbia 20034, 1947) [Note: Some pressings of these issues used the Vocalion/OKeh master listed above]
Bill Carlisle, "Wabash Cannon Ball" (Decca 5713 [as Bill Carlisle's Kentucky Boys]/Melotone [probably Can.] 45326, 1939)
The Carter Family, "Wabash Cannonball" (Victor 23731, 1932; Montgomery Ward M-7444, 1938; Bluebird B-8350, 1940; rec. 1929)
Clark & Edans, "Wabash Cannonball" (Gennett, unissued, 1928)
Hugh Cross, "Wabash Cannonball" (Columbia 15439-D, 1929)
Delmore Brothers, "The Cannon Ball" (Bluebird B-7991, 1939; rec. 1938)
Roy Hall & his Blue Ridge Entertainers, "Wabash Cannonball" (Vocalion 04717/Conqueror 9230, 1938)
Bill Mooney & his Cactus Twisters, "Wabash Cannonball" (Imperial 1150, n.d.)
Morris Brothers, "Wabash Cannonball - No. 2" (Bluebird B-8252, 1939)
Pete Seeger, "Wabash Cannonball" (on PeteSeeger17)
Art Thieme, "Wabash Cannonball" (on Thieme04)
Doc Watson, "Wabash Cannonball" (on RitchieWatson1, RitchieWatsonCD1)
Mac Wiseman, "Wabash Cannonball" (Dot 1262, 1950s)
CROSS_REFERENCES:
cf. "The Gatesville Cannonball" (tune)
cf. "We Work for Hay and Company" (tune)
cf. "The Boys at Ninety-Five" (tune)
cf. "The Gospel Cannonball" (lyrics)
SAME_TUNE:
"Hail! Ye Brave Industrial Workers" (Greenway-AFP, p. 178)
"We Work for Hay and Company" (File: FowL26)
The Grand Coulee Dam (by Woody Guthrie) (Greenway-AFP, pp. 292-293; DT, GRNCOULE)
Delmore Brothers, "New Wabash Cannon Ball Blues" (Bluebird B-8404, 1940)
Delmore Brothers, "Gospel Cannon Ball" (Decca 5970, 1941)
Charles Stowe, "Carolina Cannonball" (on OBanks1)
Boomtown Bill (by Woodie Guthrie) (on Keynote 5000, 1942?; in Archie Green, "Woody's Oil Songs," published in Archie Green, editor, _Songs about Work: Essays in Occupational Culture for Richard A. Reuss_, Folklore Institute, Indiana University, 1993, p. 213)
File: R840
===
NAME: Wade in the Water
DESCRIPTION: "Wade in the water, Wade in the water, children, Wade in the water, God's gonna trouble the water." The singer warns of the coming signs of the end. The victory of Heaven over Hell is considered assured. The singer looks forward to future freedom
AUTHOR: unknown
EARLIEST_DATE: 1925 (recording, Sunset Four Jubilee Singers)
KEYWORDS: religious freedom nonballad
FOUND_IN: US
REFERENCES: (4 citations)
Lomax-FSNA 242, "Wade in the Water" (1 text, 1 tune)
Arnett, p. 63, "Wade in the Water" (1 text, 1 tune)
Silber-FSWB, p. 356, "Wade in the Water" (1 text)
DT, WADEWATR*
Roud #5439
RECORDINGS:
Birmingham Jubilee Quartet, "Wade in the Water" (Vocalion 1563, 1930)
Empire Jubilee Quartet, "Wade in de Water" (Victor 23340, 1932; rec. 1929)
Famous Blue Jay Singers of Birmingham, "Children Wade in de Water" (Paramount 13128, 1932; Broadway 1246, n.d.; Champion 50026, 1935; on VocalQ2)
Lincoln Four Quartette, "Wade in the Water" (Paramount 12621, 1928)
Sunset Four Jubilee Singers, "Wade in the Water" (Paramount 12273, 1925)
CROSS_REFERENCES:
cf. "Bear the News, Mary" (floating lyrics)
cf. "Walk In Jerusalem Just Like John" (floating lyrics)
cf. "Hand Me Down My Walking Cane" (floating lyrics)
cf. "Heaven and Hell" (floating lyrics)
cf. "If You Get There Before I Do" (floating lyrics)
cf. "Swing Low, Sweet Chariot" (floating lyrics)
cf. "Is Your Lamps Gone Out" (floating lyrics)
File: LoF242
===
NAME: Wadham's Song
DESCRIPTION: Coast sailing pilot's guide "from Bonavista Cape to the Stinking Isles ... till Pilley's Point covers Syme's Stage." Directions on how to reach Notre Dame Bay from Bonavista
AUTHOR: R.N. Wadham
EARLIEST_DATE: 1756 (cf. Greenleaf/Mansfield)
KEYWORDS: sea ship nonballad recitation sailor
FOUND_IN: Canada(Newf)
REFERENCES: (2 citations)
Greenleaf/Mansfield 119, "Wadham's Song" (1 text)
Ryan/Small, p. 13, "Wadhams Song" (1 text)
ST GrMa119 (Partial)
Roud #5449
NOTES: According to GEST Songs of Newfoundland and Labrador site, "although called a song it was always recited and there is no tune available"; Greenleaf/Mansfield heard it recited.
On the other hand, the Renaissance Dance site claims "Pilot verses were sailing directions sung to popular tunes ... Hugill [apparently not in _Shanties from the Seven Seas_] quotes [Wadham's Song] to the tune of 'I'll Tell me Ma', which is still well known." - BS
File: GrMa119
===
NAME: Wae Be to that Weary Drink, John Anderson, My Jo
DESCRIPTION: Jean: Why drink up all your money with your friends? I have burned the barn door for heat; we have no cow or ewe; let's both "join the total abstinence." John agrees. Both: "hand in hand we'll go, And we'll sleep thegither at the foot"
AUTHOR: unknown
EARLIEST_DATE: 1914 (GreigDuncan3)
KEYWORDS: drink derivative dialog husband wife
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (1 citation)
GreigDuncan3 600, "Wae Be to that Weary Drink, John Anderson, My Jo" (2 texts)
Roud #6050
CROSS_REFERENCES:
cf. "John Anderson, My Jo (I)" (words)
cf. "John Anderson, My Jo, John" (words)
cf. "John Barleycorn, My Jo" (another temperance derivative of "John Anderson")
ALTERNATE_TITLES:
John Anderson, My Jo
NOTES: This temperance derivative of "John Anderson, My Jo (I)"/"John Anderson, My Jo, John" starts with a verse that seems based on the first verse of the version printed on Bodleian broadsides Harding B 45(17) and Harding B 11(439). See the notes to "John Anderson, My Jo (I)." - BS
File: GrD3600
===
NAME: Waggin' o' Our Dog's Tail, The
DESCRIPTION: "We hae a dog that wags his tail -- He's a bit o' a wag himsel', O! A' day he wanders thro' the toun -- At nicht as news to tell, O!" The dog tours the town, sees many silly people, and concludes that, if people had tails, they'd be almost as good as dogs
AUTHOR: Norman McLeod ?
EARLIEST_DATE: 1901 (Ford)
KEYWORDS: dog humorous
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ford-Vagabond, pp. 214-217, "The Waggin' o' Our Dog's Tail" (1 text)
Roud #6292
File: FVS214
===
NAME: Waggoner, The
DESCRIPTION: "September last, on the seventh day, I geared my team to start away, To the South Yadkin...." The singer describes his route, talks of the cold and difficulties of the trip, and happily recounts his arrival
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: travel
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 300-301, "The Waggoner" (1 text)
Roud #3584
CROSS_REFERENCES:
cf. "The Heights of Alma (I) [Laws J10]" (meter, lyrics)
NOTES: Belden believes this piece tells of travel across the Appalachians, which, given the geography, makes sense. The initial line and the meter seem to imply acquaintance with "The Heights of Alma" (though in this case the song is rather worn down). That is a rather late date for such a piece. This may be further evidence of the "proto-Alma" song.
Roud for some reason lumps this with the Lomax "Ox-Driving Song." The only thing I can see in common is that they both involve travel. - RBW
File: Beld300
===
NAME: Wagoner's Lad, The
DESCRIPTION: Young woman is courted by wagoner's lad. Her parents don't like him because he is poor; he tells her he is self-supporting and not ashamed. He tells her he is leaving; she asks him to linger with him, but he refuses. She laments women's hard fortune
AUTHOR: unknown
EARLIEST_DATE: 1908 (collected by Olive Dame Campbell; in SharpAp); +1907 (JAFL20)
KEYWORDS: courting love farewell parting dialog worker lyric rejection warning floatingverses
FOUND_IN: US(Ap,SE,So)
REFERENCES: (18 citations)
Leach, pp.738-740, "The Wagoner's Lad" (2 texts, with the "A" text belonging here and the "B" text a composite of "Wagoner's Lad" and "Old Smokey" verses)
Randolph 740, "Texas Cowboy" (1 text, with much floating material but the plot seems to be here)
BrownIII 250, "The Wagoner's Lad" (3 texts plus 3 fragments; the texts "A"-"C" are "The Wagoner's Lad," and "D" has an associated verse, but "E" and "F" are fragments of a love song, perhaps "Farewell, Charming Nancy" or "Omie Wise," both of which have similar lyrics; "D" also shares this single verse, and "E" adds a "Troubled in Mind" chorus)
Chappell-FSRA 42, "Lamkins" (1 text, apparently a fragment of Child #93 (containing only a threat of cannibalism) plus three "My Horses Ain't Hungry" stanzas)
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 117, "The Wagoner's Lad" (6 texts, 6 tunes)
Cambiaire, p. 37, "Loving Nancy" (1 text)
Wyman-Brockway I, p. 62, "Loving Nancy" (1 text, 1 tune)
Sandburg, pp. 284-285, "Rabble Soldier" (1 text, 1 tune -- a strange version, probably composite, in which the wanderer is a "rabble soldier")
Lomax-FSNA 112, "The Wagoner's Lad"; (1 text, 1 tune)
Asch/Dunson/Raim, p. 30 "The Wagoner's Lad" (1 text, 1 tune)
Fife-Cowboy/West 6, "The Wagoner's Lad" (1 text, 1 tune); 83, "Old Paint" (3 texts, 1 tune, of which the "C" text appears actually to be a version of this piece or perhaps "Rye Whisky")
Chase, pp. 181-182, "The Wagoner's Lad" (1 text, 1 tune)
Abrahams/Foss, pp. 38-39, "Wagonner's Lad" (1 text)
PSeeger-AFB, p. 21, "My Horses Ain't Hungry" (1 text, 1 tune)
Silber-FSWB, p. 171 "The Wagoner's Lad"; p. 174 "My Horses Ain't Hungry"; p. 186 "Hard Is The Fortune Of All Womankind" (3 texts)
Saffel-CowboyP, pp. 211-213, "Jack o' Diamonds" (1 text; this particular Lomax offering contains elements of "Jack o Diamonds/Rye Whisky," "The Wagoner's Lad," The Rebel Soldier," and others)
DT, WAGONLAD* MOONSHI2*
ST R740 (Full)
Roud #414
RECORDINGS:
Dock Boggs, "Loving Nancy" (on Boggs3, BoggsCD1)
Vernon Dalhart, "My Horse's Ain't Hungry" [sic] (Edison 52077, 1927)
[G. B.] Grayson & [Henry] Whitter, "My Mind is to Marry" (unissued; on StuffDreams1)
Kelly Harrell, "My Horses Ain't Hungry" (Victor 20103, 1926; on KHarrell01)
Buell Kazee, "The Wagoner's Lad" (Brunswick 213B, 1928; Brunswick 437, 1930; on AAFM1) (on Kazee01)
Mr. & Mrs. John Sams, "Wagoner's Lad" (on MMOKCD)
Pete Seeger, "Fare You Well, Polly" (on PeteSeeger07, PeteSeeger07a);The Wagoner's Lad" (on PeteSeeger17)
CROSS_REFERENCES:
cf. "The Cuckoo" (floating lyrics)
cf. "Goodbye, Old Paint" (floating lyrics)
cf. "Rye Whiskey" (floating lyrics)
cf. "The Gambler (I)" (floating lyrics)
cf. "Oh Lily, Dear Lily" (floating lyrics)
cf. "The Lady's Case" (floating lyrics)
cf. "I Am a Young Maiden (If I Were a Blackbird)" (lyrics)
cf. "The Rebel Soldier" (floating lyrics)
cf. "The Rue and the Thyme (The Rose and the Thyme)" (floating lyrics)
cf. "Farewell, Sweet Mary"
cf. "Goodbye, Little Bonnie, Goodbye" (theme)
cf. "Moonshiner" (floating lyrics)
cf. "The Virginia Lover" (plot)
ALTERNATE_TITLES:
An Inconstant Lover
I'm a Rambler, I'm a Gambler
The Rambling Gambler
NOTES: This song, which barely qualifies as a ballad even in its full forms, has produced many non-ballad offspring, of which "On Top of Old Smokey" is the best known. Randolph apparently thinks his "Texas Cowboy" piece to be related but separate, but (based on his text) I would have to say they are the same.
It is very hard to tell certain versions of this from "Rye Whiskey"; the two have exchanged many verses. But the "core" versions seem to be distinct.
An even greater problem is posed by the relationship between this song and "On Top of Old Smoky." The two are occasionally listed as one song (e.g. by Leach); indeed, this was done in early versions of the Index. This was done under the influence of the Lomaxes, who classify the songs together.
Further study, however, seems to show that all versions which have common material are derived from the Lomaxes. The plots of the two songs are different, their tunes are distinct, and true cross-fertilization seems very rare. 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.
Another closely related song is "Farewell, Sweet Mary," as much as three-quarters of which may derive from this song. It has taken a slightly different direction, however, and is at least a distinct subfamily of this piece. Since it doesn't have anything about horses or wagoners, I list it separately. - RBW
File: R740
===
NAME: Wagoners, The: see Jacket So Blue, The (The Bonnet o' Blue) (File: FSC43)
===
NAME: Wagonner's Lad: see The Wagoner's Lad (File: R740)
===
NAME: Waillie, Waillie!: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Wait for the Wagon
DESCRIPTION: The singer invites Phyllis "to yon blue mountain free." He describes his cabin and the fine lands around it. Another suitor offers wealth, but he offers youth and health. He bids her to "Wait for the wagon (x3) And we'll all take a ride."
AUTHOR: unknown
EARLIEST_DATE: 1851 (copyright registry; the relevant sheet music is dated 1850)
KEYWORDS: courting home money farming pioneer playparty
FOUND_IN: US(So)
REFERENCES: (6 citations)
RJackson-19CPop, pp. 222-225, "Wait for the Wagon" (1 text, 1 tune)
Randolph 563, "Wait for the Wagon" (1 text, 1 tune)
Huntington-Whalemen, pp. 285-286, "Wait for the Wagon" ( text)
Silber-FSWB, p. 175, "Wait For The Wagon" (1 text)
Fuld-WFM, pp. 609-610, "Wait for the Wagon"
DT, WAITWAGN* (WAITWAG2* -- Confederate Parody)
ST RJ19222 (Full)
Roud #2080
RECORDINGS:
Wenatchee Mountaineers, "Wait for the Wagon" (Melotone [Canada] 93041, 1934)
CROSS_REFERENCES:
cf. "The Brass-Mounted Army" (tune)
cf. "We're Coming, Arkansas (We're Coming, Idaho)" (tune)
cf. "The Southern Wagon (Union)" (tune)
SAME_TUNE:
Wait For the Dragon (Pankake-PHCFSB, p. 229)
NOTES: Many authorities credit this piece to R. Bishop Buckley (1810-1867). Certainly there are editions which record that it was sung by Buckley's Minstrels starting in 1843. The earliest printing, however, (from 1850) gives the music as by "Wisenthal"; the words are by "a lady." The next printing, in 1851, gives the name of "G. P. Knauff" (at least, that is what it appears to say; several scholars consider Knauff the arranger). A few editions give only the letters "GAS."
It's worth noting that it was already popular enough in 1853 to be copied into the journal of the _Smyrna_.
Personally, I think we simply cannot list an author. Which is probably just as well; the sundry parodies (both sides in the Civil War, for instance, produced knock-offs) would likely have produced lawsuits otherwise. - RBW
File: RJ19222
===
NAME: Wait for the Wagon (II): see The Southern Wagon (Confederate) (File: Br3374)
===
NAME: Wait on the Lord
DESCRIPTION: "I wonder where Spencer gone, That used to preach up town. The church is all in mourning...." "I'm waitin' on de Lord...." "Some say John de Baptist Is nothing but a Jew." "A Baptist, Baptist is my name, And a Baptist I will die"
AUTHOR: unknown
EARLIEST_DATE: 1952 (Brown)
KEYWORDS: religious nonballad floatingverses death
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 344, "Wait on de Lord" (1 text)
Roud #11740
NOTES: This is one of those all-floating-verse assemblies that can't really be identified with anything because it has so many different parts. - RBW
File: Br3344
===
NAME: Wait Till the Ship Comes Home
DESCRIPTION: "Jack went away to sea one day and left his Polly behind." An old man comes courting Polly. She refuses, saying "Wait till the ship comes home." At last word arrives that the ship is home and Jack safe. The old man dies and leaves Polly his money
AUTHOR: unknown
EARLIEST_DATE: 1933 (Sam Henry collection)
KEYWORDS: love separation courting age lastwill money death
FOUND_IN: Ireland
REFERENCES: (1 citation)
SHenry H481, pp. 484-485, "Wait till the Ship Comes Home" (1 text, 1 tune)
Roud #9055
NOTES: Sort of an Irish version of the story of Penelope.... - RBW
File: HHH481
===
NAME: Wait Till the Sun Shines, Nellie
DESCRIPTION: A girl mourns her rained-out Sunday picnic. Her sweetheart comforts her: "Wait till the sun shines, Nellie, and the clouds go drifting by...." She had hoped to "show off her brand new gown"; suddenly the sun comes out; she says he has won her heart
AUTHOR: Words: Andrew B. Sterling / Music: Harry von Tilzer
EARLIEST_DATE: 1905 (copyright; others list a 1902 copyright)
KEYWORDS: courting clothes
FOUND_IN: US
REFERENCES: (5 citations)
Spaeth-ReadWeep, pp. 215-216, "Wait Till the Sun Shines, Nellie" (1 text, 1 tune)
Geller-Famous, pp. 187-190, "Wait 'Till the Sun Shines, Nelly" (1 text, 1 tune)
Silber-FSWB, p. 254, "Wait Till The Sun Shines, Nellie" (1 text)
Fuld-WFM, p. 610, "Wait 'till the Sun Shines, Nellie"
DT, SUNELLIE
RECORDINGS:
Charleston Entertainers, "Wait Till the Sun Shines, Nellie" (Supertone 9718, 1930)
Byron G. Harlan, "Wait 'Till the Sun Shines, Nellie" (Columbia 3321, 1906) (CYL: Edison 9130, 1905)
Riley Puckett, "Wait Till The Sun Shines Nellie" (Columbia 15073-D, 1926; rec. 1925.)
NOTES: And you thought the chorus was stupid! Aren't you sorry you ever looked up the plot? - RBW
File: SRW215
===
NAME: Wait, Mister Mackright
DESCRIPTION: "Wai', Mister Mackright, an' 'e yedde what Satan say: Satan full me full of music, an' tell me not to play. Mister Mackright cry holy; O Lord, cry holy."
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad horse
FOUND_IN: US
REFERENCES: (1 citation)
Allen/Ware/Garrison, p. 43, "Wait, Mr. Mackright" (1 text, 1 tune)
Roud #11999
NOTES: This song probably had a very short lifetime. According to the notes, it was about a "milk-white" horse left behind by Confederate general  Drayton. General Drayton is Thomas Fenwick Drayton (1808-1891), a West Point graduate who became a planter in 1836. He became a brigadier in 1861, and was responsible for the defence of Port Royal in 1861. I would guess that that was the occasion which led to this song. Drayton after this was assigned to the Army of Northern Virginia, but his brigade's performance in the Antietam campaign was poor enough that Lee dissolved his brigade. Drayton spent the rest of the war in the west. - RBW
File: AWG043B
===
NAME: Waiting for a Train (I): see Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum) [Laws H2] (File: LH02)
===
NAME: Waiting For a Train (II)
DESCRIPTION: Singer waits to hop a train. A brakeman tells him that if he has money "I'll see that you don't walk," then puts him off the train in Texas. "My pocketbook is empty/And my heart is filled with pain/I'm a thousand miles away from home/Waiting for a train"
AUTHOR: Jimmie Rodgers
EARLIEST_DATE: 1929 (recording, Jimmie Rodgers)
LONG_DESCRIPTION: Singer, a hobo, is out in the rain waiting for a train to hop. A brakeman tells him that if he has money "I'll see that you don't walk." He has no money; the brakeman slams the boxcar door, then puts him off the train in Texas. "My pocketbook is empty/And my heart is filled with pain/I'm a thousand miles away from home/Waiting for a train"
KEYWORDS: loneliness poverty rejection rambling train travel hobo
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Gene Autry, "Waiting for a Train" (Diva 6031, c. 1930)
Riley Puckett, "Waiting for a Train" (Columbia 15408-D, 1929)
Bud Reed, "Waiting for a Train" (on Reeds1)
Hoke Rice, "Waiting for a Train" (Champion 15767/QRS 9012, 1929)
Jimmie Rodgers, "Waiting for a Train" (Victor V-40014, 1929)
Ed (Jake) West, "Waiting for a Train" (Broadway 8109, c. 1931)
Harry Wilson, "Waiting for the Train" (Perfect 12556, 1930)
CROSS_REFERENCES:
cf. "Ten Thousand Miles Away from Home (A Wild and Reckless Hobo; The Railroad Bum)" (subject, a few lyrics)
SAME_TUNE:
Let the Mermaids Flirt With Me (recorded by Mississippi John Hurt)
NOTES: This composed song seems to be moving into oral tradition, both Anglo- and Afro-American (blues singer Furry Lewis used to perform it); Mississippi John Hurt used its melody for "Let the Mermaids Flirt With Me." - PJS
File: RcWFAT2
===
NAME: Waiting for the Day (The Worst Old Ship)
DESCRIPTION: Singer describes life on "the worst old brig that ever did weigh." Built in "Roman time," it's held together with twine and undermanned. They spring a leak and bail their way  to dock. Chorus: "Waiting for the day (x3) that we get our pay"
AUTHOR: unknown
EARLIEST_DATE: 1950s (recorded from Bob Roberts)
LONG_DESCRIPTION: Singer describes life on "the worst old brig that ever did weigh." Built in "Roman time," it's held together with twine and seriously undermanned. They spring a leak off Orford Ness and bail their way along the coast and up the Humber to dock. Chorus: "Waiting for the day, waiting for the day/Waiting for the day that we get our pay"
KEYWORDS: sea ship work sailor worker
FOUND_IN: Britain(England)
REFERENCES: ()

Roud #1855
RECORDINGS:
Bob Roberts, "Waiting for the Day (The Worst Old Ship)"  (on LastDays)
NOTES: Again, pity we don't have a keyword "bitching." - PJS
File: RcWftD
===
NAME: Waiting for the Rain: see Another Fall of Rain (Waiting for the Rain) (File: MA154)
===
NAME: Wake Nicodemus
DESCRIPTION: "Nicodemus, the slave, was of African birth And was bought for a bagful of gold." When he dies at a great age, he asks to be awakened when freedom came. He forecasts the end of slavery and the battles it causes. Freedom proves his words true
AUTHOR: Henry Clay Work
EARLIEST_DATE: 
KEYWORDS: slave slavery freedom
FOUND_IN: 
REFERENCES: (2 citations)
Silber-FSWB, p. 291, "Wake Nicodemnus" (1 text)
DT, NICDEMUS
Roud #4988
File: FSWB291
===
NAME: Wake of William Orr, The
DESCRIPTION: "Here our murdered brother lies." He called for his countrymen to unite. The singer recalls 600 years of warfare, "Crumbled by a foreign weight; And by worse, domestic hate" "Monstrous and unhappy sight! Brothers' blood will not unite" A new day begins
AUTHOR: William Drennan (1754-1820) (source: Moylan; Hoagland)
EARLIEST_DATE: 1855 (Edward Hayes, _The Ballads of Ireland_ (Boston, 1859), Vol I)
KEYWORDS: death funeral Ireland nonballad political
HISTORICAL_REFERENCES: Oct 14, 1797 - William Orr executed after being charged with administering the United Irish oath to two soldiers of the Fifeshire Fencibles. (source: Moylan)
FOUND_IN: Ireland
REFERENCES: (4 citations)
Moylan 48, "The Wake of William Orr" (1 text)
ADDITIONAL: Edward Hayes, The Ballads of Ireland (Boston, 1859), Vol I, pp. 237-239, "Wake of William Orr"
Kathleen Hoagland, editor, One Thousand Years of Irish Poetry (New York, 1947), pp. 359-361, "The Wake of William Orr" (1 text)
Donagh MacDonagh and Lennox Robinson, _The Oxford Book of Irish Verse_ (Oxford, 1958, 1979), pp. 26-28, "The Wake of William Orr" (1 text)
CROSS_REFERENCES:
cf. "My Lagan Love" (tune)
NOTES: Hayes describes the trial, reprieve and execution. The reprieve followed statements by jurors that "whisky had been introduced into the jury room, and the verdict agreed to under the joint influence of drunkenness and intimidation." The crown witness, supposedly the person to whom the oath had been administered, then admitted that the evidence he had given was "false or distorted in essential particulars." After Orr was reprieved and awaiting commutation he was executed. "A storm of indignation followed this arbitrary and merciless decision." - BS
To give the other side, _The Oxford Companion to Irish History_ in its entry on Orr says that "The evidence against him was less flimsy than sympathizers claimed." In another irony, he was a Protestant (see Thomas Pakenham, _The Year of Liberty_, p. 354). But even Pakenham, who is almost entirely an apologist for the English, admits that Orr became a martyr (pp. 219-220).
William Drennan also wrote the poem we index as "Erin" (also known as "Eire"). - RBW
File: Moyl048
===
NAME: Wake Up: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Wake Up, Jacob
DESCRIPTION: "Wake up, Jacob, day's a-breakin', Peas in the pot and hoe-cake's caking'. Bacon's in the pan and coffee's in the pot, Come on round and get it while it's hot. (Spoken:) Wake, snakes, and bite a biscuit!"
AUTHOR: unknown
EARLIEST_DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: cowboy food nonballad
FOUND_IN: US
REFERENCES: (4 citations)
Allen/Ware/Garrison, p. 65, "Wake Up, Jacob" (1 text, 1 tune)
Lomax-FSNA 184, "Wake Up, Jacob" (1 text, 1 tune)
Lomax-ABFS, p. 375, "Cowboys' Gettin'-Up Holler" (1 text, 1 tune)
Silber-FSWB, p. 109, "Wake Up, Jacob/Cowboy's Gettin' Up Holler" (1 text)
Roud #6694
RECORDINGS:
Harry Jackson, "Morning Grub Holler" (on HJackson1, CowFolkCD1)
Pete Seeger, "Wake Up, Jacob" (on PeteSeeger07, PeteSeeger07a)
CROSS_REFERENCES:
cf. "Shanty Boy's Reveille" (theme)
NOTES: I don't know if this is an allusion to Genesis 32:26, where Javob wrestles with a strange being, and the being ends the fight by saying, "Let me go, for the day is breaking." Obviously the words are similar, but Jacob of course got no sleep that night; he spent it wrestling! - RBW
File: LoF184
===
NAME: Wake Up, Jonah (Jonah III)
DESCRIPTION: "Wake up, Jonah, you are the man! Reelin' and a-rockin' o' the ship so long!" "Captain of the ship got trouble in mind...."  The sailors throw Jonah into the sea; he is swallowed by a whale and proceeds to Ninevah
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Rich Amerson & Earthy Anne Coleman)
LONG_DESCRIPTION: Captain of a rolling ship has troubles, searches for the cause, finds Jonah asleep and says, "Wake up Jonah, you are the man". They pitch him overboard; a whale swallows him, then pukes him onto dry land again. A gourd vine grows over his head; an inchworm comes and cuts it down, forming a cross over his head
KEYWORDS: religious Bible ship accusation travel religious animal whale sailor 
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 57-58, "(Wake Up, Jonah") (1 text); pp. 223-224, "Wake Up, Jonah" (1 tune, partial text)
Roud #10960
RECORDINGS:
 Rich Amerson & Earthy Anne Coleman, "Jonah" (on NFMAla2)
CROSS_REFERENCES:
cf. "Hide Away (Jonah and the Whale)" (subject) and references there
NOTES: This song summarizes the Book of Jonah, emphasizing the events of the first chapter: Jonah flees from God aboard ship; the ship is caught in a storm; the sailors cast lots to see who is to blame; the lot falls on Jonah, who is sleeping through the storm. - RBW
This song omits much of the Bible story and adds its own bits. Note that it says "whale"; the Hebrew Bible unambiguously says "fish." - PJS, RBW
File: CNFM223
===
NAME: Wake, O Wake, You Drowsy Sleeper: see The Drowsy Sleeper [Laws M4] (File: LM04)
===
NAME: Wakes in the Morning
DESCRIPTION: "Mommy wakes in the morning, Mommy wakes in the pukkah, Hee-ho, coffee cannot please her." Similarly, "Johnny wakes in the morning," etc.
AUTHOR: unknown
EARLIEST_DATE: 1941 (recorded from Edith Perrin)
KEYWORDS: nonballad mother food
FOUND_IN: West Indies
REFERENCES: ()

Roud #16396
RECORDINGS:
Edith Perrin, "Wakes in the Morning" [excerpt?] (on USWarnerColl01)
File: RcWitMo
===
NAME: Wakken: see The Song of Joaquin (Wakken) (File: GC135)
===
NAME: Wal I Swan (Giddyap Napoleon, Ebenezer Frye)
DESCRIPTION: Singer's adventures as he wanters and meets various crooks. He takes a prize at a fair, gets drunk, gives away his bull. A sharper asks him for "two tens for a five." Etc. Chorus: "Wal I swan, must be getting on/Giddyap Napoleon, it looks like rain..."
AUTHOR: Benj. Hapgood Burt
EARLIEST_DATE: 1907 (sheet music)
LONG_DESCRIPTION: Singer meets two bunco men on a train, sends them packing. He goes to a county fair, takes a prize, gets drunk and gives away his old bull. At a tent show, a sharper asks him for "two tens for a five"; the singer arrests him. His horse runs off at the sound of a train. He has suspicions that his son, off in Philadelphia, is "up to some kind of hell." Chorus: "Wal I swan, must be getting on/Giddyap Napoleon, it looks like rain..."
KEYWORDS: crime theft farming drink humorous animal police
FOUND_IN: US
REFERENCES: (1 citation)
DT, WALISWAN
Roud #4647
RECORDINGS:
John Bennett, "Wal I Swan" (Madison 1928, 1928)
Al Bernard, "Wal I Swan" (Vocalion 15262, 1926) (Harmony 154-H, 1926)
Byron G. Harlan, "Wal, I Swan!" (Victor 17263, 1913; rec. 1912)
Riley Puckett, "Wal I Swan" (Columbia 15078-D, 1926)
Gid Tanner & his Skillet Lickers, "Giddap Napoleon" (Columbia 15695-D, 1931; rec. 1929)
NOTES: Spaeth (Read 'Em and Weep, p. 234) does not print this song, but does mention that it is "in constant demand both as a solo and as a rural quartet number. The interpretation is traditionally in a high-pitched, nasal voice, with a facial expression indicating toothlessness." - RBW
File: RcWelIS
===
NAME: Walk Along John
DESCRIPTION: Weasel invades the henhouse, rats invade the dairy, Black Sam invades the kitchen, etc. Chorus: "Walk along, John, piper's son, Now ain't you mighty glad your day's work's done. Walk along, John, git towards home, Ain't you mighty glad...."
AUTHOR: unknown
EARLIEST_DATE: 1942 (Randolph)
KEYWORDS: animal work nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 296, "Walk Along John" (1 text, 1 tune)
Roud #7824
File: R296
===
NAME: Walk Along Rosey: see Walkalong, My Rosie (File: Hug363)
===
NAME: Walk in Jerusalem Just Like John
DESCRIPTION: "I want to be ready (x3) To walk in Jerusalem just like John." "John said the city was just foursquare... And he declared we'd meet him there." "When Peter was preaching at Pentecost, He was endowed with the Holy Ghost"
AUTHOR: unknown
EARLIEST_DATE: 1922 (recording, Excelsior Quartet)
KEYWORDS: religious Bible nonballad
FOUND_IN: US
REFERENCES: (3 citations)
Scarborough-NegroFS, p. 11, (no title) (1 fragment)
Silber-FSWB, p. 356, "Walk In Jerusalem, Just Like John" (1 text)
DT, WALKJERU
Roud #12109
RECORDINGS:
Bill Monroe & His Blue Grass Boys, "Walking In Jerusalem Just Like John" (Decca 28608, 1953)
Excelsior Quartet, "Walk In Jerusalem Just Like John" (OKeh 4619, 1922)
Homer Rodeheaver, "Walk In Jerusalem Just Like John" (Rainbow 1092, 1923)
Sunset Four Jubilee Quartette, "Walk In Jerusalem Just Like John" (Paramount 12292, 1925)
West Virginia Collegiate Institute Glee Club, "Walk in Jerusalem Just Like John" (Brunswick 3498, 1927; Supertone S-2126 [as Harmony Glee Club], 1930)
NOTES: The Biblical references here are a bit confused. The New Jerusalem is said to be descending in Rev. 21:2, and is said to be foursquare in Rev. 21:16 -- but there is no promise to meet John there. The coming of the Spirit at Pentecost is told in Acts 2 -- but the Spirit came FIRST, upon a large group, and only then did Peter preach about it. - RBW
File: FSWB356A
===
NAME: Walk in the Parlor: see Walkin' in the Parlor (File: Wa177)
===
NAME: Walk Me Along, Johnny: see Carry Him To the Burying Ground (General Taylor, Walk Him Along Johnny) (File: Hugi078)
===
NAME: Walkalong, Miss Susiana Brown
DESCRIPTION: Halyard shanty. No story line to any of the available verses. The characteristic last chorus line is "Walkalong Miss (Susiana/Juliana) Brown."
AUTHOR: unknown
EARLIEST_DATE: 1938 (Colcord)
KEYWORDS: shanty worksong
FOUND_IN: US(SE) West Indies
REFERENCES: (3 citations)
Colcord, p. 59, "Juley" (1 fragment, 1 tune)
Hugill, pp. 391-392, "Walkalong, Miss Susiana Brown" (1 text, 1 tune) [AbEd, pp. 299-300]
DT, JULEY*
Roud #4694
ALTERNATE_TITLES:
Miss Juliana Brown
NOTES: The swing of the tune would indicate this is of West Indies/Negro origin. It probably began life as a Negro worksong used for stowing cotton, and was picked up by ship's crews to become part of the shanty repertoire. - SL
File: Hugi391
===
NAME: Walkalong, My Rosie
DESCRIPTION: Halyard shanty. "Oh, Rosie, she'm the gal for me. Away you Rosie, Walkalong! She hangs around the big levee. Walkalong my Rosie!" Rhyming verses, no story line.
AUTHOR: unknown
EARLIEST_DATE: 1961 (Hugill)
KEYWORDS: shanty worksong nonballad
FOUND_IN: West Indies Britain
REFERENCES: (1 citation)
Hugill, p. 363, "Walkalong, My Rosie" (1 text, 1 tune) [AbEd, pp. 273-274]
Roud #9130
ALTERNATE_TITLES:
Walk Along Rosey
File: Hug363
===
NAME: Walker Hill and Byker Shore: see Byker Hill (File: DTbykerh)
===
NAME: Walker Shore and Byker Hill: see Byker Hill (File: DTbykerh)
===
NAME: Walkie in the Parlor: see Walkin' in the Parlor (File: Wa177)
===
NAME: Walkin' in the Parlor
DESCRIPTION: "I never went to free school nor any other college, But... I will tell you how the world was made in the twinkling of a crack. Walk in, walk in, walk in I say, go in the parlor and hear the banjo ring." Sundry observations about the creation and the Bible
AUTHOR: unknown
EARLIEST_DATE: 1925 (Scarborough)
KEYWORDS: religious Bible humorous
FOUND_IN: US(SE)
REFERENCES: (11 citations)
Warner 177, "Walking in the Parlor" (1 text, 1 tune)
Randolph 288, "History of the World" (1 text, 1 tune)
Randolph/Cohen, pp. 246-248, "History of the World" (1 text, 1 tune -- Randolph's 288)
BrownIII 341, "Walk in the Parlor" (4 texts plus 1 excerpt and 1 fragment; the "E" text seems more a floating verse collection with this chorus, and "C" lacks the chorus and is at best marginally related)
Scarborough-NegroFS, pp. 181-182, "Story of Creation" (1 text, 1 tune)
Harlow, pp. 203-205, "The Darky Sunday School" (1 text, t tune)
Hugill, p. 344, "De History ob de World" (1 text)
Lomax-ABFS, pp. 351-354, "Darky Sunday School" (1 text, 1 tune)
JHCox 178, "Creation Song" (1 text)
Pankake-PHCFSB, pp. 186-189, "Young Folks, Old Folks (or The Silly Sunday School)" (1 text, tune referenced)
DT, SUNSCHOL
Roud #766
RECORDINGS:
Charlie Oaks, "Adam and Eve or 'Darkie's Sunday School'" (Vocalion 5113, c. 1927; rec. 1925)
Obed Pickard, "Walking in the Parlor" (Columbia 15246-D, 1928; rec. 1927)
Kilby Reeves, "Walkin in the Parlor" (on Persis1)
Art Thieme, "Walkie in the Parlor" (on Thieme02) (on Thieme06)
CROSS_REFERENCES:
cf. "The Bible Story"
cf. "Windy Bill (I)" (theme)
cf. "Old Jesse" (lyrics)
cf. "Root, Hog, or Die (V)" (lyrics)
ALTERNATE_TITLES:
The Sunday School Song
Walkie in the Parlor
NOTES: Not to be confused with a fiddle tune of the same name. - PJS
The chorus of this song varies quite a bit; the Lomax version is "Young folks, old folks, everybody come, Join our darky Sunday School, and make yourself to hum. There's a place to check your chewing gum and razors at the door, And hear such bible stories as you never heard before." The Pankakes have something similar, but less racist. (Their version is also incredibly full -- 21 verses! If they didn't conflate it, someone else did.)
It is quite likely that these versions originated as separate songs, and I thought about splitting them. But the only distinguishing feature is the choruses. Under the circumstances, it seemed better to place all listings in the same place.
I initially excluded Randolph's "History of the World," partly by accident, as just too distinct from the versions I had seen. It's now clear that it's the same song.
Those who wish to know more are referred to Cox's extensive notes on songs of this type. - RBW
Among the sundry references in this song:
"Jonah... took a steerage passage in a transatlantic whale": The Bible says "fish," and the fish never left the Mediterranean, and Jonah wasn't planning on entering the Atlantic either.
"Esau... sold [his farm] to his brother for a sandwich and a beer": In Gen. 25:29-34, Esau came back hungry from hunting, and sold his birthright (probably pasturage, not a farm) to his younger fraternal twin Jacob for "bread and lentil stew."
"Noah was a mariner... with half a dozen wives and a big menagerie": Although many of the patriarchs had multiple wives, Noah himself seems to have had only one (cf. Gen. 7:7).
"Elijah was a prophet who attended county fairs, He advertised his business with a pair of dancing bears": hardly worth refuting, but it is worth noting that Elijah was a solitary prophet at a time when most prophets came in groups ("the sons of the prophets"). He spent much of his time trying to be left alone, not advertising his services (cf., e.g., 1 Kings 19:3-4, 2 Kings 1:9fff.)
"Ahab had a wife, and her name was Jezebel... She's gone to the dogs... Ahab said he'd never heard of such an awful thing": Jezebel was indeed Ahab's wife, and was eaten by dogs (2 Kings 9:30-37) -- but Ahab had been dead for a dozen years by the time she was killed.
"Salome was a chorus girl who had a winning way": This is textually complicated. All accounts say that a girl captivated Herod Antipas by dancing for him, and that he executed John the Baptist as a result. Matt. 14:6 says that the girl was "the daughter of Herodias"; the best manuscripts of Mark 6:22 call her his [Herod's] daughter Herodias. But nowhere is she called "Salome"; we learn this name from Josephus.
"Now Joey was unhappy in the bowels of the soil": Refers to the selling of Joseph into Egypt (Genesis 37). Joseph, however, was not a farmer but a herdsman, and there is no evidence he was unhappy; he spent his time dreaming about ruling over his brothers.
"Samson was a husky guy from the P.T. Barnum show": While Samson probably belonged in a circus (it's hard to imagine someone so thoroughly inept; had he not been a strong man, he would have been a joke), the Bible tells his story "straight" (Judges 13-16).
"Meshach, Shadrach, and Abednego": The Hebrews in the Fiery Furnace (Daniel 3).
"Methuselah was crabby 'cause he couldn't save a joke": Methuselah lived longer than any other figure in the Bible (the Hebrew of Gen. 5:25-27 lists him as living to the age of 969), but gives no indication of his character or the length of his whiskers.
"Pharaoh kept the Israelites to make his cigarettes": This is almost accurate, in that the Israelites did, in effect, go on strike in Exodus. However, tobacco was not known in Egypt at the time (it grows only in the New World); the Israelites "struck" for the right to worship in their own way, plus better living conditions.
"David was a fighter, a plucky little cuss": 1 Samuel 17.
"Daniel was a naughty man, he wouldn't mind the King" -- Formally, Daniel defied the king, but it was actually the King's counselors who came up with the law Daniel defied (Daniel 6). - RBW
File: Wa177
===
NAME: Walking Boss
DESCRIPTION: "Walking boss (x2), I don't belong to you. I belong (x2) to that steel driving crew." "Work one day, just one day, just one day, Then go lay in the shanty two." Etc. Verses loosely descriptive of life on a railroad crew.
AUTHOR: unknown
EARLIEST_DATE: 1906 (collected by Newman Ivey White)
KEYWORDS: railroading work nonballad worksong boss
FOUND_IN: US(Ap,SE)
REFERENCES: (1 citation)
Cohen/Seeger/Wood, p. 96, "Walking Boss" (1 text, 1 tune)
Roud #7693
RECORDINGS:
Clarence Ashley, "Walking Boss" (on Ashley03, WatsonAshley01)
CROSS_REFERENCES:
cf. "Take This Hammer" (lyrics)
NOTES: A "walking boss" was a foreman who gave orders to workers' immediate supervisors, rather than to the workers themselves.
Source: Clarence "Tom" Ashley recalled this song being sung by railroad workers, probably in the 1920s. - PJS
File: CSW096
===
NAME: Walking Down Canal Street
DESCRIPTION: This formula song chronicles the difficulties the narrator encounters in attempting to (find and) have sex with a whore.
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: bawdy sex whore
FOUND_IN: US(MW,Ro,So,SW)
REFERENCES: (2 citations)
Cray, pp. 213-214, "Walking Down Canal Street" (2 texts, 1 tune)
Randolph-Legman I, pp. 560-563, "Walking Down Canal Street" (2 texts, 2 tunes)
CROSS_REFERENCES:
cf. "Rosemary Lane" ("Bell-bottomed Trousers" tune)
ALTERNATE_TITLES:
This Mornin'
File: EM214
===
NAME: Walking John
DESCRIPTION: "Walking John was a big rope horse" who "was willing and stout and strong," but "he sure enjoyed his joke." Every morning he tried to throw his first rider -- but then settled down to be a hard worker
AUTHOR: Henry Herbert Knibbs
EARLIEST_DATE: 1930 (Knibbs, Songs of the Last Frontier)
KEYWORDS: animal cowboy
FOUND_IN: US
REFERENCES: (2 citations)
Larkin, pp. 79-82, "Walking John" (1 text, 1 tune)
Ohrlin-HBT 24, "Walking John" (1 text, 1 tune)
Roud #5766
NOTES: Larkin notes, "The poems of Henry Herbert Knibbs have been plagiarized and adapted so often that he is entitled to be named the poet laureate of hte cowboys." She adds that this sog is "the biography of a real horse."
It would appear that the song was in oral tradition before Knibbs published it; since Larkin published her book in 1931 and it had passed through at least two stages of tradition by the time she collected it. - RBW
File: Ohr024
===
NAME: Walking on the Green Grass
DESCRIPTION: "Walking on the green grass, Walking side by side, Walking with a pretty girl, She shall be my bride." Boys and girls pair off and dance; the "king" chooses a "queen"; they go around the ring
AUTHOR: unknown
EARLIEST_DATE: 1903
KEYWORDS: playparty courting dancing nonballad
FOUND_IN: US
REFERENCES: (1 citation)
Botkin-AmFolklr, pp. 807-809, "Walking on the Green Grass" (1 text plus a possibly related fragment, 1 tune)
ST BAF807 (Full)
Roud #1381
CROSS_REFERENCES:
cf. "Green Grass" (lyrics)
NOTES: Roud lumps this with "Green Grass," apparently on the basis that they're both playparties about green grass. They look distinct to me. - RBW
File: BAF807
===
NAME: Walky-Talky Jenny
DESCRIPTION: Minstrel recitation with chorus: "O, walky-talky Jenny an' a hubble for your trouble...." Incidents include a fight with a racist, an argument with a woman he has rescued from a fire, and an incident with his baby and a dog
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: recitation nonballad Black(s)
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Sandburg, pp. 48-49, "Walky-Talky Jenny" (1 text, 1 tune)
File: San048
===
NAME: Wallabug
DESCRIPTION: Sundry silliness: "Bought an old cow from Farmer Jones, She weren't nothing but skin and bones. Fattened her up as fine as silk; She jumped the fence and skimmed her milk. Wallabug, wallabug, you can't fool me...."
AUTHOR: unknown
EARLIEST_DATE: 1941 (Warner)
KEYWORDS: nonsense animal nonballad
FOUND_IN: US(SE)
REFERENCES: (2 citations)
Warner 164, "Wallabug" (1 text, 1 tune)
DT, WALLABUG*
ST Wa164 (Full)
Roud #7483
File: Wa164
===
NAME: Wallaby Brigade, The
DESCRIPTION: The singer boasts of the life of the swagman. He gives advice for finding (or not finding) work, and surviving the travelling life. "When the shearing's at an end we'll go fishing in the bend, Then hurrah for the Wallaby Brigade." 
AUTHOR: unknown
EARLIEST_DATE: 1905 (Paterson, _Old Bush Songs_)
KEYWORDS: work sheep Australia rambling
FOUND_IN: Australia
REFERENCES: (2 citations)
Fahey-Eureka, pp. 186-187, "The Wallaby Brigade" (1 text, 1 tune)
Paterson/Fahey/Seal, pp. 288-290, "The Wallaby Brigade" (1 text)
ALTERNATE_TITLES:
cf. "Tramp! Tramp! Tramp!" (tune)
File: FaE186
===
NAME: Wallaby Track, The
DESCRIPTION: "Roll up your bundle and make a neat swag, Collar onto your billycan and the old tuckerbag. It's no disgrace to be seen with your swag on your back, While searching for work on the wallaby track."
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: Australia work rambling
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, p. 186, "The Wallaby Track" (1 text, 1 tune)
NOTES: Not to be confused with "The Springtime It Brings on the Shearing (On the Wallaby Track)" - RBW
File: MA186
===
NAME: Wallflowers
DESCRIPTION: Playparty. "Wallflowers, wallflowers, growing up so high, All of you young ladies Are meant to die." One girl is excepted, because of her great skill at (something).
AUTHOR: unknown
EARLIEST_DATE: 1898 (Gomme)
KEYWORDS: playparty death nonballad
FOUND_IN: Ireland Britain(England(All),Scotland(All)) US(Ap,NE)
REFERENCES: (4 citations)
SHenry H48d, p. 11, "Water, Water, Wallflowers" (1 text, 1 tune)
Linscott, pp. 54-56, "Water, Water, Wild Flower" (1 text, 1 tune)
Fuson, p. 174, "Lily-White Flower" (1 text)
Montgomerie-ScottishNR 72, "(Water, water, wall-flower, growing up so high)" (1 short text)
ST HHH048d (Full)
Roud #6307
CROSS_REFERENCES:
cf. "Row Boat (Ride About)" (form, floating lyrics)
File: HHH048d
===
NAME: Wallins Creek Girls
DESCRIPTION: Singer and a friend come to Wallins Creek and pick up girls. "The only thing they want to do, smoke cigarettes and car-ride." Men offer boys loose tobacco but the prefer cigarettes. "If [girls] could get them one cigarette, they'd car-ride every day"
AUTHOR: unknown
EARLIEST_DATE: 1937 (field recording, Daw Hudson)
LONG_DESCRIPTION: Singer and a friend, rounders, come to Wallins Creek and pick up two girls in their car. "The only thing they want to do, smoke cigarettes and car-ride." He says the girls regularly flag drivers down and go from town to town. The men offer the boys Prince Albert (loose tobacco) but they'd rather have Old Gold (rolled cigarettes). Singers says the girls are pretty, but "if they could get them one cigarette, they'd car-ride every day"
KEYWORDS: drugs courting travel technology
FOUND_IN: US(Ap)
REFERENCES: (0 citations)
RECORDINGS:
Daw Henson, "Wallins Creek Girls" (AFS, 1937; on KMM)
File: RcWaCrGi
===
NAME: Walnut Girl, The
DESCRIPTION: Singer meets a pretty walnut vendor. He tells her he's sick of single life, and "O won't we be happy until wedlock breaks us here?" Chorus: "Ten-a-penny walnuts, my Nellie she were by/Fresh from Common Garden, please to come and try...."
AUTHOR: unknown
EARLIEST_DATE: 1974 (collected from Nelson Ridley)
KEYWORDS: courting love marriage beauty commerce work food worker
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
MacSeegTrav 35, "The Walnut Girl" (1 text, 1 tune)
Roud #2520
CROSS_REFERENCES:
cf. "Molly Malone" (subject)
ALTERNATE_TITLES:
The Little Walnut Gel
NOTES: According to MacColl & Seeger, "When John Lydgate (1370?-1450?) wrote 'The London Lykpeny,' he started a fashion for poems and songs about London's street-vendors and their cries which was to last for more than four hundred years...lavender, oysters, water-cresses, pretty flowers, codlings, cockles and mussels, and even cat-meat." Haven't heard that last one.- PJS
Of course, many of these songs are on rather less pleasant topics. Consider "The Oyster Girl" or "Queer Bungo Rye."
I think the claim a little strong anyway; while Lydgate was a prolific author, just try to find anything he wrote! He's usually lumped with the "other poets" of the Chaucerian era. His may well be just another example of an author taking advantage of a popular street form. - RBW
File: McCST035
===
NAME: Walsingham
DESCRIPTION: Coming from "the holy land Of Blessed Walsingham," the singer asks (a jolly palmer) about the singer's love. The (palmer) asks questions and is told that she has left him, but his love endures
AUTHOR: unknown
EARLIEST_DATE: 1765 (Percy folio; tune dates at least to 1596)
KEYWORDS: love separation travel
FOUND_IN: Britain(England)
REFERENCES: (4 citations)
Percy/Wheatley II, pp. 101-105, "As Ye Came From the Holy Land" (2 text, one from the Percy folio and the other the touched-up version in the _Reliques_)
Chappell/Wooldridge I, pp. 69-71, "Walsingham" (1 tune, partial text)
ADDITIONAL:  Norman Ault, _Elizabethan Lyrics From the Original Texts_, pp. 282-284, "As You Came From the Holy Land" (1 text)
BBI, ZN284, "As I went to Walsingham"
ST Perc2101 (Partial)
NOTES: This piece has been very popular in poetry anthologies; _Granger's Index to Poetry_ lists some two dozen printings, it mentions the attribution to Sir Walter Raleigh, without accepting the attribution.
One of those who tentatively accepts the attribution to Raleigh is Ault, who dates the manuscript containing it (Bodley MS. Rawl. Poet. 85) "before 1600." Of course, Ault also claims that this is "How Should I Your True Love Know." Which it isn't, though it has similar lines; I wouldn't be surprised if this inspired that.
The tune too is different (at least from the version of "How Should I" that I've heard), though again there are some similarities, probably caused more by the metrical form than anything else.
Several references mention the great popularity of this song, and it is quoted in John Fletcher and Francis Beaumont's 1611 play "The Knight of the Burning Pestle," Act II, scene vii:
As you came from Walsingham,
From that holy land,
There met you not with my true love
By the way as you came?
There seem to be two openings to the piece, the one above (found also in the Percy folio) and that quoted by Chappell:
As I went to Walsingham,
To the shrine with speed,
Met I with a jolly palmer,
In a pilgrim's weed.
Something similar is quoted in the Pepys collection. I have not seen a full text of the latter, and it is possible that they are distinct, but I cannot prove it. The piece does not seem to survive in oral tradition, but there are enough references to it that I thought it proper to include it here. It also seems to have given rise to yet another song,
King Richard's gone to Walsingham,
To the Holy Land,
To kill the Turk and Saracen, that the truth do withstand....
The notes to Chappell and Percy (on "Gentle Herdman, Tell to Me") note that Walsingham was a pilgrimage site at least from the time of Henry III. It seemingly acquired its reputation around the Norman Conquest. Apparently a local had a vision of the Annunciation to Mary (for which see Luke 1:26-38), and been told to build a replica of the spot.
Walsingham seems to have been well-patronized -- e.g.  Sean Cunningham: _Richard III: A Royal Enigma_, [English] National Archives, 2003, p. 12, tells of a pilgrimage to Walsingham by Edward IV and his brother Richard of Gloucester when Edward's throne was under threat by the Earl of Warwick. Christopher Allmand, _Henry V_, University of California Press, 1992, p. 158, mentions that Henry V went there after the Treaty of Troyes made him the heir to the French throne.
Walsingham figures in other poems as well, also seemingly as a pilgrimage destination. Walter de la Mare, _Come Hither_, revised edition, 1928, in the notes to #473 prints a fragment beginning, "Gentle herdsman, tell to me, Of courtesy I thee pray, Unto the town of Walsingham Which is the right and ready way" (compare the item in Percy).
Walsingham was closed down in 1538 when Henry VIII dissolved the monasteries. It is ironic to note that, just a couple of decades earlier, Henry VIII's chief councilor Cardinal Wolsey had gone there to give thanks for recovering from the Sweating Sickness (see J. J. Scarisbrick, _Henry VIII_, University of California Press, 1968, p. 68). - RBW
File: Perc2101
===
NAME: Walter Lesly [Child 296]
DESCRIPTION: Walter Lesly invites the girl to drink. He then makes off with her; he intends to marry her (for her money). But he falls asleep before she does, and she escapes. She outruns his men and makes her way home.
AUTHOR: unknown
EARLIEST_DATE: 1828 (Buchan)
KEYWORDS: courting abduction escape money
FOUND_IN: Britain(Scotland)
REFERENCES: (2 citations)
Child 296, "Walter Lesly" (1 text)
Leach, pp. 680-682, "Walter Lesly" (1 text)
Roud #3925
CROSS_REFERENCES:
cf. "Eppie Morrie" [Child 223] (plot)
NOTES: There was a Walter Leslie who married the heiress of the Earldom of Ross in the reign of David II of Scotland; he was involved in many political quarrels in the reign of the next king, Robert II, and died in 1382. Another Walter Lesley was a crusader in this period. There is no reason to connect either with the villain of this piece except similarity of names (and, of course, the fact that there was a lot of this sort of thing in the anarchic Scotland of Robert II). - RBW
File: C296
===
NAME: Walter Mullin
DESCRIPTION: Walter Mullin "changed his home in Whitneyville For a Canadian soldier's grave ... in the European War" The singer recalls the youth they shared. "Now you are wanted at the Front, But you will not take your stand. O why can't you be like my comrade"
AUTHOR: Wallace Travis (Manny/Wilson)
EARLIEST_DATE: 1962 (Manny/Wilson)
KEYWORDS:  request army war death memorial patriotic
FOUND_IN: Canada(Mar)
REFERENCES: (1 citation)
Manny/Wilson 44, "Walter Mullin" (1 text, 1 tune)
ST MaWi044 (Partial)
Roud #9184
NOTES: Whitneyville, now Whitney, is near the junction of the Little Southwest and Northwest Miramichi Rivers, about 10 miles west of Newcastle, New Brunswick.
Manny/Wilson: "The song was made up by Wallace Travis of the Nor'West Miramichi, in memory of a friend killed in the First World War."
Since the song is a plea for others to enlist to fight in a war my guess is that this was written during the second World War. - BS
On the other hand, there is no hint of a second War -- or even of the end of the first. I incline to think it comes from the early part of the first War.
This is apparently based on "The Graves of a Household" by one Mrs. Henmans, found in the "Royal Readers" used in the nineteenth century in New Brunswick schools. More evidence for an early date, I'd say; I don't know about you, but I can't remember *anything* from my grade school readers.... - RBW
File: MaWi044
===
NAME: Waltz the Hall
DESCRIPTION: "First couple out, couple on the right, Charge them pards an' waltz 'em out of sight." "When you're through remember my call, Charge 'em again an' waltz the hall." "Skip to my Lou, boys, skip to my Lou... When you're through remember my call...."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Randolph)
KEYWORDS: playparty nonballad
FOUND_IN: US(So)
REFERENCES: (1 citation)
Randolph 517, "Waltz the Hall" (1 text, 1 tune)
Roud #7649 and 7927
CROSS_REFERENCES:
cf. "Skip to My Lou" (lyrics)
NOTES: Randolph notes that this is derived from "Skip to my Lou," but since it has new lyrics and its own dance elements, it deserves separate listing. - RBW
File: R517
===
NAME: Waltzing Matilda
DESCRIPTION: A swagman (rover) camps by a pool. He sees a sheep come down to drink, and grabs it. He is spotted by (three troopers/the landowner), who call on him to justify his actions. Rather than face up to his crime, the swagman drowns himself in the pool
AUTHOR: words widely attributed to "Banjo" Paterson
EARLIEST_DATE: 1903
KEYWORDS: sheep suicide robbery ghost rambling
FOUND_IN: Australia
REFERENCES: (9 citations)
Meredith/Anderson, pp. 73-74, 95, "Waltzing Matilda" (2 texts, 1 tune, the latter being a fragment of a bawdy version)
Fahey-Eureka, pp. 234-235, "The Blackboy's Waltzing Matilda" (1 text, 1 tune -- a pidgin English semi-parody)
Paterson/Fahey/Seal, pp. 308-310, "Black Boy's Waltzing Matlida" (1 text -- the same adaption as the preceding)
PBB 119, "Waltzing Matilda' (1 text)
SHenry H566, pp. 122-123, "Waltzing Matilda" (1 text, 1 tune -- but collected from Australian children rather than Ulster natives)
Manifold-PASB, pp. 160-163, "Waltzing Matilda" (2 texts, 2 tunes)
Silber-FSWB, p. 339, "Waltzing Matilda" (1 text)
Fuld-WFM, pp. 619-620, "Waltzing Matilda"
DT, WALTZMAT*
Roud #9536
RECORDINGS:
John Greenway, "Waltzing Matilda" (on JGreenway01)
A. L. Lloyd, "Waltzing Matilda" (on Lloyd4, Lloyd10)
CROSS_REFERENCES:
cf. "The Bold Fusilier" (form)
NOTES: Virtually every aspect of this song -- its historical basis, its words, its tune(s) - has been the subject of disputation, athough there is now consensus among scholars on the following basic facts:
1. While visiting Dagworth station (a pastoral holding in outback Queensland) in 1895, the poet A.B. (Banjo) Paterson heard a tune hummed and played on the autoharp by Miss Christina McPherson, sister of station manager Robert McPherson.
2. Miss McPherson indicated she had heard the tune some time previously at a race meeting in Warrnambool in Victoria, played by a local band. She understood the tune was called "The Bonnie Wood of Craigielea." (A ballad of this name by Robert Tannahill of Scotland was set to music by Robert Barr in the early 1800s and, according to Magoffin, a march arrangement by Gordon Parker was performed at the Warnambool races on 24 April 1894.) At Dagworth Miss McPherson rendered the tune from memory.
3. While at Dagworth Paterson wrote words to fit Miss McPherson's tune. The words he wrote were those of the poem/song "Waltzing Matilda."
4. Paterson's setting of McPherson's tune was quickly picked up and sung around the district, including at the Winton races on 24 and 25 May 1895.
5. At these races Christina McPherson wrote out and gave to family friends the Barlams the song's words and music. (This manuscript only came to light in 1971. Its authenticity has since been verified by, for example, by the National Library of Australia, which included it in its recent major exhibition of treasures from the world's libraries.)
6. Following the Winton race meeting the song travelled further afield, entering oral tradition. In the process the song's words (and possibly also its tune) evolved through the "folk process." The major change was that Paterson's wimpish "drowning himself by the Coolibah tree" in the last verse gave way to the more defiant "'You'll never catch me alive!' said he."
7. The song first appeared on sheet music in 1903, published in Sydney by James Inglis & Co. While the lyrics were attributed to Paterson they were in fact the "folk processed' words (possibly with additional textual changes introduced by the publisher); the music was cited as being "arranged' by Marie Cowan. Cowan was the spouse of Mr. W. Cowan, James Inglis & Co.'s Manager. (Cowan's version has similarities with, but is distinct from, the tune in the McPherson manuscript. The extent to which the Cowan version reflects the tune as it evolved through oral transmission, and the extent to which it incorporates changes introduced by Mrs. Cowan, is not known. While Mr. Cowan later claimed the sheet music tune was entirely his wife's composition, its similarities with that in the 1895 McPherson manuscript suggests "arrangement' was indeed the more appropriate term.) The sheet music version became the standard rendering of the song.
8. Paterson gave his approval to the 1903 sheet music text and music. Fourteen years later he included his original text as a poem in his book _Saltbush Bill J.P. and Other Verses_.
9. An entirely different tune, set to Paterson's original 1895 lyric, was obtained in the early 1950s by John Manifold from John O'Neill, who later indicated he had heard his father singing it around 1912. This is known as the Queensland, or sometimes the "Buderim," version.
There have been suggestions the song predates 1895, and so was, at best, modified by Paterson. Certainly, it is possible that Paterson, either consciously or unconsciously, drew upon an earlier song in writing his text. Claims however that the song itself predates Paterson rely upon second-hand accounts of persons who claim to remember hearing it prior to 1895. No documentary evidence to support this proposition has come to light, and these days the claim is given little credence.
In 1941 the suggestion was raised via the Sydney Bulletin that the tune and word structure of Waltzing Matilda is based upon a song "The Bold Fusilier' which, on account of its reference to the Duke of Marlborough, was assumed to date from the early 1700s. Several correspondents attested to the song's existence. One claimed to have heard it as a child in England, another to have heard it in Australia from his grandfather. The tune was said to be recognisable as that used for Waltzing Matilda, and while only one verse and a chorus of the text were remembered in either case, a strong structural resemblence to that song was apparent. Unfortunately, extensive efforts by scholars to trace the song have thus far been fruitless, and no full text, musical notation or other documentary evidence of its existence prior to 1895 has come to light.
The "Bold Fusilier' vs "Craigilea' debate impacts hardly at all on Paterson's claim to authorship. Should further research establish the existence of the Bold Fusilier prior to 1895, then obviously it is a possibility that Paterson knew of it and drew upon its word structure in writing Waltzing Matilda. A number of Australian bush songs are parodies, and so such a circumstance would be unremarkable. Regarding the Bold Fusilier tune we can say little, for at present the only version of it we have dates from the 1940s, some four decades after the publication of the Cowan tune for Waltzing Matilda. In that time all manner of opportunity existed for failures or tricks of memory to occur.
For these various reasons, the consensus in Australia is clear: Paterson wrote the words in 1895 to a tune played from memory by Christina McPherson, and subsequently both text and tune evolved in oral transmission. Further changes may have been introduced consciously at the time the song was published as sheet music in 1903. - MK
The above was written in response to my original rather caustic comments about the authorship of "Waltzing Matilda." I must admit that I still have misgivings.
First, I think it likely that "The Bold Fusilier" is an authentic folk song, and most unlikely that it was composed after "Waltzing Matilda." Nor do I regard it as believable that this form would have been evolved independently by Paterson. Of course, it, or something like it, could have been the "Craiglie" tune Paterson heard. This does not affect Paterson's authorship of "Waltzing Matilda" in any way, of course. But I think dependence a practical certainty.
It strikes me as curious that Paterson wrote this piece for music, but his other poetry is just that: Poetry, and rarely in a style suitable for folk song.
John Meredith met informants who claimed *their* sources (fathers) knew the song before Paterson's composition. None of these claims can be verified, and all are secondhand -- but of course written records of Australian folk songs before 1895 are quite rare.
There are scholars, such as John Greenway, who clearly did not believe in Paterson's authorship. Even John Meredith had his doubts. Most of these stated their opinions before the McPherson manuscript was discovered. But the manuscript, while it strengthened the arguments on the pro-Paterson side, did not weaken those on the anti- side.
Thus, despite Keith McKenry's well-researched statements above, I still consider the matter open.
Another possibility, which I have not seen mentioned, is that Paterson included some fragments of an existing song into a largely new composition based on a local event. This would explain the informants who thought they knew the song before 1895 -- but there is no evidence whatsoever for it. - RBW
File: PBB119
===
NAME: Waly Waly (The Water is Wide)
DESCRIPTION: The singer laments the effects of unrequited love and an untrue lover. Typical symbols include the rotten-hearted oak that looks solid but breaks and the beautiful flower protected by thorns. In some versions the lover is untrue; sometimes (s)he is dead
AUTHOR: unknown
EARLIEST_DATE: 1714 (Ritson, _Scotish Song_)
KEYWORDS: love rejection lyric nonballad lament lover death
FOUND_IN: Britain(England,Scotland) Ireland US(Ap,NE,SE) Canada(Newf)
REFERENCES: (18 citations)
Bronson (204), 8 versions (including "Jamie Douglas")
Percy/Wheatley III, pp. 145-148, "Waly Waly, Love Be Bonny" (1 text)
BarryEckstormSmyth pp. 469-474, "Jamie Douglas" (notes and scattered stanzas; the only full text is in fact this piece)
Kennedy 149, "Deep in Love" (1 text, 1 tune)
Logan, pp. 336-337, "Picking Lilies" (1 text)
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")
Leach, pp. 546-551, "Jamie Douglas" (3 texts, with only the third text belonging with this piece)
Friedman, p. 101, "Jamie Douglas" (2 texts, with only the second text belonging with this piece)
Sharp-100E 39, "O Waly Waly" (1 text, 1 tune)
Sandburg, pp. 16-17, "Waillie, Waillie!" (1 text, 1 tune) {Bronson's #8}
Copper-SoBreeze, pp. 218-219, "Love" (1 text, 1 tune)
Hodgart, p. 143, "O Waly, Waly" (1 text)
Lomax-FSNA 70, "Love is Pleasin'" (1 text, 1 tune, of four verses, two of which go here, one belongs with "Fair and Tender Ladies," and the fourth could be from several sources; the whole could be a "Love is Teasing" variant)
HarvClass-EP1, pp. 323-324, "O Waly, Waly" (1 text)
PSeeger-AFB, p. 77, "The Water Is Wide" (1 text, 1 tune)
SHenry H683, p. 393, "The Apron of Flowers" (1 text, 1 tune --  apparently a collection of floating verses including one that goes here)
Silber-FSWB, p. 145, "Waillie"; p. 163, "The Water Is Wide" (2 texts)
DT (204), WALYWALY WALYWAL2* WALYWAL3* CCKLSHLL* WATRWIDE*
Roud #87
RECORDINGS:
Liam Clancy, "The Water is Wide" (on IRLClancy01)
Mobile Strugglers, "Trouble, Trouble's Followed Me All My Days" (on AmSkBa, classified there for want of a better place; it's really a collection of floaters, and could as easily go with "I Wish, I Wish/Love Is Teasing." It shares the verse "If I had wings like Noah's dove" with "Dink's Song," but not its distinctive chorus. - PJS)
Pete Seeger, "The Water is Wide" (on PeteSeeger18) (on PeteSeeger34) (on PeteSeeger47)
CROSS_REFERENCES:
cf. "Jamie Douglas" [Child 204] (lyrics)
cf. "Love Is Teasing"
cf. "Careless Love"
cf. "Died for Love"
cf. "The Butcher Boy" [Laws P24] (floating lyrics)
cf. "Dink's Song" (floating lyrics)
cf. "Oh, Johnny, Johnny" (floating lyrics)
ALTERNATE_TITLES:
A Ship Came Sailing
When Cockle Shells Turn Silver Bells
NOTES: Some scholars consider this a degraded form of "Jamie Douglas" [Child 204], with which it shares several lyrics. It can hardly be denied that they are related. Since, however, "Waly Waly" has worn away to a purely lyric piece (and some even believe it to be the older of the two songs, which has provided a few chance lyrics to "Jamie Douglas"), it is my firm opinion that the two should be kept separate.
Paul Stamler considers at least some of the versions of "I Wish, I Wish/Love is Teasing" to belong here. To me, they look more like versions of "The Butcher Boy." Still, it shows you how lyric this piece has become.
Under the title "Forsaken," this is one of the handful of traditional songs in Palgrave's _Golden Treasury_ (item CXXXIII)- RBW
File: K149
===
NAME: Waly Waly, Love Be Bonny: see Waly Waly (The Water is Wide) (File: K149)
===
NAME: Wanderer, The: see A Distant Land to Roam (File: FORA201)
===
NAME: Wanderer's Warning, The
DESCRIPTION: Singer quarrels with his father and prepares to leave home. His mother begs him not to; her heart will be broken. He leaves anyway. Now he is in a boxcar while his mother longs for the boy who will never return. He cautions others not to imitate him
AUTHOR: Carson Robison - Frank Luther
EARLIEST_DATE: 1929 (recording, Frank Luther)
KEYWORDS: grief homesickness loneliness warning farewell home parting rambling train travel father mother hobo
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Ken Houchins, "Wanderer's Warning" (Champion 16553, 1933)
Frank Luther, "The Wanderer's Warning" (Banner 6464/Jewel 5667/Conqueror 7396, 1929)
File: RcWanWar
===
NAME: Wanderin'
DESCRIPTION: "My daddy is an engineer, My brother drives a hack, My sister takes in washin' An' the baby balls the jack, An' it looks like I'm never gonna cease my wanderin'." Tales of work and poverty, held together by the refrain "never gonna cease my wanderin'."
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: work hardtimes rambling nonballad
FOUND_IN: US(MA)
REFERENCES: (7 citations)
Sandburg, pp. 188-189, "Wanderin'" (2 texts, 1 tune)
Scott-BoA, pp. 335-336, "Wandering" (1 text, 1 tune)
Lomax-FSNA 218, "Wand'rin" (1 text, 1 tune)
Darling-NAS, p. 281, "Wandering" (1 text)
Silber-FSWB, p. 59, "Wandering" (1 text)
BrownIII 507, "I Got de Hezotation Stockings and de Hezotation Shoes" (1 short text, with a verse and chorus from "Hesitation Blues" and a verse from "Wanderin'")
DT, WANDERIN*
Roud #4399
RECORDINGS:
Vernon Dalhart, "Wanderin'" (Columbia 1585-D, 1928)
NOTES: The total irrelevance of plot to this song is shown by the fact that Scott's version (which is mostly about the traveler's rambles, except for the line "If the Republicans don't get you, the Democrats must") shares only three lines, apart from the refrain, with the DT version. - RBW
File: San188
===
NAME: Wandering Boy, The
DESCRIPTION: "Out in this cold world and far away from home, Somebody's boy is wandering alone...." The mother begs, "Bring me back my wandering boy, He's all that's left to give me joy." She tells how his place still waits for him
AUTHOR: unknown
EARLIEST_DATE: 1927 (unissued recording, Kentucky Thorobreds) earliest publication 1928 (recording, Emry Arthur)
KEYWORDS: rambling mother children separation
FOUND_IN: US(Ap,So)
REFERENCES: (2 citations)
Randolph 845, "The Wandering Boy" (1 text)
Fuson, p. 149, "The Wandering Boy" (1 short text)
ST R845 (Partial)
Roud #4227
RECORDINGS:
Emry Arthur, "Bring Back to Me My Wandering Boy" (Vocalion 5244, 1928)
Blue Sky Boys, "Brink Back My Wandering Boy" (Bluebird B-8128, 1939)
W. C. Childers, "Bring Back My Wandering Boy" (Champion 16052, 1930)
Kentucky Thorobreds, "Bring Back My Wandering Boy" (Paramount, unissued, rec. 1927)
NOTES: This should not be confused with "Where Is My Wandering Boy Tonight," which is a different song. - PJS
File: R845
===
NAME: Wandering Cowboy (I), The [Laws B7]
DESCRIPTION: A cowboy sadly tells the tale of why he left home: He had killed a childhood friend in a quarrel over a girl: "So that's the reason why  I am compelled to roam. A sinner of the darkest strain, Far far away from home"
AUTHOR: unknown
EARLIEST_DATE: 1928
KEYWORDS: death fight cowboy rambling love friend murder burial
FOUND_IN: US(SE,So,SW) Canada
REFERENCES: (8 citations)
Laws B7, "The Wandering Cowboy"
Randolph 190, "The Wandering Cowboy" (3 texts, 2 tunes)
BrownII 265, "A Jolly Group of Cowboys" (1 text)
Larkin, pp. 144-146, "Wandering Cowboy" (1 text, 1 tune)
McNeil-SFB1, pp. 157-159, "The Wandering Cowboy" (1 text, 1 tune)
Fife-Cowboy/West 89, "Cowboy's Home Sweet Home" (2 texts, 1 tune)
Ohrlin-HBT 66, "Franklin Slaughter Ranch" (1 text, 1 tune)
DT 798, WANDCOWB
Roud #633
RECORDINGS:
Edward L. Crain, "Cowboy's Home Sweet Home" (Columbia 15710-D, 1932; rec. 1931) (Crown 3250/Melotone [Can.] 93027/Conqueror 8010 [as Cowboy Ed Crane], 1932; Montgomery Ward M-3016/Varsity 5034 [as Cowboy Rodgers], n.d.; rec. 1931)
Jimmie Davis, "Cowboy's Home Sweet Home" (Victor 23718, 1932; Montgomery Ward M-7359, 1937; on WhenIWas2)
Arthur Miles, "The Lonely Cowboy (Parts 1 & 2)" (Victor V-40156, 1929; on MakeMe, When I Was1)
Frank Wheeler & Monroe Lamb, "A Group of Jolly Cowboys" (Victor C-40169, 1929)
CROSS_REFERENCES:
cf. "The Fugitive's Lament" (plot)
NOTES: The Arthur Miles recording contains one of the few examples of "throat singing" (overtone singing) I've heard in American tradition. The song should not be confused with "The Wandering Cowboy (II)," which is unrelated. - PJS
File: LB07
===
NAME: Wandering Cowboy (II), The
DESCRIPTION: Cowboy describes ranches he's worked at. He signs on with a ranch, works summer and fall, then drifts to Arizona for a winter job. It's too lonely and boring, so he moves on again. One night in Wyoming, he dreams of his home rancho and decides to return
AUTHOR: unknown
EARLIEST_DATE: 1931 (recording, Patt Patterson & Lois Dexter)
KEYWORDS: loneliness home rambling travel work cowboy worker
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Patt Patterson & Lois Dexter, "The Wandering Cowboy" (Banner 32091, 1931)
Patt Patterson & his Champion Rep Riders, "The Wandering Cowboy" (on WhenIWas1)
NOTES: Pretty thin plot, yes. But a plot nonetheless, and I've indexed it chiefly to distinguish the song from "The Wandering Cowboy (I)", which has a real narrative. - PJS
File: RcTWCII
===
NAME: Wandering Cowboy (III), The
DESCRIPTION: Singer has no home, no one to love him. He's wandering down the trail, coming to the end of his life, and thinking the only home he will ever find is "on some other shore"
AUTHOR: B. Cartwright
EARLIEST_DATE: 1930 (recording, Cartwright Bros.)
KEYWORDS: loneliness love death nonballad cowboy
FOUND_IN: US
REFERENCES: (0 citations)
RECORDINGS:
Cartwright Brothers, "The Wandering Cowboy" (Victor V-40247, 1930)
NOTES: Darn near no plot at all, even thinner than "Wandering Cowboy (II)," and depressing besides. I index it solely to distinguish it from the other "Wandering Cowboy" songs. - PJS
File: RcTWaC3
===
NAME: Wandering Girl, The
DESCRIPTION: The singer's lover has deserted her and their baby. She'll go home but knows she'll be turned away by her mother. "She'll tell me to wander as I've wandered before." She warns girls not to trust young men.
AUTHOR: unknown
EARLIEST_DATE: before 1829 (broadside, Bodleian Firth c.18(104))
KEYWORDS: sex desertion floatingverses baby mother youth
FOUND_IN: Britain(England(Lond))
REFERENCES: ()

Roud #1691
RECORDINGS:
Freda Palmer, "The Wandering Girl" (on Voice10)
BROADSIDES:
Bodleian, Firth c.18(104), "The Wandering Girl" ("Once I loved a young man as dear as my life"), T. Batchelar (London), 1817-1828; also Harding B 11(4028), Harding B 25(1998), Harding B 11(4027), "[The] Wandering Girl"; Harding B 25(1996), Harding B 11(244), Harding B 11(245), "The Wandering Girl" or "The Bud of Rose"
NOTES: The Bodleian broadsides have the girl turned away by her father as well as her mother. 
Floating lines may include "Once I loved a young man as dear as my life He oftentimes told me he'd make me his wife," "Once I was as fair as the bud of a Rose And now I'm as pale as the Lilly [sic] that grows" and "They'll kiss you and court you and swear they'll be true And the very next moment they'll bid you adieu." - BS
File: RcTWaGir
===
NAME: Wandering Nellie: see Corunna's Lone Shore (Wandering Nellie) (File: FVS081)
===
NAME: Wandering Shepherd Laddie, The
DESCRIPTION: Bring my crook and bring my plaid." The singer would go to her "wandering shepherd laddie." She'll go through mountain storms to "his black-face yowes on the heather hills" and rest with him "when the moon comes over the top o' the hill"
AUTHOR: John MacDonald (source: Yates, Musical Traditions site _Voice of the People suite_ "Notes - Volume 20" - 15.1.04)
EARLIEST_DATE: 1974 (recording, John MacDonald)
KEYWORDS: nonballad lover sheep shepherd
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: ()

Roud #5150
RECORDINGS:
John MacDonald, "The Wandering Shepherd Laddie" (on Voice20)
File: RcWaShLa
===
NAME: Wandering True Loves, Too: see The Cuckoo (File: R049)
===
NAME: Wanton Seed, The
DESCRIPTION: Singer meets a pretty maid who wants "the chiefest grain"; she accepts his services, asking him to sow her meadow with "the wanton seed." After forty weeks she returns with a slender waist (presumably having borne a child), wanting more of the wanton seed
AUTHOR: unknown
EARLIEST_DATE: 
KEYWORDS: sex pregnancy farming magic
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
DT, WNTNSEED*
Roud #1018
RECORDINGS:
A. L. Lloyd, "The Wanton Seed" (on BirdBush1, BirdBush2)
CROSS_REFERENCES:
cf. "Seeds of Love" (theme)
cf. "The Next Market Day" (plot) and references there
cf. "The Mower"
ALTERNATE_TITLES:
The Chiefest Grain
NOTES: Again, I've refrained from calling this "bawdy," preferring "erotic." And I've keyworded it as "magic" because of the clear connection the song makes between the fertility of grain and sexuality, a common folk strain of sympathetic magic. - PJS
In at least some versions of his index, Round lumps this (accidentally, I'm sure) with "The Building of Solomon's Temple" [Laws Q39]. - RBW
File: DTwntnse
===
NAME: War Bird's Burlesque, A
DESCRIPTION: "A portly Roman Senator was sipping his Rock and Rye When a classic Vestal Virgin caught his educated eye." But while the "Senator" is away, a junior young officer slips into her bed. Finally the "Senator" forgives her
AUTHOR: unknown
EARLIEST_DATE: 1927 (Sandburg)
KEYWORDS: adultery seduction humorous
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Sandburg, pp. 438-439, "A War Bird's Burlesque" (1 text, 1 tune)
CROSS_REFERENCES:
cf. "The Sea Captain and the Squire" [Laws Q12] (plot)
File: San438
===
NAME: War Correspondent, The
DESCRIPTION: "You've all heard of 'Banjo' Paterson and of course I needn't say That he's the best and the greatest correspondent of the day...." The singer, alleged to be Paterson, boasts of all the people he knows and of his great journalistic skills
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: bragging humorous
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 274-275, "The War Correspondent" (1 text, 1 tune)
NOTES: Meredith and Anderson's informant, "Duke" Tritton, was of the opinion that Banjo Paterson wrote this piece as a parody of his exploits (Paterson was a war correspondent during the Boer War). Given Paterson's observed behavior, however, this seems unlikely. - RBW
File: MA274
===
NAME: War in Missouri in '61, The
DESCRIPTION: The title tells the subject. "Claybourn Jacks" tries to pull Missouri out of the Union, and Harney does little to stop him. Price and Blair and the Lion (Lyon) stop him. But the Lion is killed by McCulloch. The author asks forgiveness for his rough verse
AUTHOR: B. F. Lock?
EARLIEST_DATE: 1916 (Belden)
KEYWORDS: Civilwar battle death
HISTORICAL_REFERENCES: Aug 10, 1861 - Battle of Wilson's Creek
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, pp. 366-367, "The War in Missouri in '61" (1 text)
Roud #3698
CROSS_REFERENCES:
cf. "The Jolly Union Boys" and references there (concerning Battle of Wilson's Creek)
NOTES: To explain everything about this song (if it is a song and not just a poem) would take a small book; in any case, the narrative itself and Belden's notes cover most of the ground. (Some additional background is found in the songs in the cross-references). I'll just give sketch information about the characters named.
"Claybourn Jacks": Claiborne Fox Jackson (1806-1862), Governor of Missouri from 1860; tried and failed to pull the state out of the Union.
"Tom Price": Thomas Lawson Price (1809-1870), railroad builder and war democrat, who opposed secession
"Harney": William A. Harney (1800-1889), commander of the Deparment of the West (centered at St. Louis) when the war began. A friend of slaveholders, he did little to control Missouri secessionists, was suspected of sympathy with the rebellion, and was superseded May 29, 1861.
"Frost": Daniel M. Frost (c. 1823-1900), West Point graduate and Missouri businessman. Appointed by the Confederates to take the St. Louis arsenal, he was captured by Lyon instead, later being exchanged and becoming a Confederate general.
"Lyon" or "the Lion": Nathaniel Lyon (1818-1861), initially a regular army captain serving in St. Louis. Alarmed by Jackson's actions and Harney's inaction, he and Frank Blair conspired to keep Missouri in the Union. On May 10. he captured Frost and his hundreds of supporters at Camp Jackson (the only Union casualties were Lyon and Franz Sigel, and they were lighly wounded by their own horses). He died at Wilson's Creek.
"Frank Blair": Francis Preston Blair, Jr. (1821-1875), Missouri congressman and later union general. While Nathaniel Lyon ran the military operations in Missouri, Blair handled the politics, pulling the strings to get rid of Harney and put Lyon in charge
"Sigel": Franz Sigel (1824-1902), Union officer (later general). He would prove dreadfully incompetent, but at the time, he was one of the few trained officers available. (Though the training had come in Germany). Union commander at Carthage (July 5), he was forced to retreat. At Wilson's Creek, his failed flanking movement cost the Union forces any chance of victory.
Parson: Belden conjectures this is Lewis Baldwin Parsons (1818-1907), who was from Missouri but who became a Union officer.
"Price": Sterling Price (1809-1867), Confederate commander of Missouri troops. Leader of half the troops at Wilson's Creek.
"McCullough" or "Old Ben": Ben McCulloch (1811-1862), commander of Arkansas troops at Wilson's Creek and theoretical commander (though in effect he and Price led two independent armies). He would be killed in 1862 at Pea Ridge. - RBW
File: Beld366
===
NAME: War Song: see Bull Run (War Song) (File: JHCox068)
===
NAME: War Song (I): see The Rebel's Escape [Laws A19] (File: LA19)
===
NAME: War Song (II): see Texas Rangers, The [Laws A8] (File: LA08)
===
NAME: War Song of the Revolution
DESCRIPTION: "Come ye Americans and tremble Here before your might God." The singer describes women and children slain and husbands and families destroyed by war. Storms and fires destroy cities. Listeners are warned to turn to God
AUTHOR: unknown
EARLIEST_DATE: 1905 (Belden)
KEYWORDS: battle death storm disaster warning religious
FOUND_IN: US(So)
REFERENCES: (1 citation)
Belden, p. 295, "War Song of the Revolution" (1 text)
Roud #7953
NOTES: Belden knew nothing of this save that the informant thought it concerned the Revolutionary War. Belden notes that, if it does date back that far, it's probably Tory. He's likely right -- but I wonder if it isn't two songs merged together, with the second being some sort of hymn based on the Apocalypse. - RBW
File: Beld295
===
NAME: Ward Line, The
DESCRIPTION: "De cap'n's in dce pilot house ringin' de bell, Who's on de way, boys, who's on de way? 'N' de mate's down atween decks givin' de niggas hell, Tell me, whar you goin?" Complains of a Black sailor on a Great Lakes ship
AUTHOR: unknown
EARLIEST_DATE: 1933 (collected by Walton from several Great Lakes sailors)
KEYWORDS: ship sailor hardtimes
FOUND_IN: US(MW)
REFERENCES: (1 citation)
Walton/Grimm/Murdock, pp. 41-45, "The Ward Line" (1 composite text plus some stray verses, 1 tune)
NOTES: Walton/Grimm/Murdock reports that Sam Ward founded the Ward Line in 1820, and that Captain Eber Brock Ward was Michigan's richest man at the time of his death in 1875. One of the ships of the Ward Line was the _Sam Ward_, known as the "Old Black Sam." Julius F. Wolff, Jr., _Lake Superior Shipwrecks_, Lake Superior Port Cities Inc., Duluth, 1990, p.4, says the _Sam Ward_ was a 433 ton steamer which had an accident in 1854 but survived. She was wrecked in 1861. - RBW
File: WGM043
===
NAME: Warfare is A-Raging, The: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: Warfare is Raging, The: see The Girl Volunteer (The Cruel War Is Raging) [Laws O33] (File: LO33)
===
NAME: Wark o' the Weavers, The: see The Work of the Weavers (File: FSWB127)
===
NAME: Warlike Seamen (The Irish Captain)
DESCRIPTION: Singer's ship sails for the coast of Ireland. They encounter a French ship. They report that they're from Liverpool and they will show the Frenchmen what they're made of. They badly damage the French ship,which surrenders; they drink the captain's health
AUTHOR: unknown
EARLIEST_DATE: 1950s (recorded from Bob & Ron Copper)
LONG_DESCRIPTION: Singer, a sailor on an English ship with an Irish captain, sails for the coast of Ireland. They encounter a French ship, which hails them and demands to know their name and port. They reply that they're from Liverpool (their ship is the, "London", "Lion" or "Marigold") and they will show the Frenchmen what they're made of. They fire the cannons, and the French ship, badly damaged, surrenders; they land in Plymouth and drink the captain's health
KEYWORDS: pride battle fight navy violence ship drink France sailor
FOUND_IN: Britain(England(South))
REFERENCES: (1 citation)
DT, WARLIKES
Roud #690
RECORDINGS:
Bob & Ron Copper, "Warlike Seamen (The Irish Captain)" (on LastDays)
CROSS_REFERENCES:
cf. "The French Privateer" (plot, lyrics)
cf. "The Dolphin" (plot, lyrics)
cf. "The Terrible Privateer" (plot)
NOTES: While the second half of this song is identical to that of "The French Privateer," their openings are different, so I've split them. - PJS
Roud lumps them, naturally, and throws in "The Dolphin" (and perhaps others) for good measure. - RBW
File: DTwarlik
===
NAME: Warlock Laird o' Skene, The
DESCRIPTION: A magician swears an oath that after "ae nicht's frost ... He would drive o'er the Loch o' Skene." He casts a spell, calls out his coach and horses, and crosses the lake. Since then no fowl or fish is caught in that track.
AUTHOR: A. Gordon (source: Greig)
EARLIEST_DATE: 1909 (GreigDuncan2)
KEYWORDS: magic witch
FOUND_IN: Britain(Scotland(Aber))
REFERENCES: (2 citations)
Greig #65, p. 2, "The Warlock Laird o' Skene" (1 text)
GreigDuncan2 345, "The Warlock Laird o' Skene" (2 texts)
Roud #5874
ALTERNATE_TITLES:
The Laird o Skene
NOTES: GreigDuncan2: .".. a tradition that the wizard was Alexander Skene who died in 1724.... It is still affirmed that every winter the marks of the wheels are clearly visible upon the ice" - BS
File: GrD2345
===
NAME: Warning to Girls, A
DESCRIPTION: "I once loves a young man So dear to my life, He told me so often He would make me my wife." "He fulfilled his promise, He made me his wife... I have ruined my whole life." In floating verses, she laments her sick baby and drunken husband and warns others
AUTHOR: unknown
EARLIEST_DATE: 1928 (Cox)
KEYWORDS: love betrayal drink floatingverses baby disease
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
JHCoxIIB, #14, pp. 153-154, "A Warning to Girls" (1 text, 1 tune)
Roud #413
CROSS_REFERENCES:
cf. "On Top of Old Smokey" (floating lyrics)
cf. "Green Grows the Laurel (Green Grow the Lilacs)" (floating lyrics)
cf. "I'm Sad and I'm Lonely" (floating lyrics)
NOTES: This song, or at least the version collected by Cox, is almost all floating verses (the only significant exception is the second stanza in which the man marries the singer). But that verse changes the tone of the whole piece (what would otherwise be a lost love song becomes a bad marriage song), causing me to file it separately.
Roud, curiously, files it with "The Cuckoo." If I had to file it with one well-known song, it would be "On Top of Old Smokey." - RBW
File: CoxII14
===
NAME: Warranty Deed, The (The Wealthy Old Maid) [Laws H24]
DESCRIPTION: A lawyer, underemployed and impoverished, at last decides to marry a wealthy old maid. The bride prepares for their wedding night by taking off wig, false teeth, false eye, and other decorations. The husband, who failed to get a "warranty deed,"  flees
AUTHOR: unknown
EARLIEST_DATE: 1940 (Randolph)
KEYWORDS: oldmaid marriage humorous disguise
FOUND_IN: US(NE,So)
REFERENCES: (4 citations)
Laws H24, "The Warranty Deed"
Randolph 465, "The Warranty Deed" (1 text, 1 tune)
Randolph/Cohen, pp. 333-335, "The Warranty Deed" (1 text, 1 tune -- Randolph's 465)
DT 651, (UNFORTUN)
Roud #2188
CROSS_REFERENCES:
cf. "The Old Maid and the Burglar" [Laws H23]
cf. "Only Nineteen Years Old" (theme)
ALTERNATE_TITLES:
The Unfortunate Man
The Very Unfortunate Man
NOTES: Gilbert has a piece (pp. 194-195), "It Takes A Girl to Fool You Every Time," which has this exact plot but entirely different lyrics, reportedly by Ned Oliver. I strongly doubt the latter went into oral tradition (it's not as good a song, anyway), but it may have been inspired by this piece.
Arnold Keith Storm also sings a piece, "Patched Up Old Devil," on this theme. It appears to be from family tradition; I have not encountered it elsewhere. As with Gilbert's piece, the plot is the same but the song quite distinct.
The pop folk version of this, "The Very Unfortunate Man," was reportedly assembled (I use the word advisedly) by Jimmy Driftwood.
I have heard that there was an unpublished 1898 play by Mark Twain with this exact plot. It sounds *extremely* close to this song. It sounds as if there has to be dependence -- with this probably the original, since the Twain play ended up in a drawer, almost entirely unseen until around 2005. - RBW
File: LH24
===
NAME: Warrego Lament, The
DESCRIPTION: The singer asks if the listener has ever been in Queensland. In Warrego, in Queensland, is his love. "She was black -- but what of that?... She was just the sort for a bushman." He enjoyed her company, but then found she had given him a social disease
AUTHOR: unknown
EARLIEST_DATE: 1968
KEYWORDS: disease whore bawdy
FOUND_IN: Australia
REFERENCES: (1 citation)
Meredith/Anderson, pp. 190-191, 223, "The Warrego Lament" (2 texts, 1 tune)
File: MA190
===
NAME: Wars o' Germanie, The
DESCRIPTION: "O, wae be to the orders that marched my love awa', And wae be to the cruel cause that gars my tears down fa'." The singer recalls her soldier's departure for the wars overseas. Her family chides her, but she says they do not understand
AUTHOR: William Motherwell ?
EARLIEST_DATE: 1930 (Ord)
KEYWORDS: love separation soldier war
FOUND_IN: Britain(Scotland)
REFERENCES: (1 citation)
Ord, p. 359, "The Wars o' Germanie" (1 text)
Roud #5608
CROSS_REFERENCES:
cf. "High Germany" (lyrics, theme)
NOTES: Ord credits this to William Motherwell, and it's perfectly reasonable to assume Motherwell padded out a fragment of an existing song (probably "High Germany"). I do think there was that traditional fragment, though. - RBW
File: Ord359
===
NAME: Wars of America, The
DESCRIPTION: "I have two sons and a son-in-law, Fightin' in the wars of America. But I don't know if I'll see them more Or whether they'll visit old Ireland's shore." The singer seeks the boys; at last one comes home -- but crippled from the wars
AUTHOR: unknown
EARLIEST_DATE: 1939
KEYWORDS: mother children separation war soldier injury disability
FOUND_IN: US(NE) Canada(Mar)
REFERENCES: (2 citations)
Lomax-FSNA 17, "The Wars of America" (1 text, 1 tune)
Creighton-SNewBrunswick 75, "My Son Ted" (1 text, 1 tune)
Roud #678
CROSS_REFERENCES:
cf. "Johnny, I Hardly Knew Ye" (plot)
cf. "By the Hush" (plot)
cf. "Mrs. McGrath" (plot)
NOTES: Roud links this to "Mrs. McGrath." The plot similarity is obvious, but the songs themselves appear distinct to me. In Lomax's version, the conflict appears to have been the French and Indian Wars, and the soldier is named Terry. Perhaps the name "Ted" in Creighton's version was influenced by "Mrs. McGrath?" - RBW
File: LoF017
===
NAME: Wars of Germany (I), The: see Jack Monroe (Jackie Frazer; The Wars of Germany) [Laws N7] (File: LN07)
===
NAME: Wars of Germany (II), The: see High Germany (File: ShH56)
===
NAME: Was You Ever See?
DESCRIPTION: "There was John and Jane and Betsy/Eating buns and drinking whisky/Dancing jigs upon the fiddle/Up the sides and down the middle"; singer's sister Bella is never without her umbrella; brother Joe went to Chester College for to get a bit of knowledge; etc.
AUTHOR: unknown
EARLIEST_DATE: 1954 (recorded from Manfrie Wood)
LONG_DESCRIPTION: "There was John and Jane and Betsy/Eating buns and drinking whisky/Dancing jigs upon the fiddle/Up the sides and down the middle"; singer's sister Bella is never without her umbrella; his brother Joe went to Chester College for to get a bit of knowledge; etc. Chorus: "Was you ever see?/Was you ever see?/ Was you ever see such a jolly time before?"
KEYWORDS: nonsense moniker nonballad music
FOUND_IN: Britain(Wales)
REFERENCES: (1 citation)
Kennedy 309, "Was You Ever See" (1 text, 1 tune)
Roud #2144
RECORDINGS:
Manfrie Wood, "Was You Ever See?" (on FSB10)
CROSS_REFERENCES:
cf. "Cosher Bailey's Engine" (tune, structure) and references there
NOTES: Because this is identical in form to "Cosher Bailey," I was tempted to lump them -- but Cosher isn't in it, so I split them. - PJS
Kennedy regards "Cosher Bailey" as an offshoot of this song. But Kennedy thinks everything is a version of everything else; he offers no evidence. - RBW
File: K309
===
NAME: Washing Day
DESCRIPTION: "The sky with clouds was overcast, The rain began to fall, My wife she whipped the children And raised a pretty squall... Oh, the deil a bit o' comfort's here upon a washing day." The singer describes how his good wife turns evil on washing day
AUTHOR: unknown
EARLIEST_DATE: 1849 (Logan)
KEYWORDS: work wife husband punishment
FOUND_IN: Britain(England,Scotland) US(NE)
REFERENCES: (3 citations)
Linscott, pp. 296-299, "Washing Day" (1 text, 1 tune)
Ord, p. 153, "The Washing-Day" (1 text)
Logan, pp. 381-382, "The Washing Day" (1 text)
ST Lins296 (Partial)
Roud #3747
NOTES: The similarities between the handful of truly-traditional texts of this song (Ord and Linscott) is such that I have to suspect broadside influence -- and, indeed, most of the texts listed by Roud are broadside or songster versions. - RBW
File: Lins296
===
NAME: Washington
DESCRIPTION: "We have a bold commander, Who fears no sword or gun, A second Alexander, Whose name is Washington."
AUTHOR: unknown
EARLIEST_DATE: 1931 (Fuson)
KEYWORDS: soldier nonballad
HISTORICAL_REFERENCES: 1732-1799 - Life of George Washington
FOUND_IN: US(Ap)
REFERENCES: (1 citation)
Fuson, p. 196, "Washington" (1 fragment, fifth of seven "Quatrains on the War")
ST Fus196A (Full)
NOTES: Doubtless a fragment of one of the many broadsides about Washington, but with such a short text, I can't identify a source.
Honesty forces us to point out that this song is over-fulsome; Alexander the Great never lost a major battle, and Washington lost more than he won. But, of course, Washington won the battles that ended up counting most. - RBW
File: Fus196A
===
NAME: Washtub Blues, The
DESCRIPTION: "I washed dat woman's clo'es And I hung 'em on de line, My back most a-breakin', I's a-hurtin' all de time." The singer brings the clothes to their owner, who races "and she flung 'em on de flo'." The singer laments her pain and labor
AUTHOR: unknown
EARLIEST_DATE: 1927 (Brown)
KEYWORDS: work
FOUND_IN: US(SE)
REFERENCES: (1 citation)
BrownIII 247, "The Washtub Blues" (1 text)
File: Br3247
===
NAME: Wasn't That a Mighty Storm: see Mighty Day (Wasn't That a Mighty Storm) (File: BSoF728)
===
NAME: Wassail Song (I): see Somerset Wassail (File: ShH92)
===
NAME: Wassail Song (II): see Here We Come A-Wassailing (File: JRDF166)
===
NAME: Wassail Song (III)
DESCRIPTION: "Jolly come to our jolly wassail." Wishes for a merry Christmas and a happy New Year. Have "pockets of money and a cellar of beer" A ship in full sail is in the ocean gale. Get apples for cider. "I know you'll reward us for singing wassail" 
AUTHOR: unknown
EARLIEST_DATE: 1973 (recording, Wassailers on Voice16)
KEYWORDS: request drink nonballad wassail ship storm Christmas
FOUND_IN: Britain(England(South))
REFERENCES: ()

Roud #209
RECORDINGS:
Wassailers, "Wassail Song" (on Voice16)
CROSS_REFERENCES:
cf. "Somerset Wassail" (subject, one verse) and references there
File: RcWasSo3
===
NAME: Wassail, Wassail All Over the Town: see Gloucestershire Wassailers' Song (File: RcGlWasS)
===
NAME: Waste Not, Want Not: see You Never Miss the Water till the Well Runs Dry (File: SRW125)
===
NAME: Watch that Lady
DESCRIPTION: "I been all around my last time, last time, last time, I been all around my last time. Young lady hold the key. Just watch that young lady how she hold that key (x2). Young lady, hold the key."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, children of Lilly's Chapel School)
KEYWORDS: nonballad
FOUND_IN: US(SE) West Indies
REFERENCES: (1 citation)
Courlander-NFM, p. 158, "(Watch That Lady)" (1 text); pp. 278-279, "Just Watch That Lady" (1 text, 1 tune)
Roud #11006
RECORDINGS:
Children of Lilly's Chapel School, "Watch That Lady" (on NFMAla6)
File: CNFM158
===
NAME: Watchet Sailor, The: see The Sailor and the Tailor [Laws P4] (File: LP04)
===
NAME: Water Boy (I -- Water on the Wheel)
DESCRIPTION: "Water boy, water boy! (x2) Water on the wheel, How does the sun shine that I feel, Little water time, hey, little water boy (x2), Water on the wheel, How does the sun shine that I feel, Little water boy."
AUTHOR: unknown
EARLIEST_DATE: 1950 (recording, Annie Grace Horn Dodson)
KEYWORDS: worksong nonballad
FOUND_IN: US(SE)
REFERENCES: (1 citation)
Courlander-NFM, pp. 86-87, "(Water Boy)" (1 text, 1 tune)
RECORDINGS:
Annie Grace Horn Dodson, "Water on the Wheel" (on NFMAla6)
File: CNFM086
===
NAME: Water Boy (II): see Take This Hammer (File: FR383)
===
NAME: Water Creases: see Watercresses (File: Peac320)
===
NAME: Water is Wide, The: see Waly Waly (The Water is Wide) (File: K149)
===