Hush-a-Bye, Don't You Cry


See All the Pretty Little Horses (File: LxU002)

Hush-oh-bye Baby


DESCRIPTION: The singer meets a woman with her three children on a sleeting night. She say her husband, a farmer, was killed in town by a gang. She spent all she had to bury him and was put on the road when she could not pay rent. She and the babies die of the cold.
AUTHOR: unknown
EARLIEST DATE: 1974 (Lehr/Best)
KEYWORDS: poverty burial death children mother husband storm
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Lehr/Best 54, "Hush-oh-bye Baby" (1 text, 1 tune)
RECORDINGS:
Anita Best, "Hush-o-bye Baby" (on NFABest01)
CROSS-REFERENCES:
cf. "Three Perished in the Snow" [Laws G32] (plot)
NOTES: In the song the couple are said to live "in a place they called Newton Perry." Newton Perry is a sector of Limerick City, County Limerick, Ireland (source: inforing Ireland Gateway site). Lehr/Best (viz., Anita Best): "This is no doubt a song which originated in Ireland where, in the nineteenth century, evictions of poor tenant farmers unable to pay rent was extremely common." - BS
File: LeBe054

Hush, Honey, Hush


See Go Slow, Boys (Banjo Pickin') (File: R278)

Hush, Little Babbie


See Hush Alee (File: HHH591b)

Hush, Little Baby


DESCRIPTION: "Hush little baby, don't say a word, Papa's gonna buy you a mockingbird. And if that mockingbird won't sing. Papa's gonna buy you...." And so forth, through many objects, ending "And if that () won't (), you'll still be the prettiest little baby in town."
AUTHOR: unknown
EARLIEST DATE: 1918 (Cecil Sharp collection)
KEYWORDS: lullaby bird commerce gift
FOUND IN: US(Ap,SE,So) Canada(Newf)
REFERENCES (10 citations):
Randolph 359, "Mamma, Mamma, Have You Heard?" (1 short text plus a fragment, 1 tune)
BrownII 196, "Swapping Songs" (4 text plus 2 excerpts, with most texts being "The Swapping Boy," but "E" and "F" are this song)
SharpAp 234, "The Mocking Bird" (2 texts, 2 tunes)
Peacock, p. 15, "Lullaby" (1 text, 1 tune)
Baring-Gould-MotherGoose #558, p. 228, "(Hush, little baby, don't say a word)"
Scott-BoA, p. 164, "Hush, Little Baby" (1 text, 1 tune)
Arnett, p. 61, "Hush, Little Baby" (1 text, 1 tune)
Pankake-PHCFSB, pp. 224-225, "Mockingbird" (1 text, with some unusual verses; the ending may be a parody)
Silber-FSWB, p. 409, "Hush Little Baby" (1 text)
DT, HUSHLIL*
Roud #470
CROSS-REFERENCES:
cf. "Say, Darling, Say" (lyrics, tune)
cf. "Mamma's Goin' to Buy Him a Little Lap Dog (Come Up Horsie)" (theme, lyrics)
ALTERNATE TITLES:
Mockingbird Song
Papa's Going to Buy Me a Mockingbird
NOTES: An Ozark version of this song ends "If that lookin-glass doesn't shine, Papa's going to shoot that beau of mine!" -- referring to a belief that mirrors only shone for chaste women.
Although this particular song seems to have become popular only recently, the form with progressive items is old; Gammer Gurton's Garland (1784), for instance, has a version of the item we index as "There Was a Man of Double Deed" beginning
A man of words and not of deeds
Is like a garden full of weeds;
And when the weeds begin to grow,
It's like a garden full of snow;
And when the snow begins to fall,
It's like a bird upon the wall.... - RBW
Last updated in version 2.5
File: SBoA164

Hush, Little Baby (II)


See Jesus Done Taken My Drifting Hand (File: Br3580)

Hush, Little Bonnie


See More Pretty Girls Than One (File: CSW192)

Hushabye (I)


See All the Pretty Little Horses (File: LxU002)

Hushie Baa, Ee-a-Baa


DESCRIPTION: Lullaby. The singer complains "tho' I'm nae your daddy, my wife she's your mammy, Oh wae's me she's gotten too much of her will"
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan8)
KEYWORDS: infidelity lullaby nonballad bastard children husband wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1559, "Hushie Baa, Ee-a-Baa" (1 text, 1 tune)
Roud #13508
CROSS-REFERENCES:
cf. "Rock the Cradle, John" (theme)
cf. "Rocking the Cradle (and the Child Not His Own)" (theme)
File: GrD81559

Hustling Gamblers


See Little Maggie (File: CSW048)

Hut that's Upside Down, The


DESCRIPTION: The singer has travelled many places, but now is "anchored hard and fast in the hut that's upside down." He describes the wild behaviors there -- gambling, frantic shearing, and watching the cook beat a brownie or dance a highland fling
AUTHOR: unknown
EARLIEST DATE: 1955
KEYWORDS: rambling sheep Australia cook
FOUND IN: Australia
REFERENCES (1 citation):
Meredith/Anderson, pp. 58-59, "The Hut that's Upside Down" (1 text, 1 tune)
NOTES: Thought to refer to a shed in Big Burrawang in New South Wales. Meredith and Anderson report that this shed was "so big that a wooden tramway ran around it to move the wool." - RBW
File: MA058

Hymn of Jesus, The


DESCRIPTION: "Glory to thee, (Father, Logos, Charis, Spirit, etc)." "I would be saved and would save." "I would be loosed and would loose." "I am a way to thee, a wayfarer. Amen." The singer hymns to spirits in mostly heretical language
AUTHOR: unknown (English text based on G. R. S. Meads)
EARLIEST DATE: original probably composed in the second century, but not circulated traditionally
KEYWORDS: religious
FOUND IN:
REFERENCES (1 citation):
ADDITIONAL: Bob Stewart, _Where Is Saint George? Pagan Imagery in English Folksong_, revised edition, Blandford, 1988, pp. 123-124, "The Leaves of Life" (1 text)
NOTES: I should not be having to write an entry or notes on this song, because it should not have been included in any collection of English folk songs. It is not a song, it is not in English, it is not traditional -- it isn't even, properly speaking, Christian. But Bob Stewart included it in Where Is Saint George? as if it were of some significance to English tradition (and Gustav Holst turned it into a musical composition), so I guess we have to explain it -- and then savage it.
Stewart says of this merely that it is from the Leucian Acts.
Even the name is wrong. The name "Leucian Acts" is commonly used to describe the "Acts of John," "Acts of Peter," "Acts of Paul" (including the story of Paul and Thecla, the oldest and most famous part of the whole mess), "Acts of Andrew," and the "Acts of Thomas." The title "Leucian Acts" is used because the books were traditionally attributed to one Leucius Charinus (Barnstone, p. 412). The original was clearly in Greek, although it was translated into Latin (James, introduction to the text).
This particular hymn comes from the Acts of John, chapters 94-95 in the James numbering. Goodspeed/Grant, p. 70, suggest that "Not long after the appearance of the romantic Acts of Paul (A.D. 160-170), some Docetist, probably in Asia, undertook to embody his views in an imaginative account of the wonders, discources, and travels of John." Barnstone, p. 411, considers the "Acts of John" to predate even the "Acts of Paul." There is consensus that both are second century, and that all of the Leucian Acts, although they are by different authors, date from the second and third centuries. Clement of Alexandria appears to refer to one of the traditions in the work as being in existence in 189 C.E. (Goodspeed/Grant, p. 70).
Barnstone, p. 411, calls the "Acts of John" the "most clearly Gnostic" of the Leucian Acts. He suggests on p. 412 that the author of this work did use "Leucius" as his pen name.
The "Acts of John" never met with orthodox approval; Leo the Great condemned them in the fifth century and the Nicene Council of 787 ordered them burned (Barnstone, p. 411). The destruction was largely successful. An early catalog describes it as being 2500 standard lines long (Goodspeed/Grant, p. 70), but the extant material is only about 70% of that. Most of the losses seem to be from the beginning, but the surviving portions have had to be pieced together.
That the Acts of John is inclined to both the heresies of Gnosticism and Docetism is quite clear. Gnosticism (described on pp. 49-54 of Clifton) is not really a single heresy, but many; the common theme is that there is secret knowledge which is required for salvation. A typical version has a bunch of gods or archons or spirits or other tokens of a diseased mind, one of which, Sophia or Wisdom, decides to straighten out humans to save them. The Gnostics also tended to separate body and spirit/soul, with the body being purely evil. The tendency to condemn the body, and especially sex, is obvious in the Acts of John (this particular heresy often is called Encratitism).
Docetism (Clifton, p. 36) is from the Greek word meaning "appearance," or perhaps "perceived form." Docetists believed that the Jesus who suffered on the cross was not human, or part of the Godhead, but was merely an illusion. This heresy arose because some people were offended by the idea of God suffering -- but, of course, the idea vitiates the whole notion of Christianity. Gnosticism keeps coming back (Carl Jung was interested in it), but Docetism seems to be permanently dead. Both heresies were pernicious, Gnosticism because of its separatism, secrecy, and anti-inclusiveness, Docetism because its denial of the incarnation led to ignoring many of the moral teachings of Christianity.
Chadwick, p. 275, suggests that this piece began as "a Gnostic hymn intended to be chanted during a ritual dance." Goodspeed/Grant, p. 71, agrees that "This hymn, with its crude paradoxes... certainly reflects mystery forms of worship and Gnostic ideas."
The evidence is easy to see in Stewart's text, with its references to the Logos (Word), one of the key themes of Gnosticism, and also references to Spirit and Light. There are also references to the mystic numbers eight and twelve.
It's easy to see how Stewart, who is obsessed with the Kabbalah and the Tree of Life, loved this part! But it must be stressed: The "Acts of John" was an Eastern writing, Gnosticism an Eastern religion. The Latin West had a far simpler theology; even though the "Acts of John" was translated into Latin, this sort of thing never took hold there. Even if there were some closet Gnostics in Rome or somewhere, the whole silly business died out in the first millennium C.E. Even if Stewart is right about Kabbalistic influences on English folk song (which I strongly doubt), there is almost certainly no influence from the Leucian Acts, and this song had no influence on English hymnody. - RBW
BibliographyLast updated in version 2.5
File: BS124

Hynd Horn


See Hind Horn [Child 17] (File: C017)

Hypocrite and the Concubine, The


DESCRIPTION: "Hypocrite and the concubine, Living among the swine, They run to God with the lips and tongue, And leave all the heart behind. Aunty, did you hear when Jesus rose? (x3), He rose and 'scend on high."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 70, "The Hypocrite and the Concubine" (1 text, 1 tune)
Roud #12029
NOTES: A curious combination of images; there is no book in the King James Bible which contains both the word "hypocrite" and the word "concubine." - RBW
Last updated in version 2.4
File: AWG070B

I Ain't A-Gonna Work a No Mo'!


DESCRIPTION: "I ain't a-gonna work a no mo'! (x2), Done an' work-ed till my hands got sore. I ain't a-gonna work a no mo!"
AUTHOR: unknown
EARLIEST DATE: 1919 (Brown)
KEYWORDS: work nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 242, "I Ain't A-Gonna Work a No Mo'!" (1 short text)
File: Br3242

I Ain't Gonna Grieve My Lord No More


See Ain't Gonna Grieve My Lord No More (File: R300)

I Ain't Got Nobody


See Took My Gal a-Walkin' (File: RcTMGAW)

I Ain't Got Time to Tarry


See Don't Get Weary Children (Massa Had a Yellow Gal) (File: BAF904)

I Am a Brisk Young Sprightly Lad


DESCRIPTION: "I am a brisk and sprightly lad, But just come home from sea, sire... A sailor's life for me, sir." "Yeo, yeo, yeo, Whilst the bosun pipes all hands With a yeo, yeo, yeo!" The sailor loves foreign ports, and promises to fight for the nation when attacked
AUTHOR: unknown
EARLIEST DATE: 1948 (Shay)
KEYWORDS: sailor battle money
FOUND IN:
REFERENCES (1 citation):
Shay-SeaSongs, p. 138, "I Am a Brisk and Sprightly Lad" (1 text)
NOTES: This is another of those sea-poems Shay seems to have dug up somewhere; I have not found it elsewhere.
The boast about each man "hasten[ing] to his guns" would surely have sounded very strange to the sailors who fought in the Napoleonic wars -- it is estimated that half of the men in Nelson's fleet were impressed, and more were quota men. - RBW.
File: ShaSS138

I Am a Done-Up Man


DESCRIPTION: "I am a done-up (hic) man, You'll agree with me ev'ry one (hic), Tis true I've seen the bright side of (hic) life (hic), But now I'm a poor old bum (hic)." The drunkard believes that, when he dies, Heaven turn him out, and Satan will reject him too
AUTHOR: unknown
EARLIEST DATE: 1942 (Randolph)
KEYWORDS: drink death devil
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 406, "I Am a Done-Up Man" (1 text, 1 tune)
Roud #7683
File: R406

I Am a Girl of Constant Sorrow


See Girl of Constant Sorrow (File: FSWB128B)

I Am a Great Complainer


DESCRIPTION: "I am a great complainer, that bears the name of Christ... I feel my faith declining...." The singer calls on Christ to repair (his) wavering faith and help (him) in (his) stumbling in a fast-moving world: "I am so full of folly, and have no time to pray"
AUTHOR: unknown
EARLIEST DATE: 1848 (Hesperian Harp)
KEYWORDS: religious Jesus nonballad
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 647, "I Am a Great Complainer" (1 text)
Roud #7568
File: R647

I Am a Man of Constant Sorrow


See Man of Constant Sorrow (File: CSW113)

I Am a Newfoundlander


DESCRIPTION: "I am a Newfoundlander, I go out to the ice. I'm always in the best of ships.... The man I wish to sail with is Captain Harry Dawe." The Adventure sets out in 1906 and takes 20,000 seal. The singer tells of the voyage, the crew, and an injured Irishman
AUTHOR: unknown
EARLIEST DATE: 1978 (Ryan/Small)
KEYWORDS: ship hunting moniker injury doctor
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Ryan/Small, pp. 89-90, "I Am a Newfoundlander" (1 text, 1 tune)
CROSS-REFERENCES:
cf. "The Pride of Logy Bay" (tune)
File: RySm089

I Am a Pilgrim


DESCRIPTION: "I am a pilgrim and a stranger Traveling through this wearisome land, I have a home in yonder city, And it's not made, not made by hand." The singer's family has gone before; the singer hopes to be made whole
AUTHOR: unknown
EARLIEST DATE: 1917 (recording, Imperial Quartet)
KEYWORDS: religious nonballad
FOUND IN:
REFERENCES (2 citations):
Silber-FSWB, p. 353, "I Am A Pilgrim" (1 text)
DT, IAMPLGRM*
RECORDINGS:
Imperial Quartet, "I'm a Pilgrim, I'm a Stranger" (Victor 18199, 1917)
Silver Leaf Quartet, "I Am A Pilgrim" (OKeh 8594/ARC 6-12-63/Vocalion 04395, 1928)
CROSS-REFERENCES:
cf. "Tossed and Driven (The Poor Pilgrim)"
NOTES: The Digital Tradition lists this as by Merle Travis. The Folksinger's Wordbook doesn't list an author. I haven't a clue -- but there are a lot of traditional lines in here. - RBW
I think the 1917 recording effectively washes out the claim of Merle Travis as sole author, although he certainly put the song into the form in which it's most commonly sung today. Sam Hinton learned a version in his childhood which is probably closer to the 1917 version than to Travis's. - PJS
File: FSWB353B

I Am a Poor Stranger


See Poor Stranger, The (Two Strangers in the Mountains Alone) (File: R059)

I Am a Pretty Wench


DESCRIPTION: "I am a pretty wench, And I come a great way hence, And sweethearts I can get none: But every dirty sow Can get sweethearts enow, And I, pretty wench, can get never a one."
AUTHOR: unknown
EARLIEST DATE: 1784 (Gammer Gurton's Garland)
KEYWORDS: oldmaid
FOUND IN:
REFERENCES (3 citations):
Opie-Oxford2 525, "I am a pretty wench" (1 text)
Baring-Gould-MotherGoose #82, p. 84, "(I am a pretty wench)"
cf. Vaughan Williams/Lloyd, p. 84, "The Ploughman" (1 text, 1 tune, not this song as printed, but the notes reveal that the informant's version began with a verse of this)
Roud #2538
ALTERNATE TITLES:
The Condescencing Lass
Pretty Wench
File: BGMG082

I Am a Rambling Rowdy Boy


See The Butcher Boy [Laws P24] (File: LP24)

I Am a Rich Widow


See The Rich Widow (File: Lins019)

I Am a River Driver


See The River-Driver's Lament (I Am a River Driver) (File: FowL69)

I Am a Union Woman


DESCRIPTION: The singer proclaims, "I am a union woman, Just as brave as I can be... And the bosses don't like me." She tells all to "join the C.I.O./N.M.U." She is called a Red and shot at for her activities; her husband denied work; but she still supports the union
AUTHOR: Words: Aunt Molly Jackson/Music: Traditional
EARLIEST DATE: 1930s (recorded by author)
KEYWORDS: work unemployment labor-movement
FOUND IN:
REFERENCES (2 citations):
Arnett, pp. 174-175, "I Am a Union Woman" (1 text, 1 tune)
Greenway-AFP, pp. 269-270, "I Am a Union Woman" (1 text)
Roud #16050
RECORDINGS:
New Lost City Ramblers, "Join the C.I.O." (on NLCR09)
CROSS-REFERENCES:
cf. "Which Side Are You On?" (tune)
ALTERNATE TITLES:
Join the N. M. U.
Join the C. I. O.
NOTES: The radical National Miners' Union (N.M.U.) attempted to organize miners in the 1930s, but were defeated by the mine owners after bitter and bloody conflicts. The United Mine Workers of America (U.M.W.), part of the Congress of Industrial Organizations (C.I.O.) succeeded a few years later, again after terrible struggle. The song was rewritten [it is based on "Which Side Are You On" - DGE] to suit the new organizing drive.
The note from DGE states that this was based on, "Which Side Are You On?," but this song may predate it. Both were based on a traditional hymn tune. - PJS
File: Arn174

I Am a Wee Laddie, Hard, Hard Is My Fate


See Green Grows the Laurel (Green Grow the Lilacs) (File: R061)

I Am a Wee Lassie


DESCRIPTION: The singer complains "how false was that young man that I loved so dear." He swore to be true. Now that Spring has returned "I'll go down to the green woods where the small birds do sing ... Where no one shall see me till I cry my fill"
AUTHOR: unknown
EARLIEST DATE: 1925 (Hayward-Ulster)
KEYWORDS: courting love rejection lyric
FOUND IN: Ireland
REFERENCES (1 citation):
Hayward-Ulster, p. 109, "I Am a Wee Lassie" (1 text)
Roud #6542
File: HayU109

I Am a Wild Young Irish Boy [Laws L19]


DESCRIPTION: The Irish convict, trained as a sailor, flees the farm where he has been sent. He turns outlaw, but never robs the poor or kills without cause. Trapped by the police, he kills five and escapes. Only when he is dying does he let the police be tipped off
AUTHOR: unknown
EARLIEST DATE: 1959
KEYWORDS: sailor outlaw fight escape death
FOUND IN: US(MA) Australia
REFERENCES (3 citations):
Laws L19, "I Am a Wild Young Irish Boy"
Doerflinger, pp. 270-272, "I Am a Wild Young Irish Boy' (1 text, 1 tune)
DT 573, YNGIRSHB
Roud #1907
File: LL19

I Am a Young Lassie Just Out o' My Teens


DESCRIPTION: The singer says "in the choice o' a sweetheart I displeased a' my friens." All her sweethearts have left her "but the young blackamore"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan7)
KEYWORDS: courting nonballad Black(s)
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1347, "I Am a Young Lassie Just Out o' My Teens" (1 short text)
Roud #7228
NOTES: The current description is based on the single GreigDuncan7 verse.
GreigDuncan7, specifically Greig not later than 1914, quoting Bell Robertson's Song Notes: "I got it about fifty-four or fifty-five [years ago] from a woman about mother's age with whom I was working." - BS
Last updated in version 2.5
File: GrD71347

I Am a Young Maiden (If I Were a Blackbird)


DESCRIPTION: The girl has been courted by a sailor, but now is deserted. She wishes she were a blackbird so she could follow her love. She tells of how her parents' dislike caused her to love him the more. He promised to buy her ribbons, but now has left her
AUTHOR: unknown
EARLIEST DATE: 1925 (Sam Henry collection); c.1920 (OLochlainn)
KEYWORDS: separation courting love floatingverses
FOUND IN: US(MA) Ireland Canada(Newf) Britain(England(Lond),Scotland)
REFERENCES (7 citations):
FSCatskills 38, "I Am a Young Maiden" (1 text, 1 tune)
SHenry H79, pp. 428-429, "If I Were A Blackbird" (1 text, 1 tune)
OLochlainn 46, "If I Was a Blackbird" (1 text, 1 tune)
Meredith/Anderson, pp. 170-171, "If I Was a Blackbird" (1 text, 1 tune)
MacSeegTrav 31, "If I Was a Blackbird" (2 texts, 2 tunes)
Blondahl, p. 119, "If I Were a Blackbird" (1 text, 1 tune)
DT, (IFBLKBRD -- apparently a reworking of the song from a man's perspective) IFBLKBR2*
Roud #387
RECORDINGS:
Diddy Cook, "The Blackbird" (on Voice15)
Blanche Wood, "I'm a Young Bonnie Lassie" (on FSB1)
CROSS-REFERENCES:
cf. "The Wagoner's Lad" (lyrics)
NOTES: Although this song is composed entirely of floating lyrics -- from "The Wagoner's Lad," "Oh, Dear, What Can the Matter Be" and others -- this combination is sufficiently widespread that it must be considered a song in its own right - RBW
File: FSC38

I Am an Auld Bachelor


See The Old Bachelor (I) (File: RcTOB)

I Am Bound for the Promised Land


See Bound for the Promised Land (File: LxU099)

I Am Gaun to the Garret


DESCRIPTION: "My mither has three butter platies. Platies? Ay, platies... And she's nae ither dochters but me. But I maun gang tae the garret... Since there's nae bonnie laddie for me." After lamenting her fate, she at last reports that she is to marry a miller
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan7)
KEYWORDS: oldmaid courting dowry beauty marriage miller
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
GreigDuncan7 1381, "The Horsie" (1 text, 1 tune)
Ord, p. 58, "I Am Gaun to the Garret" (1 text, 1 tune)
Roud #818
CROSS-REFERENCES:
cf. "I Wonder When I Shall Be Married" (lyrics, theme)
NOTES: This is fundamentally the same song as "I Wonder When I Shall Be Married," and both very possibly derive from a broadside "The Maiden's Sad Complaint for Want of a Husband." But this version ends with the girl getting married, and the other with her still an old maid. That's a sufficient change in the plot that I list the two separately, but there is clearly overlap. Roud unsurprisingly lumps them. - RBW
Last updated in version 2.5
File: Ord058

I Am Going to Heaven


DESCRIPTION: "I am going to Heaven (x3), (To see/I and) the bleeding lamb." "Come, my loving father, And don't you want to go? Come go with me to glory To see the bleeding lamb." Similarly with mother, brother(s), sister(s)
AUTHOR: unknown
EARLIEST DATE: 1922 (Brown)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 533, "I Am Going to Heaven" (1 text)
Roud #11873
CROSS-REFERENCES:
cf. "Religion Is the Best of All" (lyrics)
File: Br3533

I Am Going Where the Blood Flows Stronger


DESCRIPTION: "I am going where the blood flows stronger (x2), Way over in the promised land." "I wonder where is my dear old mother?" "Who will rise and go to my father?" "I know those angels are having a good time, Eating of honey and drinking of wine."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious nonballad wine
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 582, "I Am Going Where the Blood Flows Stronger" (1 text, with irregular lyrics that strongly hint two songs were combined)
Roud #11898
File: Br3582

I Am Growing Old and Gray


DESCRIPTION: The old man laments, "I am growing old and gray ev'ry year," and laments his loss of sexual power, as well as the ability to hold liquor. The women "ask for much more" every year, but he can no longer supply it
AUTHOR: unknown
EARLIEST DATE: 1927
KEYWORDS: sex age bawdy
FOUND IN: US(SW)
REFERENCES (1 citation):
Cray, pp. 53-54, "I Am Growing Old and Gray" (1 text, 1 tune)
Roud #10140
CROSS-REFERENCES:
cf. "She'll Be Coming Round the Mountain" (tune) and reference there
cf. "When I Was Young and in My Prime" (theme)
File: EM053

I Am Napoleon Bonaparte


See Napoleon's Farewell to Paris (File: GC089)

I Am Now a Poor Auld Man in Years


See When This Old Hat Was New (III) (File: GrD3541)

I Am On My Way


See Jacob's Ladder (I) (File: CW190A)

I Am Sold and Going to Georgia


DESCRIPTION: "O! When shall we poor souls be free? When shall these slavery chains be broken? I am sold and going to Georgia, Will go go along with me." The singer has lost his wife and child. He bids farewell, and says, "Go sound the jubilee."
AUTHOR: unknown
EARLIEST DATE: 1953
KEYWORDS: slavery travel separation family
FOUND IN: US
REFERENCES (1 citation):
Greenway-AFP, pp. 95-96, "I Am Sold and Going to Georgia" (1 text)
NOTES: Greenway, for some reason, is convinced that this is of white origin. I suppose it is possible, but it clearly refers to the plight of the Black slave. - RBW
File: Grnw095

I Am Standing in the Shoes of John


DESCRIPTION: "I am standing in the shoes of John (x2), I am standing, I am standing, I am standing in the shoes of John." "If they fit me, I will wear them on...."
AUTHOR: unknown
EARLIEST DATE: 1923 (Brown)
KEYWORDS: religious nonballad clothes
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 589, "I Am Standing in the Shoes of John" (1 short text)
Roud #11837
NOTES: There is, of course, no Biblical reason to think that there was anything special about the shoes of either John the Baptist (who said he wasn't even worthy to untie Jesus's shoes) or John the Apostle. The reference is probably to the John of the Apocalypse anyway.
For what it's worth, the word rendered "shoe" in the King James Bible is typically rendered "sandal" in the newer translations, which presumably makes it easier to fit them. - RBW
Last updated in version 2.5
File: Br3589

I Am the Duke of Norfolk


See references under The Husbandman and the Servingman (File: K226)

I am the Master (Dusty Bluebells)


DESCRIPTION: Singing game: "In and out those dusty bluebells (x3), I am the master. Tip a little apple on my shoulder (x3), I am the master." "Tippety, tappety, on your shoulder (x3), I am the master"
AUTHOR: unknown
EARLIEST DATE: 1924 (Sam Henry collection)
KEYWORDS: playparty nonballad
FOUND IN: Ireland Britain(Scotland)
REFERENCES (2 citations):
SHenry H48a, p. 10, "I Am the Master" (1 text, 1 tune)
Montgomerie-ScottishNR 79, "(In and out the dusty bluebells)" (1 text)
Roud #734
NOTES: Roud classifies this as a version of "In and Out the Window/Marching Round the Levee." I would say the "I am the master" line makes them distinct. - RBW
File: HHH048a

I Am the True Vine


DESCRIPTION: "I am the true vine (x3), My father is the husbandman." "I am in him and he's in me, My father is the husbandman, Every day he comforts me." "I know my Lord has set me free." "Look over yonder in the harvest field." "I know my Lord is kind and true."
AUTHOR: unknown
EARLIEST DATE: 1940 (Work)
KEYWORDS: religious nonballad farming floatingverses
FOUND IN: US
REFERENCES (1 citation):
ADDITIONAL: _Sing Out_ magazine, Volume 23, #2 (1974), p, 22, "Lord, I'm the True Vine" (1 text, 1 tune, from Eddie Head)
Roud #12222
NOTES: The Sing Out! and Work versions of this have hardly a word in common, except the chorus, but the pattern is so distinctive that I have no doubt they should be lumped. The mention of Jesus as the true vine and the Father as tender comes from John 15:1. (I note that, contrary to what some translations imply, the words for the vine itself and the farmer are not related; "vine" is Greek "ampelos"; the word used to describe the father is "georgos," "farmer.") - RBW
Last updated in version 2.4
File: SOv23N2A

I Am Waiting on the Levee


DESCRIPTION: "I am waitin' on the levee, Waitin' for the steamboat to come down, I hope she's loaded pretty heavy, I hope she's loaded to the ground. I think I hear her whistle blowin'... It must be the Natchez or the Robert Lee."
AUTHOR: unknown
EARLIEST DATE: 1944 (Wheeler)
KEYWORDS: racing ship river
HISTORICAL REFERENCES:
Jun 30, 1870 - Race between the Natchez and the Robert E. Lee.
FOUND IN:
REFERENCES (1 citation):
MWheeler, pp. 57-58, "I Am Waitin' on the Levee" (1 text, 1 tune)
Roud #10019
NOTES: The Natchez, built 1869, and the Lee, built 1866, were regular competitors on the Natchez/New Orleans run. In 1870, the two captains agreed to a race.
It wasn't an equal contest, though -- the Natchez (thought by many to have been the slightly faster boat) took an ordinary load of passengers and cargo; the Lee was stripped for the race and drove through a fogbank. The Lee won the race by seven hours -- six of which the Natchez spent waiting out the fog to protect her passengers' safety.
The race was famed in popular folklore (see, for instance, Botkin's Mississippi River Folklore, pp. 58-61), but it didn't really set any records; it was just a straight race. And, interestingly, true folk songs about it are rare. Wheeler's is the first I've encountered to mention it, and it's only a fragment; the real subject might be something else. - RBW
File: MWhee057

I an' Satan Had a Race


DESCRIPTION: "I and Satan had a race, hallelu, hallelu" (x2). "Win de race agin de course." "Satan tell me to my face." "He will break my kingdom down." "Jesus whisper in my heart." "Satan mount the iron gray." "Jesus mount the milk-white horse."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad racing horse
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 40, "I an' Satan Had a Race" (1 text, 1 tune)
Roud #11993
File: AWG040

I Ask that Gal


DESCRIPTION: When the singer asks her to give him some, she tells him to wait until the 'taters are done. He can't wait, and forces himself on her, only to lament "the 'taters got burnt an' so did I."
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: bawdy sex disease lament
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph-Legman I, pp. 133-134, "I Ask that Gal" (3 texts, 1 tune)
Roud #11500
CROSS-REFERENCES:
cf. "Frog Went A-Courtin'" (tune)
NOTES: Sung to the melody of "Frog Went A-Courtin'." - EC
This instinctively reminds me of the story of King Alfred and the Cakes. But it's not the same story, and I would be shocked at any evidence of literary dependence. - RBW
File: RL133

I Been a Miner


See Take This Hammer (File: FR383)

I Believe This Dear Old Bible


DESCRIPTION: Sundry Bible stories told briefly and linked by the refrain, "I believe this dear old Bible from beginning to the end." Sample: "I believe that Father Adam was the first created man."
AUTHOR: unknown
EARLIEST DATE: 1928 (Randolph)
KEYWORDS: religious Bible
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 648, "I Believe This Dear Old Bible" (1 fragment)
Roud #7569
File: R648

I Belong to that Band


DESCRIPTION: "I never saw the like since I been born, People keep coming and the train done gone." "I belong to that band, Hallelujah, hallelujah, hallelujah, I belong to that band, Hallelujah." "Some come crippled and some come lame." "Clouds look heavy...."
AUTHOR: unknown
EARLIEST DATE: 1928 (Chappell)
KEYWORDS: religious nonballad floatingverses train disability
FOUND IN: US(SE)
REFERENCES (2 citations):
BrownIII 583, "I Belong to that Band" (1 text); also 624, "Old Satan's Mad" (5 texts, of which the short "A" text is probably "Free at Last"; "B" is a variation on "Down By the Riverside (Study War No More)"; "C" has the "Old Satan's Mad" stanza but a "climbing Zion's walls" chorus; D" is an unidentifiable fragment perhaps related to "I Belong to that Band; and "E" is also a fragment, perhaps of "Free At Last")
Chappell-FSRA 87, "O I Believe in Jesus" (1 text, 1 tune)
Roud #11900
CROSS-REFERENCES:
cf. "Ten Stone" (lyric)
File: Br3583

I Bid You Goodnight (The Christian's Good-Night)


DESCRIPTION: Funeral hymn/spiritual, recognized by the chorus line, "And I bid you goodnight, goodnight, goodnight." The hymn form describes a farewell and the afterlife. Other versions encourage repentance or sound almost like a lullaby
AUTHOR: F. A. and J. E. Sankey (?) Sarah Doudney?
EARLIEST DATE: 1928 (recording, Lonnie McIntorsh)
KEYWORDS: death funeral religious nonballad
FOUND IN: US Britain(England(North)) Bahamas
REFERENCES (1 citation):
DT, BIDGNITE
ST DTbidgni (Full)
Roud #15632
RECORDINGS:
Men from Andros Island, "I Bid You Goodnight" (on LomaxCD1822-2)
Five Gospel Souls [pseud. for the Five Soul Stirrers] "Sleep On Darling Mother" (Ebony 137, rec. 1945)
Lonnie McIntorsh, "Sleep On, Mother, Sleep On" (Victor 21271, 1928)
Mound City Jubilee Quartette, "Sleep On, Darling Mother" (Decca 7158, 1936; rec. 1935)
Sister Rosetta Tharpe, "Sleep On, Darling Mother" (Decca 8657, 1944; rec. 1943)
Lena Thompson, Lucy Scott, & Lucy Smith, "Sleep On" (on VaWork)
NOTES: This song has an incredibly tangled history. Bob Bovee tells me that he found a 78 of this song: "It's by Lonnie McIntorsh with the title 'Sleep On, Mother, Sleep On' (Victor 21271). He's [a] black gospel singer with guitar recorded in Memphis in 1928."
The Sankey Brothers version of the song appeared in the Cokesbury Worship Hymnal in 1928.
In 1936, Hazel Felleman's The Best Loved Poems of the American People (pp. 342-343) lists a version as by Sarah Doudney. (Perhaps Doudney wrote the lyrics, with the Sankeys adding a tune?)
And then there is the recording by Joseph Spence, with what amounts to only a single verse, applied to different relatives. It's hardly even the same song.
This hymn thoroughly deserves a detailed research project. Did the Sankeys write it, or just adapt it? Which versions of the song are traditional, and where? Did Spence create his version, or did it exist before him? I can't answer any of these questions from my library. - RBW
Spence's version is quite similar to another, collected in the Bahamas in 1935 by Alan Lomax; both include traditional Bahamian "rhyming" -- improvised verses over a sung or chanted background. And to another, found in Virginia in 1980 among crabpickers, who sang it as they worked.
It's also found in Yorkshire, and interestingly enough it is used there as a lowering-down song at funerals, just as it is in the Bahamas. - PJS
File: DTbidgni

I Binged Avree


DESCRIPTION: Travellers' cant. Singer meets two men in a North Scotland lodging house. They get drunk and start a fight; he hits one, then flees. He buys an accordion with the money he has begged and goes to Ireland. He meets two Tinkers who ask why he left Scotland
AUTHOR: unknown
EARLIEST DATE: 1961 (recorded from Davie Stewart)
LONG DESCRIPTION: Travellers' cant. Singer takes to the road, heads for northern Scotland, far from home, where he meets two men in a lodging house. They get drunk and start a fight; he hits one, then flees. He goes into a music shop and buys an accordion with the money he has begged; he gets tea and two shillings from a woman whose man is away at work. She tells him he'd best get away; he goes to Ireland. There he meets two Irish Tinkers who ask why he left Scotland
KEYWORDS: homesickness fight violence rambling travel music Ireland Scotland foreignlanguage Gypsy
FOUND IN: Britain(Scotland)
REFERENCES (1 citation):
Kennedy 344, "I Binged Avree" (1 text, 1 tune)
Roud #2159
File: K344

I Blamed My Mither and Never Anither


DESCRIPTION: "I blamed my mither and never anither" (x3) "For garin' me marry the carlin' [old woman]"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan7)
KEYWORDS: age marriage mother
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1368, "I Blamed My Mither and Never Anither" (1 fragment, 1 tune)
Roud #7240
NOTES: The current description is all of the GreigDuncan7 fragment.
GreigDuncan7 quoting Greig not later than 1914: "J.B., Newburgh, forty years ago." - BS
Last updated in version 2.5
File: GrD71368

I Bless the Lord, I'm Born to Die


DESCRIPTION: Fragment: "I bless the Lord, I'm born to die; Keep me from sinkin' down; I'm gwine to jedgment bye an' bye, Keep me from sinkin' down."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
Scarborough-NegroFS, p. 13, (no title) (1 fragment)
File: ScaNF013

I Bocht a Hennie


See I Had a Little Rooster (Farmyard Song) (File: R352)

I Bocht My Wife a Bow o' Maut


DESCRIPTION: I bought my wife a bowl of malt, "Hey, how, the girdin' o't," and asked her to make good ale of it.
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: drink nonballad wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1868, "I Bocht My Wife a Bow o' Maut" (1 short text)
Roud #13582
File: GrD81868

I Bought Me a Rooster


See I Had a Little Rooster (Farmyard Song) (File: R352)

I Bought Myself a Cock


See I Had a Little Rooster (Farmyard Song) (File: R352)

I Called My Dogs


DESCRIPTION: "I called my dogs through the rye To get to see them run and try. Ho oggie, ho doggie, harpin, tarpin rusty gills... call all your dogs home." The singer calls the dogs through various types of ground to see how they will perform
AUTHOR: unknown
EARLIEST DATE: 1931 (Henry)
KEYWORDS: animal nonballad
FOUND IN: US(Ap)
REFERENCES (1 citation):
MHenry-Appalachians, p. 4, "I Called My Dogs" (1 text)
File: MHAp004

I Came to This Country


See The Backwoodsman (The Green Mountain Boys) [Laws C19] (File: LC19)

I Can Buckle a Wheeler


See Levee Camp Holler (File: BMRF569)

I Can Drink an' No Be Drunk


DESCRIPTION: "I can drink and no be drunk An I can fight and no be slain I can kiss a bony lass [GreigDuncan8: anither man's wife], And ay be welcome back again [GreigDuncan8: to my ain]"
AUTHOR: unknown
EARLIEST DATE: 1759 (_Bremner's Collection of Scots Reels or Country Dancess_, according to Hecht-Herd)
KEYWORDS: courting fight drink nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
GreigDuncan8 1719, "I Can Drink an' No Be Drunk" (1 text)
ADDITIONAL: Hans Hecht, editor, Songs From David Herd's Manuscripts (Edinburgh, 1904), #69 pp. 183,308, ("I can drink and no be drunke") [Not yet indexed as Hecht-Herd 69]
Roud #13197
ALTERNATE TITLES:
The Rantin' Laddie
NOTES: GreigDuncan8: "This is a floating verse that appears in [GreigDuncan3] 347 'The Barnyards o' Delgaty' and also in Burns's 'Duncan Davison', Kinsley No. 202 [See James Kinsley, editor, Burns: Complete Poems and Songs (shorter edition, Oxford, 1969) #202, pp. 311-312, "Duncan Davison," specifically the last four lines]." I would have lumped it with "Barnyards" if I hadn't seen Hecht-Herd's standalone verse [quoted in the description]. - BS
Last updated in version 2.5
File: GrD81719

I Can Forgive But Not Forget (Sweetheart, Farewell)


DESCRIPTION: "Sweetheart, farewell; at last we part. I leave you with an aching heart." The singer tells how (her?) lover scorned her. She says she loves him yet; "I can forgive but not forget." She thinks his false friends may prove untrue, and he will remember her.
AUTHOR: unknown
EARLIEST DATE: 1936 (Brown)
KEYWORDS: love separation betrayal nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownII 166, "Farewell, Sweetheart" (1 text)
Roud #6579
CROSS-REFERENCES:
cf. "Forget You I Never May" (theme)
File: BrII166

I Can't Feel At Home In This World Any More


See This World Is Not My Home (File: Wa135)

I Can't Help But Wonder Where I'm Bound


DESCRIPTION: The singer describes the life of a rambler, commenting "I can't help but wonder where I'm bound." He sees worried people everywhere, he misses his former girlfriend and his buddy; he advises people who have homes to stay there
AUTHOR: Tom Paxton
EARLIEST DATE: 1963
KEYWORDS: rambling home
FOUND IN:
REFERENCES (2 citations):
Silber-FSWB, p. 52, "I Can't Help But Wonder Where I'm Bound" (1 text)
DT, WHERBOND*
ALTERNATE TITLES:
Can't Help But Wonder Where I'm Bound
Can't Help But Wonder
NOTES: Obviously this isn't a traditional song, and it probably never will become one. On the other hand, it has been sung so widely by pop/folk singers (themselves ramblers, and so perhaps unusually sympathetic to the song) that I have seen a number of bluegrass sources list it as traditional. It may be that the song belongs in the Index just to refute that claim. - RBW
File: FSWB052

I Can't Stand the Fire


DESCRIPTION: "I can't stand the fire (dear sister), I can't stand the fire (O Lord), I can't stand the fire, While the Jordan roll so swift."
AUTHOR: unknown
EARLIEST DATE: 1866 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 42, "I Can't Stand the Fire" (1 short text which the author suspect is a fragment, 2 tunes)
Roud #11997
File: AWG042B

I Can't Stay Behind


DESCRIPTION: "I can't say behind, my Lord, I can't say behind." "There's room enough (x3) in the heaven, My Lord,.. I can't stay behind." "I been all around." "I've searched every room." "The angels singing, all around the throne." "My father call...."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 6, "I Can't Stay Behind" (1 text with extensive notes on variants, 1 tune)
Roud #11857
File: AWG006

I Canna Leave My Mither Yet


DESCRIPTION: Lizzie will not leave her mother "For nane can lo'e her like mysel'." Her lover asks her to go with him and herd sheep together. They would take her mother and "We baith will tend her fading years Amang the heathery hills o' Dee"
AUTHOR: unknown
EARLIEST DATE: 1917 (GreigDuncan4)
KEYWORDS: age courting travel farming dialog sheep mother
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan4 899A, "I Canna Leave My Mither Yet" (1 text, 1 tune)
Roud #6255
File: GrD4899A

I Cannot Be Your Sweetheart


DESCRIPTION: Singer asks his beloved to marry him. She refuses; she loves him, but is pledged to another. Ch.: "I cannot be your sweeheart, I cannot stay by your side, Another is patiently waiting, waiting to call me his bride, My heart it is almost broken,,,,"
AUTHOR: unknown
EARLIEST DATE: 1928 (recording, Howard & Peak)
LONG DESCRIPTION: Singer courts his beloved, asks her to marry him. She refuses, saying that though she loves him, she's promised to another. They part; he pines. Chorus: "I cannot be your sweeheart, I cannot stay by your side / Another is patiently waiting, waiting to call me his bride / My heart it is almost broken, your vows only add to my pain / I love you, sweetheart, I love you / Though we never meet again"
KEYWORDS: grief virtue courting love marriage promise rejection lover
FOUND IN: US(Ap)
Roud #4964
RECORDINGS:
[Blind James] Howard & [Charles] Peak, "I Cannot Be Your Sweetheart" (Victor V-40189, 1930; rec. 1928; on KMM)
NOTES: A classic plot, but apparently not a member of another song family. Nor could I find it in sheet music; possibly Howard or Peak wrote it. - PJS
File: RcICBYSH

I Cannot Call Her Mother (The Marriage Rite is Over; The Stepmother)


DESCRIPTION: "The marriage rite is over," and the children have seen their father take a new wife. Their mother's picture is replaced by the pretty new girl's. The child "could not call her mother." She calls herself an orphan; "God gave us but one mother."
AUTHOR: Henry Harrison
EARLIEST DATE: 1855 (date of composition)
KEYWORDS: family marriage mother father children stepmother orphan
FOUND IN: US(So)
REFERENCES (5 citations):
Randolph 726, "The Stepmother" (3 texts, 1 tune)
Rorrer, p. 79, "I Cannot Call Her Mother" (1 text)
Huntington-Whalemen, pp. 298-299, "I Can Not Call Her Mother" (1 text, 1 tune)
cf. Gardner/Chickering, p. 482, "The Stepmother" (source notes only)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 201-202, "(The Stepmother)" (1 short text)
ST R726 (Partial)
Roud #2091
RECORDINGS:
Bradley Kincaid, "I Cannot Call Her Mother" (Supertone 9565, 1929; Champion 15968, 1930 [as Dan Hughey])
[Roy Harvey and the] North Carolina Ramblers "I Cannot Call Her Mother" (Silvertone 5181 [as The Three Kentucky Serenaders], 1927; Supertone 9246/Silvertone 8147, 1928)
Charlie Poole and the North Carolina Ramblers, "I Cannot Call Her Mother" (Columbia 15307-D, 1928)
CROSS-REFERENCES:
cf. "The Blind Child" (theme)
File: R726

I Catch-a Da Plenty of Feesh


DESCRIPTION: "I sail over the ocean blue, I catch-a da plenty of feesh; The rain come down like hell, And the wind blow through my wheesk. Oh, Marian, my good compan, O Viva le Garibaldi! Viva, viva, viva l'Italiane!"
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: sailor work patriotic
FOUND IN: US(SW)
REFERENCES (1 citation):
Sandburg, p. 409, "I Catch-a Da Plenty of Feesh" (1 text, 1 tune)
NOTES: Garibaldi was, of course, the soldier who (in a military sense) was most responsible for the unification of Italy. The mention presumably dates the song to the period around 1861 when Cavour (sometimes helped, and sometimes hindered, by Garibaldi) was unifying Italy under the Piedmont dynasty. - RBW
File: San409

I Come from Salem City


See Oh California (File: ShaSS114)

I Come Up Put uv Egypt


See Balm in Gilead (File: FSWB360A)

I Could'n Live Bedout de Flowers


DESCRIPTION: About southern living habits. "I could'n live bedout de flowers Ur fdat sweet magnolia tree. I could'n sleep where de mockin' bird Could'n sing he song to me." The singer claims he would "pine an' die on Boston beans, 'Caze possum is what we eat."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: food home nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 442, "I Could'n Live Bedout de Flowers" (1 text)
Roud #11781
NOTES: The editors of Brown say this is of minstrel origin, and it seems likely enough.
File: Br3442

I Couldn't Hear Nobody Pray


DESCRIPTION: "Couldn't hear nobody pray, I couldn't hear nobody pray, Well, way down yonder by myself I couldn't hear nobody pray." "In the valley... On my knees... Callin' Jesus... So lonesome... In the mornin'... In the evenin'...."
AUTHOR: unknown
EARLIEST DATE: 1909 (recording, Fisk University Jubilee Quartette)
KEYWORDS: religious nonballad
FOUND IN: US(So)
REFERENCES (2 citations):
Lomax-FSNA 246, "I Couldn't Hear Nobody Pray" (1 text, 1 tune)
Silber-FSWB, p. 351, "I Couldn't Hear Nobody Pray" (1 text)
Roud #11949
RECORDINGS:
Emory University Glee Club, "Couldn't Hear Nobody Pray" (Victor 20594, 1927)
Fisk University Jubilee Quartette, "I Couldn't Hear Nobody" (Victor 16448, 1909)
Fisk University Jubilee Singers, "Couldn't Hear Nobody Pray" (Columbia A-1932, 1916); "I Couldn't Hear Nobody Pray" (on Fisk01)
Four Blues, "I Couldn't Hear Nobody Pray" (DeLuxe 1003, 1945)
Paramount Jubilee Singers, "I Couldn't Hear Nobody Pray" (Paramount 12070, 1923)
Southern Four, "I Couldn't Hear Nobody Pray" (Edison 50885, 1921)
Vaughan Quartet, "Couldn't Hear Nobody Pray" (Vaughan 300, n.d.)
CROSS-REFERENCES:
cf. "Wreck on the Highway" (words)
NOTES: Not to be confused with "Wreck on the Highway," which uses a similar phrase in its chorus. -PJS
File: LoF246

I Couldn't Stay Away


See Way Down in Old Virginia (File: ScaNF225)

I Died My Petticoat Red


See Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)

I Do Love Sugar in My Coffee O


See Sugar in My Coffee (File: R565A)

I Do Wonder Is My Mother on That Train


DESCRIPTION: "I do wonder is my mother on that train (x2). Train is a-comin' roun' de curve, an' she's strainin' ever' nerve, I do wonder...." Sinners are told of the arrival of the train in heaven and told they should behave better.
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious train nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 586, "I Do Wonder Is My Mother on That Train" (1 text)
Roud #11902
File: Br3586

I Don't Care If I Do


See I Don't Mind If I Do (File: MA263)

I Don't Feel Weary


DESCRIPTION: "I don't feel weary and noways tired, O glory hallelujah. Just let me in the kingdom While the world is all on fire, O glory hallelujah." "Going to live with God forever." "And keep the ark a-moving."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 70, "I Don't Feel Weary" (1 text, 1 tune)
Roud #12028
File: AWG070A

I Don't Know When Old Death's Gwine ter Call Me


DESCRIPTION: "I don't know when old death's gwine ter call me, He's ridin' every day. He don' let nobody stay. My heart is full of sorrow, my eyes is full of tears, Old death is gwine ter call me 'fore many more years."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: death
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 590, "I Don't Know When Old Death's Gwine ter Call Me" (1 fragment)
Roud #11903
NOTES: Although the editors of Brown list this among the religious songs, and it certainly *could* be one of those laments-on-death-but-I'll-wait-for-Jesus type songs -- but there is no indication of such in the actual text. - RBW
File: Br3590

I Don't Like a Nigger


DESCRIPTION: "I don't like a nigger, I'll be dinged if I do. Feet's so big Till he can't wear a shoe. Head like a hay-stack, Mouth like a frog's; Eats more bread than Forty Bull-dogs. Got de glory and honor! Praise de Jesus, to my dyin' land!...."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: Black(s) discrimination Jesus
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 484, "I Don't Like a Nigger" (1 text)
Roud #11866
NOTES: For some reason, the notes in Brown equate this with "I Don't Like No Railroad Man." I wonder if this isn't an error -- "I Don't Like No Railroad Man" is much more like "Don't Like a Rich White Man Nohow," which occurs a few entries earlier in Brown. This may be a white man's answer to the latter complaint -- but if so, it is a clearly inferior product. As well as much less justified. - RBW
File: Br3484

I Don't Like No Railroad Man


DESCRIPTION: "I don't like no railroad man, Railroad man he'll kill you if he can, I don't like no railroad man." "I don't like no railroad boss, Railroad boss got a head like a hoss...." "I don't like no railroad fool, Railroad fool got a head like a mule...."
AUTHOR: unknown
EARLIEST DATE: 1913 (Brown)
KEYWORDS: railroading nonballad floatingverses discrimination Black(s)
FOUND IN: US(Ap,SE)
REFERENCES (2 citations):
Sandburg, p. 326, "I Don't Like No Railroad Man" (1 text, 1 tune)
BrownIII 481, "Don't Like a Rich White Man Nohow" (1 short text)
Roud #11802 and 11865
CROSS-REFERENCES:
cf. "I Wish I Was a Mole in the Ground" (floating lyrics)
NOTES: The similarity in lyrics between the Brown and Sandburg versions clearly make them the same, though Brown's is a clear reminiscence of the bitter era in the American South after the Civil War, when Jim Crow laws made life miserable for Blacks. The Brown lyrics are much more explicit:
Don't like a rich white man nohow (x2),
Head like a hoss, and he tries to be de boss,
An' I don't like a rich white man nohow.
Don't like a poor white man nohow (x2),
Head like a mule, an' he tries to act a fool....
An' I don't like a poor white man nohow.
The resulting texts, though almost entirely the same in form, have completely different feelings. I have to suspect Sandburg's text is a cleaned up version -- but it too is seemingly early, and it was indexed first, so I retain its title. - RBW
File: San326

I Don't Love Nobody


DESCRIPTION: "I love a nobody, nobody loves me, Ain't gonna get married, Live single and free, They're after my money, ain't after me, I love a nobody, nobody love me."
AUTHOR: original version by Lew Sully
EARLIEST DATE: c. 1896 (sheet music published)
KEYWORDS: love money
FOUND IN: US(SE,So)
REFERENCES (3 citations):
Randolph 782, "I Love a Nobody" (1 fragment, 1 tune)
Randolph/Cohen, pp. 384-385, "I Love a Nobody" (1 text, 1 tune -- Randolph's 782)
Scarborough-NegroFS, pp. 229, (no title) (1 fragment, possibly of this)
Roud #7414
RECORDINGS:
Elizabeth Cotten, "I Don't Love Nobody" (on Cotten01)
George Gaskin, "I Don't Love Nobody" (Berliner 928Z/0928Z, 1896)
Earl Johnson & his Dixie Entertainers "I Don't Love Nobody" (OKeh 45101, 1927)
Walter Morris, "Crazy Coon" (Columbia 15079-D, 1926)
Poplin Family, "I Don't Want to Get Married" (on Poplin01)
Riley Puckett "I Don't Love Nobody" (Columbia 150-D, 1924)
Hoke Rice & his Gang, "I Don't Love Nobody" (Brunswick 482, 1930)
Doc Roberts "I Don't Love Nobody" (Perfect 12929/Conqueror 8239, 1933)
Gid Tanner & his Skillet Lickers "I Don't Love Nobody" (Columbia 15123-D, 1927; rec. 1926)
ALTERNATE TITLES:
I Don't Want to Get Married
Duplin County Blues
I Ain't Got Nobody
NOTES: Paul Stamler points out that this was a "popular string ragtime song in the 1920s," but I don't know whether that is the immediate source of Randolph's version, which was collected around that time.
Cohen speculates that this is derived from Lew Sully's 1899 song "I Don't Love Nobody," while admitting that that in turn may have been a reworking of something else. - RBW
And the date on the George Gaskin recording suggests it may have been. The chorus is often all that remains of the original, which was a "coon song." - PJS
File: R782

I Don't Love Old Satan


DESCRIPTION: "I don't love old Satan, Old Satan don't love me, And under the circumstances, Me and old Satan don't agree." "I'se gwine to Mount de Zion, My beautiful home." "I stepped in de water, And the water was cold; Got a free body, And I want a free soul."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious Devil nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 584, "I Don't Love Old Satan" (1 text plus an excerpt from 1 more, both from the same informant); also 595, "I'se Gwine Land on Dat Shore" (1 text, with a "I'se gwine land on dat shore" chorus, but not long enough to classify with anything else)
Roud #11899
File: Br3584

I Don't Mind If I Do


DESCRIPTION: Various reminiscences about courting, all ending with something like, "Bedad, then, says I, I don't mind if I do." The singer comes courting, enters the house, takes a drink, kisses the girl, learns she has a dowry, and marries her
AUTHOR: unknown
EARLIEST DATE: before 1885 (broadside Bodleian, Harding B 11(2164))
KEYWORDS: courting marriage
FOUND IN: Australia Canada(Mar) Ireland
REFERENCES (5 citations):
Meredith/Anderson, pp. 263-264, "Oh, Bedad Then, Says I" (1 text, 1 tune)
Meredith/Covell/Brown, pp. 268-269, "I Don't Care If I Do" (1 text, 1 tune)
Ives-DullCare, pp. 106-107,252, "Pat Murphy" (1 text, 1 tune)
Ives-NewBrunswick, pp. 97-99, "Pat Murphy" (1 text, 1 tune)
Morton-Maguire 20, pp. 46-47,111,164, "Joe Higgins" (1 text, 1 tune)
Roud #847
RECORDINGS:
John Maguire, "Joe Higgins" (on IRJMaguire01)
BROADSIDES:
Bodleian, Harding B 11(2164), "Joe Muggins"/"I Don't Care If I Do," ("If you listen to me I will sing you a song"), unknown (London), 1863-1885
File: MA263

I Don't Sing Like I Used to Sing


DESCRIPTION: "I don't sing like I used to sing, Jesus done changed, changed, changed Dis heart o' mine (x4). Jesus done changed this heart of mine." Similarly, "I don't pray like I used to pray," and also shout, talk, walk, moan, etc.
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious nonballad Jesus
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 585, "I Don't Sing Like I Used to Sing" (1 text)
Roud #11901
File: Br3585

I Don't Think Much of You


DESCRIPTION: An entertainer sings embarassing or suggestive remarks about people in the room, each ending "I don't think much of you." He criticizes appearance or assumes the target to be simple-minded. The final verse usually claims "it's all in jest"
AUTHOR: unknown
EARLIEST DATE: before 1855 (broadside, Bodleian Firth b.25(396))
LONG DESCRIPTION: An entertainer sings embarassing or suggestive remarks about people in the room, each ending "I don't think much of you" The singer says I can "reckon you up with half an eye": "why didn't you wash your face?" ... no soap -- why not then make water do; a young man is buying plenty of drinks for a woman while he owes his washerwoman for last week's washing; the singer finds a pawn ticket in a pocket book and a bustle in a lady's shopping bag; a shabbily dressed man "thinks himself a swell"; some verses critique hats, shirts and other articles of clothing. Other verses are about simple-minded targets: "you made the pigs two wooden legs, for you broke the poor thing's two Because your pig would not lay eggs"; "you bought a cow to suck a calf, and set two fleas to fight"; you lit a carrot in a candlestick "to give light." The final verse usually claims "it's all in jest."
KEYWORDS: clothes humorous nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan3 673, "I Don't Think Much of You" (3 fragments, 2 tunes)
Roud #1602
BROADSIDES:
Bodleian, Firth b.25(396), "I Don't Think Much of You" ("Ah! you may chaff and wink your eye, and laugh and make a rout"), E.M.A. Hodges (London), 1846-1854; also Bodleian, Harding B 11(4003), Harding B 18(269), Firth b.26(385), "I Don't Think Much of You"
LOCSinging, as105830, "I Don't Think Much of You," H. De Marsan (New York), 1861-1864; also sb20193a, "I Don't Think Much of You"
ALTERNATE TITLES:
There Is a Man Sittin' There
NOTES: GreigDuncan3 entries are fragments; The broadsides are the basis for the long description.
The broadsides are more varied than other sets of broadsides of one song than I have seen. Verses float among broadsides with words changing -- pigs vs hogs, flies vs fleas, .... Introductory verses may be entirely different and no two choruses, where there are choruses, are the same. Nevertheless, the broadsides have the same general format and do share lines, including the tag line, "I don't think much of you."
Broadside LOCSinging as105830: H. De Marsan dating per Studying Nineteenth-Century Popular Song by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
Last updated in version 2.4
File: GrD3673

I Don't Want to Be a Gambler


DESCRIPTION: "Oh, I don't want to be a gambler, An' I'll tell you the reason why, My Lord, sittin' in his Kingdom, Got his eyes on me, God got his eyes on me...." "Oh, I don't want to be a lawyer, An' I'll tell you the reason why" "Oh, I don't want to be a drunkard"
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: religious virtue nonballad
FOUND IN: US
REFERENCES (1 citation):
Sandburg, p. 465, "I Don't Want to Be a Gambler" (1 text, 1 tune)
File: San465

I Don't Want to Join the Army


DESCRIPTION: Rather than join the army, the singer prefers to hang around Picadilly, "living off the earnings of a highborn ly-dee."
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: bawdy humorous soldier
FOUND IN: Australia Canada US(MW,SW) New Zealand
REFERENCES (2 citations):
Cray, pp. 384-386, "I Don't Want to Join the Army" (2 texts, 1 tune)
DT, JOINARMY*
Roud #10263
File: EM384

I Don't Want to Play in Your Yard


DESCRIPTION: Two girls were neighbors and close friends until "one day a quarrel came." The one tells the other "You can't play in our yard;" the other replies, "I don't want to play in your yard"; she will be sorry for all the fun she misses. Then they make up
AUTHOR: Words: Philip Wingate / Music: H. W. Petrie
EARLIEST DATE: 1927
KEYWORDS: youth fight
FOUND IN:
REFERENCES (1 citation):
Spaeth-WeepMore, pp. 254-256, "I Don't Want to Play in Your Yard" (1 text, 1 tune)
Roud #16802
NOTES: Reported by Spaeth to be "the most popular child's song of the [1890s]" other than the works of Charles K. Harris. - RBW
File: SWM254

I Don't Want Your Millions, Mister


DESCRIPTION: "I don't want your millions, mister; I don't want your diamond ring; All I want is the right to work, Mister; Give me back my job again." The worker describes his toils that made the owner rich. But he doesn't need riches -- just food for his children
AUTHOR: Words: Jim Garland
EARLIEST DATE: 1938
KEYWORDS: unemployment hardtimes work
FOUND IN: US
REFERENCES (3 citations):
Lomax-FSNA 153, "I Don't Want Your Millions, Mister" (1 text, 1 tune)
Silber-FSWB, p. 313, "I Don't Want Your Millions Mister" (1 text)
DT, MLLIONMR*
RECORDINGS:
Almanac Singers , "All I Want" (on Almanac04, PeteSeeger01)
Pete Seeger , "I Don't Want Your Millions, Mister" (on PeteSeeger39)
CROSS-REFERENCES:
cf. "East Virginia (Dark Hollow)" (tune & meter)
cf. "Greenback Dollar" (tune & meter)
File: LoF153

I Don't Work for a Living


DESCRIPTION: "I don't work for a living, I get along all right without, I don't toil all day, I suppose it's because I'm not built that way." The singer describes all the things he can accomplish if someone else does the work, and describes his relaxed way of living
AUTHOR: James Mullen & Edward Leroy Freeman
EARLIEST DATE: 1929 (recording, Hobo Jack Turner)
KEYWORDS: work humorous unemployment
FOUND IN: Australia US
REFERENCES (1 citation):
Meredith/Covell/Brown, pp. 142-143, "I Don't Work for a Living" (1 text, 1 tune)
RECORDINGS:
Frank Crumit, "I Don't Work for a Living" (Victor V-40214, 1930)
Walton Dalton, "I Don't Work for a Living" (Perfect 12574, 1930)
Jack Kaufman, "I Don't Work for a Living" (Broadway 8145, n.d. but c. 1930)
Frankie Marvin, "I Don't Work for a Living" (Brunswick 401, 1930); (Conqueror 7449/Romeo 1145 [both as Frankie Wallace], c. 1930)
Hobo Jack Turner [pseud. Ernest Hare], "I Don't Work for a Living" (Velvet Tone 2070-V, 1929)
Pete Wiggins, "I Don't Work for a Living" (OKeh 45412/Parlophone [UK] E-6357, 1930)
File: MCB142

I Drank a Drink


DESCRIPTION: A riddle: "I drank a drink, 'twas since the streen, I drank it from an earthen wall, Where never earthen it did fall, And through the red gold it did run, And in a garden this was done"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: riddle nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1631, "I Drank a Drink" (1 text)
Roud #13071
NOTES: The current description is all of the GreigDuncan8 text.
GreigDuncan8: .".. the solution may relate to an egg...." - BS
I rather doubt this, although my best guess (a fountain with copper pipes) isn't much good either. I suspect the guess about the egg is because the riddle mentions gold, and another well-known riddle refers to "golden treasure" inside an egg. (The "golden treasure" version is from the riddle game in J. R. R. Tolkien's The Hobbit (based on a nursery rhyme). But note that this is RED gold. I'm more reminded of one of the Exeter Book riddles about an oyster -- an oyster in a pond fed by a fountain, perhaps. Or perhaps I'm all wet.
Alternately: A bottle of wine wrapped in foil drunk amid flowers. (And if you think that's bad, remember that there is an Anglo-Saxon riddle for which the suggested answer is "a one-eyed seller of garlic.") - RBW
Last updated in version 2.5
File: GrD81631

I Drank My Tay at Scatlan Brae


DESCRIPTION: "I drank my tay at Scatlan brae, I shoe't my horse at Biffey, I pu'd a wand in Benwal's yard, And ca'd him hyne [fee servant] to Bruxie"
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan8)
KEYWORDS: farming nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #30, p. 2, ("I drank my tay at Scatlan brae") (1 short text)
GreigDuncan8 1907, "I Drank My Tay at Scatlan Brae" (1 short text)
Roud #13553
NOTES: The current description is all of the GreigDuncan8 text.
Greig, 1908: "... He [another informant] calls them counting out rhymes. I call them just nonsense rhymes, which I learned in Buchan seventy years ago." - BS
Last updated in version 2.5
File: Grd81907

I Dream of Jeanie


See Jeanie with the Light Brown Hair (File: FSWB249)

I Dreamed Last Night of My True Love


See Locks and Bolts [Laws M13] (File: LM13)

I Dreamed of my True Lover


See Locks and Bolts [Laws M13] (File: LM13)

I Dreamt Last Night of My True Love


See Locks and Bolts [Laws M13] (File: LM13)

I Drew My Ship into the Harbour


See I Will Put My Ship In Order (File: Ord318)

I Dropped the Baby


DESCRIPTION: "I dropped the baby in the dirt, I asked the baby if it hurt, But all the little thing could say was, 'Waa, waa, waa.'"
AUTHOR: unknown
EARLIEST DATE: 1949 (recording, Dorothy Howard)
KEYWORDS: humorous baby
FOUND IN: US(So)
Roud #14046
RECORDINGS:
Dorothy Howard, "I Dropped the Baby" (on USWarnerColl01)
File: RcIDtBab

I Dyed My Petticoat Red


See Shule Agra (Shool Aroo[n], Buttermilk Hill, Johnny's Gone for a Soldier) (File: R107)

I fell in love wi' a bonnie lass


See The Lass o' Bennochie (File: Ord438)

I Fight Mit Sigel


DESCRIPTION: "Dutch dialect" song, describing how a German immigrant came to the United States and worked, apparently with little success, at various occupations. Now he has given it up; "Dey dress me up in soldier clothes To go und fight mit Sigel"
AUTHOR: unknown
EARLIEST DATE: 1913 (Randolph)
KEYWORDS: humorous Civilwar foreigner
FOUND IN: US(So)
REFERENCES (3 citations):
Randolph 217, "I Fight Mit Sigel" (1 fragmentary text, 1 tune, plus another fragment and tune which might be a chorus)
Randolph/Cohen, pp. 210-211, "I Fight Mit Sigel" (1 text, 1 tune -- Randolph's 217A)
ADDITIONAL: Fred W. Allsopp, Folklore of Romantic Arkansas, Volume II (1931), pp. 222-223, "I Fights Mit Seigle" (1 text)
ST R217 (Partial)
Roud #4867
ALTERNATE TITLES:
I Goes to Fight Mit Sigal [sic]
NOTES: Franz Sigel (1824-1902), a German immigrant, was the leading German in the Union armies. His fame and influence brought many Germans to the colors.
Despite having had officer training in Germany, he proved a poor soldier; his performance at Wilson's Creek contributed to the Union's loss of that battle, and his performance at Pea Ridge, though adequate, was hardly exceptional. Transferred to the east after that battle, his troops were badly mauled by "Stonewall" Jackson, and his XI (German) Corps came to be the laughingstock of the Army of the Potomac even before Jackson routed it at Chancellorsville in May 1863.
Sigel had retired from active duty in February of 1863, but his political clout led to him being re-appointed in 1864. Sent to the Shenandoah Valley, his incompetence once again shone through. One wonders if the Germans were as ardent for him in 1864 as they had been in 1861.
Foote: Shelby Foote, The Civil War: A Narrative (Volume I: Fort Sumter to Perryville) (Random House, 1958), reports that the phrase "I fights mit Sigel" was popular after Pea Ridge, during the brief time when people might delude themselves into thinking Sigel was a competent soldier.
Cohen reports that this is a parody of an obscure piece "I Fights Mit Sigel," said to be by Grant P. Robinson and printed in Songs of the Soldiers in 1864. It can also be found in Hazel Felleman's The Best Loved Poems of the American People, pp. 439-440.
Roud seems to lump this with a completely unrelated piece, "Why Did They Dig Grandmother's Grave So Deep." - RBW
File: R217

I Fights Mit Seigle


See I Fight Mit Sigel (File: R217)

I Found a Horseshoe


DESCRIPTION: "I found a horseshoe, I found a horseshoe, I picked it up and nailed it to a door. And it was rusty and full of nail holes, Good luck 'twill bring you forevermore." "The man who owned the horse he lives in New York." "The horse... his name was Mike"
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: horse nonballad
FOUND IN: US(MW)
REFERENCES (1 citation):
Sandburg, pp. 382-383, "I Found a Horseshoe" (1 text, 1 tune)
Roud #10077
File: San382

I Gave My Love a Cherry


DESCRIPTION: The singer gave his love "a cherry without a stone... a chicken without a bone," etc. He is asked how these things are possible. The reply: "A cherry when it's blooming, it has no stone," etc.
AUTHOR: unknown
EARLIEST DATE: c. 1430 (British Museum -- Sloane MS. 2593, "I have a yong suster")
KEYWORDS: riddle nonballad love gift
FOUND IN: Britain(England(South),Scotland) Canada(Mar) US(Ap,MW,NE,SE,So)
REFERENCES (29 citations):
Bronson (46), 18 versions given as an appendix to "Captain Wedderburn's Courtship"
Randolph 123, "The Four Brothers" (1 text)
BrownII 12, "Captain Wedderburn's Courtship" (1 text plus mention of another, but it is nothing but riddles and not to be connected with Child #46)
Scarborough-SongCatcher, pp. 230-231, "Captain Wedderburn's Courtship" (1 text with no listed local title; it is nothing but riddles and not to be connected with Child #46)
Eddy 8, "Captain Wedderburn's Courtship" (1 text, 1 tune, with little except the riddles and no sign that it was ever part of the longer ballad) {Bronson's #15}
Flanders-Ancient1, pp. 299-315, "Captain Wedderburn's Courtship" (3 texts plus two fragments, 5 tunes; the "I" and II" texts and tunes are "I Gave My Love a Cherry")
Gardner/Chickering 188, "Gifts From Over the Sea" (1 text plus mention of 1 more, 1 tune) {Bronson's #13}
SharpAp 144, "The Riddle Song" (3 texts, 3 tunes) {Bronson's #7, #6, #5}
MHenry-Appalachians, p. 25, "I Gave My Love a Cherry" (1 text)
Creighton/Senior, pp. 162-163, "I'll Give My Love an Apple" (1 text plus 1 fragment, 2 tunes) {Bronson's #2a,2b}
Linscott, pp. 267-269, "Perrie, Merrie, Dixi, Domini" (1 text, 1 tune)
Friedman, p. 137, "Captain Wedderburn's Courtship" (2 texts, but only the second belongs with this song)
Fowke/Johnston, pp. 136-137, "I'll Give My Love an Apple" (1 text, 1 tune)
Niles 1, "Riddles Wisely Expounded" (3 texts, 3 tunes, of which the second, "The Riddle Song," and the third, "Piri-miri-dictum Domini," go with this piece)
Scott-BoA, pp. 9-10, "I Will Give My Love an Apple" (1 text, 1 tune)
Lomax-FSNA 11, "I'll Give My Love an Apple" (1 text, 1 tune)
Sharp/Karpeles-80E 59, "The Riddle Song" (1 text, 1 tune) {Bronson's #7}
Opie-Oxford2 478, "I have four sisters beyond the sea" (3 texts plus a photo facing p. 388 of the text in the Sloane MS)
Baring-Gould-MotherGoose #270, pp. 162-163, "(My true love lives far from me)"
Montgomerie-ScottishNR 189, "(I had three little sisters across the sea)" (1 text)
Arnett, p. 41, "The Riddle Song" (1 text, 1 tune)
Chase, pp. 156-157, "The Riddle Song" (1 text, 1 tune)
Stevick-100MEL 56, "(I Have a Yong Suster)" (1 text)
Abrahams/Foss, pp. 55-56, "Peri Meri Dixie Dominie" (1 text, 1 tune)
PSeeger-AFB, p. 72, "Riddle Song" (1 text, 1 tune)
Silber-FSWB, p. 408, "Riddle Song" (1 text)
DT, RIDDLSNG RDDLSNG3* (GONORUSH*) PERIMERI*
ADDITIONAL: Walter de la Mare, _Come Hither_, revised edition, 1928; #65, "I Have a Young Sister" (1 text); notes to #258 ("I have three presents from over the sea") (1 excerpt)
Brown/Robbins, _Index of Middle English Verse_, #1303
Roud #36
RECORDINGS:
Pete Seeger, "The Riddle Song" (on PeteSeeger18)
Tony Wales, "Piri-iri-igdum" (on TWales1)
CROSS-REFERENCES:
cf. "Captain Wedderburn's Courtship" [Child 46]
cf. "Riddles Wisely Expounded" [Child 1]
ALTERNATE TITLES:
I Have a Young Sister
Perri Merri Dictum, Domine
NOTES: Certain scholars have seen this as a worn-down form of "Captain Wedderburn's Courtship" [Child 46]. Since, however, it goes back at least to 1430, the dependency is if anything in the other direction. But there is no real reason to believe they are related in any but a casual way; riddle songs were popular for a long time. Still, because many scholars list versions of this song under "Captain Wedderburn," one should check both songs for complete references
"Go No More A-Rushing" (DT GONORUSH) appears to be an Elizabethan prologue tacked on to the old song.
In modern English and in far eastern folklore, cherries are associated with sex. Whether that has any significance here I do not know.
Various scholars have tried to wring meaning out of the nonsense "Piri-miri-dictum Domini" refrain. The third and fourth words can become Latin (dictum=word and Domine of course is the word for "Lord"). I've not seen a convincing Latin explanation for "piri" and "miri," however. RBW
Last updated in version 2.5
File: R123

I Give My Horn a Blow


See Whoop 'Em Up, Cindy (File: CSW196)

I Give Thee All (My Heart and Lute)


DESCRIPTION: "I give thee all -- I can no more -- Though poor the off'ring be; My heart and lute are all the store That I can bring to thee." "Though love and song may fail, alas! To keep life's clouds away, At least will let them lighter pass."
AUTHOR: Words: Thomas Moore / Music: Sir Henry Rowley Bishop
EARLIEST DATE: 1856 (_The Poetical Works of Thomas Moore_, 1856 edition)
KEYWORDS: love music
FOUND IN:
REFERENCES (1 citation):
ADDITIONAL: [Thomas Moore], _The Poetical Works of Thomas Moore: A New Edition_, 1856 (available on Google Books), p. 345, "My Heart and Lute" (1 text)
NOTES: I am including this on the thinnest of thin speculations. The poem "My Heart and Lute" is by Thomas Moore -- but it is not one of his more popular pieces. It is not found in the 1846 edition of Moore's Irish Melodies, and although Granger's Index to Poetry catalogs about a hundred Moore poems, this isn't one of them. I know of no traditional collections. Obviously it has been nearly forgotten.
But we know that this is the tune Lewis Carroll meant to use for the White Knight's Song ("Haddock's Eyes," etc.). Obviously Carroll knew it, and obviously he thought the LIddells knew it too. The context seems to imply that Carroll thought it a rather folk-like song. Given the importance of the White Knight's song, and the preceding discussion of names, I'm including the song because, even if it isn't traditional, it's IMPORTANT.
It is interesting that the White Knight claimed the tune as his own invention, although Alice at once knew it was not. It's almost as if Carroll anticipated the dubious copyright claims of early twentieth century songwriters.... - RBW
Last updated in version 2.5
File: TTLGHadE

I Got a Bonnet Trimmed with Blue


DESCRIPTION: "I got a bonnet trimmed with blue Which I like to wear and so I do, Oh I do wear it when I can Oh when I go out with my man." The rest is all "chin music"
AUTHOR: unknown
EARLIEST DATE: 1960 (Peacock)
KEYWORDS: courting clothes nonballad
FOUND IN: Canada(Newf)
REFERENCES (1 citation):
Peacock, pp. 60-61, "I Got a Bonnet Trimmed with Blue" (1 text, 1 tune)
Roud #8212
NOTES: Most of Peacock's version is "chin music." Specifically, a text verse is "Oh da diddle la diddle la diddle la Da da diddle la da da da da Da da da da diddle la diddle la Da da diddle la da da da da."
Peacock explains "'Chin' or 'mouth' music is a vocal imitation of instrumental music and is used for dancing when a fiddle or accordion is not handy. Some singers ... become so proficient that they are often called upon even when instruments are available." - BS
File: Pea060

I Got a Gal at the Head of the Holler


See Sourwood Mountain (lyric) (File: R417)

I Got a Gal in Baltimore


DESCRIPTION: "I got a gal in Baltimore, Street-car runs right by her door, Crazy baby a-settin' on the floor, Get your hair cut pompadour!"
AUTHOR: unknown
EARLIEST DATE: 1927 (recording, The Georgia Crackers)
KEYWORDS: technology hair
FOUND IN: US(SE,So)
REFERENCES (1 citation):
Randolph 452, "I Got a Gal in Baltimore" (1 fragment)
Roud #7601
RECORDINGS:
Georgia Crackers "I've Got a Gal in Baltimore" (OKeh 45192, 1928; rec. 1927)
NOTES: Randolph, taking a lead from Spaeth (in Read 'Em and Weep, p. 146 [Randolph prints 166 in error]), thinks this may be connected to "Ta-ra-ra boom-de-ay." The form suggests a connection to "Old Joe Clark" or a relative. But until we have more text to work with, any conclusions are shaky. - RBW
Well, here's a bit more [a second half-verse to the half-verse above]: "She don't wear no -- yes, she do/She don't wear no Sunday shoes." The tune is nothing like either "Old Joe Clark" or "Ta-Ra-Ra-Boom-De-Ay"; it's a string-ragtime sort of tune. - PJS
Which, however, still leaves us with only a single verse.... - RBW
File: R452

I Got a Girl


DESCRIPTION: "I got a girl, she lives in town. She wrote me a letter, she's a comin' down." "Down the road and across the creek, I ain't had a letter since away last week." "I do red she ain't no fool, Tryin' to put a saddle on a hump-backed mule."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: love animal
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII I Got a Girl, "" (1 short text)
Roud #11791
NOTES: Almost certainly a fragment of something more detailed -- but I've no idea what. - RBW
Ida Red? Pretty close to "I do red." - PJS
File: Br3448

I Got a Key of De Kingdom


See I Got a Key to the Kingdom (File: Br3587)

I Got a Key to the Kingdom


DESCRIPTION: "Preacher, I got de key of de kingdom, De world can't do me no harm... Watch your secret keeper, Always bringin' you news, Tell a lie upon you And keep you all confuse'." The singer warns of false friends but doesn't think they matter
AUTHOR: unknown
EARLIEST DATE: 1930 (cf. Brown)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 587, "I Got a Key of De Kingdom" (1 text)
Roud #11829
CROSS-REFERENCES:
cf. "This Is the Key of the Kingdom" (lyric)
File: Br3587

I Got a Letter from Jesus


DESCRIPTION: "I got a letter from Jesus, Ahah, ahah, I got a letter, I got a letter, I got a letter from Jesus, Mm--, mm--."
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: Jesus religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
Sandburg, p. 487, "I Got a Letter from Jesus" (1 short text, 1 tune)
File: San487

I Got de Hezotation Stockings and de Hezotation Shoes


See Hesitation Blues (File: FSWB075)

I Got Mine


DESCRIPTION: The singer gets into all sorts of scrapes, getting out in some manner while maintaining "I got mine." Example: The police raid a craps game in which the singer is involved. He grabs the pot and successfully makes off.
AUTHOR: John Queen and Charles Cartwell
EARLIEST DATE: 1901 (recording, Collins & Natus)
KEYWORDS: gambling chickens robbery trial escape trick
FOUND IN: US(SE)
REFERENCES (3 citations):
BrownIII 52, "I Got Mine" (1 text)
Gilbert, p. 243, "I Got Mine" (1 partial text)
DT, IGOTMINE
Roud #7852
RECORDINGS:
Chris Bouchillon, "I Got Mine" (Columbia 15317-D, 1928)
Fiddlin' John Carson, "I Got Mine" (OKeh 40119, 1924)
Bill Chitwood & Bud Landress, "I Got Mine" (Brunswick 2810, 1925)
[Arthur] Collins & [Joseph] Natus, "I Got Mine" (CYL: Edison 7889, 1901) (Victor [Monarch] 1297, 1902)
Fleming & Townsend, "Yes, I Got Mine" (Victor 23676, 1932)
Jenkins Family, "I Got Mine" (OKeh 40247, 1924)
John McGhee, "I Got Mine" (Gennett 6403, 1928)
Peg Moreland, "I Got Mine" (Victor 23510, 1930)
Jesse Oakley ,"I Got Mine" (Supertone 9256, 1928)
Gid Tanner & his Skillet Lickers, "I Got Mine" (Columbia 15134-D, 1927; rec. 1926)
Unknown baritone & tenor [probably Collins and Harlan] "I Got Mine" (Standard 597, c. 1901)
NOTES: The Digital Tradition footnotes claim that this is from McNeil's Southern Folk Ballads. This is incorrect; I have not been able to discover the source of the DT version. - RBW
Perhaps the DT transcription came from the Carson recording? Or, more likely, from one of the several revival performances of the song, such as Roy Bookbinder's. - PJS
Brown's text seems to be a racist version of the original (or other texts are cleaned up); the singer devotes his efforts to cheating "coons." - RBW
Looking at the sheet music on the American Memory website makes it clear that the other texts were cleaned up; this was originally a "coon song." It was recorded by a duo that was probably Collins & Harlan, who specialized in "coon songs." - PJS
File: Gil243

I Got My Questionnairy


DESCRIPTION: "Well I got my questionnairy, and it leads me to the war (x2), Well, I'm leavin', pretty baby, Child, can't do anything at all." "Uncle Sam ain't no woman, but he sure can take your man (x2), Boys, they got them in the service...."
AUTHOR: unknown
EARLIEST DATE: 1963
KEYWORDS: war soldier separation
FOUND IN: US
REFERENCES (2 citations):
Courlander-NFM, p. 137, "(I Got My Questionnairy)" (1 text, 1 tune)
DT, DRAFTBLU*
ALTERNATE TITLES:
Draftee's Blues
Uncle Sam Blues
File: CNFM137

I Got to Roll


DESCRIPTION: "Ham and eggs, pork and beans, I woulda et more, but the cook wasn't clean." "I got to roll, roll in a hurry, Make it on the side of the road." "If I'd-a known my Captain was blind... If I'd known my Captain was bad... If I'd known my Captain was mean..."
AUTHOR: unknown
EARLIEST DATE: 1937
KEYWORDS: chaingang work hardtimes prison
FOUND IN: US(Ap)
REFERENCES (2 citations):
Lomax-FSNA 292, "I Got to Roll" (1 text, 1 tune)
DT, GOTROLL*
Roud #6713
File: LoF292

I Had a Banjo Made of Gold


See Troubled In My Mind (File: LoF102)

I Had a Handsome Fortune


See Oh, Once I Had a Fortune (File: R316)

I Had a Heart that Doted Once


DESCRIPTION: "I had a heart that doted once In passion's boundless pain, An' though the tyrant I abjured, I could not break his chain."
AUTHOR: unknown
EARLIEST DATE: 1928 (Randolph)
KEYWORDS: love
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 616, "I Had a Heart that Doted Once" (1 fragment, 1 tune)
Roud #7553
File: R616

I Had a Little Horse Whose Name Was Jack


DESCRIPTION: "I had a little horse whose name was Jack, Put him in the stable and he jumped through the crack."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: horse
FOUND IN: US(SE,So)
REFERENCES (1 citation):
BrownIII 176, "I Had a Little Horse Whose Name Was Jack" (1 short text)
CROSS-REFERENCES:
cf. "I Had a Little Pony (I)"
cf. "I Had a Little Pony (II)" (lyrics)
NOTES: The notes in Brown connect this with the English nursery rhyme, "I had a little pony, his name was Dapple Gray." This is possible -- but only that. - RBW
I don't see the connection either but Brown is refering to Opie-Oxford2 127, "I had a little pony" or--less likely--Opie-Oxford2 223, "I had a little horse." [See also Montgomerie-ScottishNR 12, 25, and especially Baring-Gould-MotherGoose #157, pp. 118-119, about dapple gray, and notes there. - RBW]
There seems a more complete version from Texas at the Real Live Preacher site in Finding the Man in the Picture Part One:
"I had a little dog, his name was Rover. He died all over except for his tail, and it turned over."
"I had a little mule, his name was Jack. I put him in the stable but he jumped through the crack." - BS
File: Br3176

I Had a Little Lairdie


DESCRIPTION: The singer had a little manikin/husband/lairdie. She dressed him, and sent him riding to town on her thumb (or he's no bigger than her thumb). She sent him to the garden for sage but found him kissing Madge in the kitchen.
AUTHOR: unknown
EARLIEST DATE: 1784 (Joseph Ritson, _Gammer Gurton's Garland: or, The Nursery Parnassus_, according to Opie-Oxford2)
KEYWORDS: nonsense husband wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (5 citations):
GreigDuncan8 1563, "I Had a Little Lairdie" (1 text)
Opie-Oxford2 234, "I had a little husband" (2 texts)
Baring-Gould-MotherGoose #64, p. 70, "(I had a little husband)"
ADDITIONAL: Robert Chambers, The Popular Rhymes of Scotland (Edinburgh, 1870 ("Digitized by Google")), p. 21, ("I got a little manikin, I set him on my thoomiken")
Robert Chambers (Edited by Norah and William Montgomerie), Traditional Scottish Nursery Rhymes (1990 selected from Popular Rhymes) #104, p. 64, ("I gat a little mannikin, I set him on my thoomikin")
Roud #12962
NOTES: The inimitable Katherine Elwes Thomas claims that the little husband was Philip II of Spain, one of whose four wives was Mary Tudor, the first reigning queen of England (1553-1558). It's certainly true that Philip II quickly abandoned Mary, but that seems an insufficient reason to link that event to this much later song.
Halliwell made the much more reasonable suggestion that this is part of the tale of Tom Thumb, and cites a Danish parallel. Still, even this is just speculation. - RBW
Last updated in version 2.5
File: GrD81563

I Had a Little Nut Tree


DESCRIPTION: "I had a little nutmeg, nothing would it bear But a silver nutmeg and a golden pear. The King of Spain's daughter came to visit me And all for the sake of my little nut tree." "Her dress was all of crimson.... She asked me for my nutmeg...."
AUTHOR: unknown
EARLIEST DATE: 1939 (Linscott); first printing appears to have been in one of the Tom Thumb songbooks (n.d. but c. 1790)
KEYWORDS: royalty food courting
FOUND IN: US(NE)
REFERENCES (3 citations):
Linscott, pp. 210-211, "I Had a Little Nut Tree" (1 text, 1 tune)
Opie-Oxford2 381, "I had a little nut tree" (2 texts)
Baring-Gould-MotherGoose #130, p. 106, "(I had a little nut tree)"
Roud #3749
NOTES: Folklorists, ever desperate for an event upon which to hang a song, have connected this to the visit of Juana (Joanna) of Castile (the future Juana the Mad, 1479-1555, queen of Castile from 1505), the mother of the future Emperor Charles V, who visited England in 1506 during the reign of Henry VII. Apparently, according to the Opies, this hypothesis was adopted in Edith Sitwell's 1946 Fanfare for Elizabeth, who pictures it being sung to the daughters of Henry VIII.
This has the usual problems. For starters, Juana's father Ferdinand of Aragon was not King of Spain; he was King of Aragon, and it was not until Juana succeeded him in 1516 that Spain was properly a united kingdom. (Though, in fairness, Ferdinand was regent of Castile after his wife's death, so one might loosely call him King of Spain.)
Problem #2 is the dating; there is no hint of the existence of the song at the time of Juana's visit.
Problem #3 is the word "nutmeg"; the nutmeg tree grows natively only in parts of the Molucca Islands. Europeans didn't even discover them until the late sixteenth century (see the notes to "Of All the Birds"), and they could not have been known in England at the time of Juana's visit. Possibly there was some word other than "nutmeg" used in the original version, or there was a meaning for "nutmeg" which has been so completely forgotten that it does not appear in dictionaries, but if so, what?
It's also worth noting that, even if you project this song back 250 years before the earliest known version, there is still no real reason to connect it to Juana. Why not connect it to, say, Catherine of Aragon, Juana's sister, who happened to marry the son of Henry VII?
In the incidentals department: I learned this song somewhere along the line, I think from my mother, and my tune is not Linscott's (and I know of no other printed traditional tune).
Whatever the origin of this item, it has inspired various imitations and parodies. Walter de la Mare, Come Hither, revised edition, 1928; #208, prints two under the collective title "Two Nut Trees." The first, credited to "Thomas Anon," simply adds a few lines. The second, by Edith Sitwell, is an independent poem about "The King of China's daughter," but clearly dependent upon this, because it also mentions nutmeg trees and the courting of the princess. - RBW
Last updated in version 2.5
File: Lins210

I Had a Little Pony (I)


DESCRIPTION: "I had a little pony, I rode him down town. And ev'ry time I turned him round, Turn him on an acre ground! Boots and show-line come down, Lady show-line come down; Boots and show-line come down, Lady show-line come down."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: animal floatingverses
FOUND IN: US(So)
REFERENCES (1 citation):
Scarborough-NegroFS, p. 184, (no title) (1 fragment)
CROSS-REFERENCES:
cf. "I Had a Little Horse Whose Name Was Jack"
cf. "I Had a Little Pony (II)"
File: ScNF184A

I Had a Little Pony (II)


DESCRIPTION: "I had a little (pony/mule), His name was Jack; I rid his tail To save his back." "The lightning roll, the thunder flash, And split my coat-tail clear to smash."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: animal
FOUND IN: US
REFERENCES (1 citation):
Scarborough-NegroFS, p. 184, (no title) (1 fragment, with only the first four lines); p. 185 (no title) (1 fragment, adding the "lightning roll" verse; I have a feeling those two floated together)
Roud #16341
CROSS-REFERENCES:
cf. "I Had a Little Horse Whose Name Was Jack"
cf. "I Had a Little Pony (I)"
NOTES: This might be a variant on any of several things -- the Brown piece "I Had a Little Horse Whose Name Was Jack"; the English folk poem "I had a little pony, his name was Dapple Gray" (for which see Opie-Oxford2, #127, and Baring-Gould-MotherGoose #157, pp. 118-119 and notes there); perhaps others. But all such links are just possibilities. - RBW
Last updated in version 2.5
File: ScNF184B

I Had a Little Puppy (Pussy Willow, Hot Dog)


DESCRIPTION: Riddle-song, with a description of something (cat, dog, etc.) that actually describes something else. E.g., 'I had a little puppy, it had a stubby tail... you buy it at a butcher's shop" (describing a hot dog)
AUTHOR: unknown
EARLIEST DATE: 1972
KEYWORDS: wordplay riddle nonballad
FOUND IN: US
REFERENCES (1 citation):
Pankake-PHCFSB, p. 68, "Pussy Willow" (1 text, tune described but not printed)
Roud #10248
NOTES: There are a whole class of songs of this sort. I learned "I had a little puppy" somewhere in an (obviously mis-spent) youth, and also heard "pussy willow" many years ago. Both use the same tune (or, rather, tune device: Each word in a line sung to a single note, with each line one note higher than the preceding). I imagine there are more of these things around. I'll just lump them here. - RBW
File: PHCFS068

I Had a Little Rooster (Farmyard Song)


DESCRIPTION: The singer enjoys the company of various animals, e.g. "I had a little rooster by the barnyard gate, And that little rooster was my playmate, And that little rooster went Cock-a-doodle-doo...." And so forth, cumulatively, for various animals
AUTHOR: unknown
EARLIEST DATE: 1849 (Halliwell)
KEYWORDS: animal cumulative nonballad farming humorous chickens sheep horse dog
FOUND IN: Britain(England(Lond,South),Scotland(Aber)) Ireland US(Ap,SE,So) Canada(Newf)
REFERENCES (16 citations):
Randolph 352, "I Bought Me a Rooster" (4 texts, 2 tunes)
Randolph/Cohen, pp. 290-291, "I Bought Me a Rooster" (1 text, 1 tune -- Randolph's 352A)
BrownIII 124, "Barnyard Song" (1 text plus3 excerpts and mention of 2 more); also 127, "The Dogs in the Alley" (1 text, with a slightly different form but too short to classify separately)
Wyman-Brockway I, p. 6, "The Barnyard Song" (1 text, 1 tune)
Kennedy 297, "I Bought Myself a Cock" (1 text, 1 tune)
SharpAp 218, "The Farmyard" (1 text, 1 tune)
Sharp/Karpeles-80E 78, "The Farmyard" (1 text, 1 tune -- a composite version)
GreigDuncan8 1666, "I Bocht a Hennie" (2 texts, 1 tune)
Greig #159, p. 2, "I Haed a Hennie" (1 text)
Lomax-FSNA 230, "Fiddle-I-Fee" (1 text, 1 tune)
Chase, pp. 171-174, "Fiddle-i-Fee" (1 text, 1 tune)
Silber-FSWB, p. 387, "I Had a Rooster" (1 text)
Montgomerie-ScottishNR 13, "(I had a wee cock and I loved it well)" (1 text)
DT, ROOSTR2
ADDITIONAL: Robert Chambers, The Popular Rhymes of Scotland (Edinburgh, 1870 ("Digitized by Google")), pp. 31-32, "My Cock, Lily-Cock" ("I had a wee cock, and I loved it well, I fed my cock on yonder hill")
Robert Chambers (Edited by Norah and William Montgomerie), Traditional Scottish Nursery Rhymes (1990 selected from Popular Rhymes) #15, pp. 18-19, ("I had a henny")
Roud #544
RECORDINGS:
George Blackman, "I Bought Myself a Cock" (on FSB10)
John Curtis, "Farmyard" (on NFMLeach)
Maud Long, "Fiddle-I-Fee" (AFS; on LC14)
Jamesie McCarthy, "Kerry Cock" (on IRClare01)
Marieo Perkins, "I Love My Rooster" (on JThomas01)
Pete Seeger, "Bought Me a Cat" (on PeteSeeger03, PeteSeegerCD03); "I Had a Rooster" (on PeteSeeger08, PeteSeegerCD02)
Asher Sizemore & Little Jimmie, "My Little Rooster" (Bluebird B-5495, 1934)
CROSS-REFERENCES:
cf. "Le Marche des Animaux (The Animal Market)" (theme and structure)
File: R352

I Had a Wee Cock and I Loved It Well


See I Had a Little Rooster (Farmyard Song) (File: R352)

I Had a Wife


DESCRIPTION: Singer describes how he got rid of his wife by chopping off her head. Without evidence, the killing is ruled an "act of providence." Listeners are advised to follow the singer's example
AUTHOR: unknown
EARLIEST DATE: 1950 (recording, Pete Seeger)
KEYWORDS: marriage violence murder death wife humorous
FOUND IN:
REFERENCES (2 citations):
Silber-FSWB, p. 174, "I Had A Wife" (1 text)
DT, HADAWIFE
RECORDINGS:
Pete Seeger, "I Had a Wife" (on PeteSeeger02, PeteSeegerCD01)
CROSS-REFERENCES:
cf. "Drunken Sailor" (tune)
File: FSWB174B

I Had But Fifty Cents


DESCRIPTION: The singer takes a girl to the ball. He thinks, since she is so delicate, that it is safe to take her to a restaurant, even though he has but fifty cents. But she orders a huge meal. The singer, unable to pay, is beaten up by the restaurant staff
AUTHOR: Words: Billy Mortimer; Music: Dan Lewis
EARLIEST DATE: 1881 (sheet music, with the title "Fifty Cents")
KEYWORDS: food money poverty courting
FOUND IN: US(So)
REFERENCES (3 citations):
Randolph 485, "I Had But Fifty Cents" (1 text)
Gilbert, p. 121, "I Had But Fifty Cents" (1 text)
DT, FIFTYCNT*
Roud #2798
RECORDINGS:
Binkley Brothers' Dixie Clodhoppers, "When I Had But Fifty Cents" (Victor V-40129, 1929)
Bill Chitwood & his Georgia Mountaineers, "I Had But Fifteen Cents" (OKeh 45131, 1927)
Otto Gray & his Cowboy Band, "I Had But Fifty Cents" (Vocalion 5256, c. 1928)
Jack Golding, "I Had But Fifty Cents" (Champion 16072 [as Jerry Ellis]/Supertone 9711 [as Jack Edwards], 1930)
Peg Moreland, "When I Had But Fifty Cents" (Victor V-40209, 1930)
Riley Puckett, "When I Had But Fifty Cents" (Columbia 15015-D, 1925; rec. 1924)
CROSS-REFERENCES:
cf. "Bill Morgan and His Gal" (theme)
ALTERNATE TITLES:
Fifty Cents
NOTES: A piece entitled "Fifty Cents," by Billy Mortimer and Dan Lewis, was published in 1881. Paul Stamler has verified that this is the same song. - PJS, RBW
File: R485

I Hae Been at a Far Awa' Weddin'


DESCRIPTION: The singer went to a wedding and danced with and kissed "a bonnie young lassie An' I hae ne'er been well sinsyne" If she would fancy him he would marry her.
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan7)
KEYWORDS: love wedding dancing nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1321, "I Hae Been at a Far Awa' Weddin'" (5 texts, 4 tunes)
Roud #7212
File: GrD71321

I hae looked in the glass


See Noo I'm Just a Lassie in Want o' a Man (File: GrD81915)

I Haed a Henny


See I Had a Little Rooster (Farmyard Song) (File: R352)

I Hate That Train Called the M & O


DESCRIPTION: "I hate that train that they all call the M and O (x2), It took my baby away, and he ain't comin' back to me no more." Her man sticks his head out the window and says "I'm going away, baby." She wishes the train had not parted them
AUTHOR: unknown, but probably adapted by Lucille Bogan
EARLIEST DATE: 1934 (recording, Lucille Bogan)
KEYWORDS: train separation
FOUND IN:
REFERENCES (1 citation):
Cohen-LSRail, pp. 444-445, "I Hate That Train Called the M & O" (1 text, 1 tune)
RECORDINGS:
Lucille Bogan, "I Hate That Train Called the M. and O." (Banner 6-02--04/Oriole 6-02-04/Melotone 6-02-04/Perfect 6-02-04, 1936; rec. 1934)
File: LSRai444

I Have a Dog


DESCRIPTION: "I have a dog, I call him Pen; He's just as smart as lots of men. He goes with me to feed the cow...." "He will bound around, bark and yelp." ""He makes the cats walk the chalk, And it does seem he tries to talk... He can already say 'bow-wow-wow.'"
AUTHOR: unknown
EARLIEST DATE: 1934 (Henry, from Mrs. L. S. Eams)
KEYWORDS: dog nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
MHenry-Appalachians, p. 226, "I Have a Dog" (1 text)
File: MHAp226

I Have a Father Gone to Glory (I Am Alone in this World)


DESCRIPTION: "I have a father gone to glory, I am alone in this world. I have a father gone to glory, I am alone.... Take me home, bless the Savior, take me home." Repeat with mother, sister, etc. with a conclusion that there is room in heaven for all.
AUTHOR: unknown
EARLIEST DATE: 1934 (Henry, from Granville Gadsey)
KEYWORDS: religious nonballad home
FOUND IN: US(Ap)
REFERENCES (1 citation):
MHenry-Appalachians, pp. 201-202, "I Have a Father Gone to Glory" (1 text)
Roud #4213
CROSS-REFERENCES:
cf. "The Other Bright Shore" (lyrics)
NOTES: Roud lumps this with "Where Is Old Elijah? (The Hebrew Children, The Promised Land)," which seems a bit strong, and also with "The Other Bright Shore" and other material. The link to "The Other Bright Shore" is obvious, but there are no shores of any sort in Henry's version, so I think they have to be separated. - RBW
File: MHAp201

I Have a Father in My Native Land


DESCRIPTION: "I have a father in my native land, Oh, he's looking for me tonight, night, night, Oh, he's looking for me tonight." "He may look, he may look with his withering watery eyes, And it's oh, he may look to the bottom of the sea, sea, sea...."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: sailor death father separation mourning
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 231, "I Have a Father in My Native Land" (1 text)
CROSS-REFERENCES:
cf. "He Lies in the American Land" (theme)
File: Br3231

I Have a Sister, the Flower o' Manchester


DESCRIPTION: "I have a sister, the flower o' Manchester, I have a sister in the low counterie; I have gold and I have silver, Well rewarded will you be"
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan8)
KEYWORDS: money sister
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1792, "I Have a Sister, the Flower o' Manchester" (1 fragment, 1 tune)
Roud #12995
NOTES: The current description is all of the GreigDuncan8 fragment. - BS
Last updated in version 2.5
File: GrD81792

I Have a Wife


See Smiggy Maglooral (File: OCon143)

I Have a Yong Suster


See I Gave My Love a Cherry
 (File: R123)

I Have a Young Sister


See I Gave My Love a Cherry
 (File: R123)

I Have Been Redeemed


DESCRIPTION: "I have been redeemed, I know I have been redeemed, O hallelujah, I know I have been redeemed, O sinner, you better obey." "This world is not my home.... Oh, sinner, you better obey." "O, heaven is my home...."
AUTHOR: unknown
EARLIEST DATE: 1938 (Chappell)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
Chappell-FSRA 84, "I Have Been Redeemed" (1 text, 1 tune)
Roud #16934
File: ChFRA084

I Have Finished Him a Letter


See Anna Lee (File: R775)

I Have Four Sisters Beyond The Sea


See I Gave My Love a Cherry
 (File: R123)

I Have Long Since Been Learned


DESCRIPTION: "I have long since been leaned Dat de trumpets will be sounding... in dat day. Oh, sinner, where will you stand in dat day?" "He can able de blind to see... Jesus is knocking at de door." The singer describes heaven and resurrection.
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 588, "I Have Long Since Been Learned" (1 text)
Roud #11838
File: Br3588

I Have No Loving Mother Now (Oh, See My Father Layin' There)


DESCRIPTION: "Oh, see my father layin' there (x3), I cannot stay here by myself." "Lord, I cannot stay here by myself (x2), When de wind blows east and de wind blows west, Lord I cannot...." "Oh, see my mother layin' there...." "Oh, see my brother layin' there...."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (3 citations):
[Randolph 612, "I Have No Loving Mother Now" -- deleted in the second printing]
Randolph/Cohen, pp. 432-433, "I Have No Loving Mother Now" (1 text, 1 tune -- Randolph's 612)
BrownIII 622, "Oh, See My Father Layin' There" (1 text)
Roud #11925
RECORDINGS:
Kelly Harrell, "I Have No Loving Mother Now" (Victor C-20935, 1927; on KHarrell02)
CROSS-REFERENCES:
cf. "I Wish I Was a Little Bird (Nobody Cares for Me)" (lyrics)
NOTES: This is a very amorphous song, recognized mostly by its form and its vaguely religious theme. - RBW
File: Br3622

I Have No One to Love Me


See The Deep Blue Sea (I) (File: R794)

I Have Worked in the Woods


DESCRIPTION: Singer describes all the things he's done while working as a logger, including both work and recreation: logged, driven, danced, fought, sung and slept on the floor.
AUTHOR: unknown
EARLIEST DATE: 1941 (Beck)
KEYWORDS: lumbering work logger
FOUND IN: US(MW)
REFERENCES (1 citation):
Beck 7, "I Have Worked in the Woods" (1 text)
Roud #8868
File: Be007

I Hear from Heaven Today


DESCRIPTION: "Hurry on, my weary soul, and I heard from heaven today" (x2). "My sin is forgiven and my soul set free, And I heard from....." "A baby born in Bethlehem." :"The trumpet sound in the other bright land." "My name is called and I must go."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad travel
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 2, "I Heard from Heaven Today" (1 text, 1 tune)
Roud #11862
File: AWG002B

I Heard Somebody Call My Name


See Little Bessie (File: MN2172)

I Heard the Reports of a Pistol


DESCRIPTION: "Well, I heard the reports of a pistol, whoa man, down the right-a-way.... Must a been my partner... tryin' a make a getaway. Whoe, they killed my partner...." A man serving a life term, he wishes he could escape, but warns others against trying
AUTHOR: unknown
EARLIEST DATE: 1965 (recorded from J. B. Smith by Jackson)
KEYWORDS: death prison escape
FOUND IN: US(So)
REFERENCES (1 citation):
Jackson-DeadMan, pp. 155-157, "I Heard the Reports of a Pistol" (1 text, 1 tune)
File: JDM155

I Hope I'll J'ine the Band


See I Hope I'll Join the Band (Soon in the Morning) (File: R266)

I Hope I'll Join the Band (Soon in the Morning)


DESCRIPTION: Sundry verses about the pleasures of heaven ("Goin' to see my Jesus," "Meet our fathers there," "Lookin' over Jordan," etc.). Usual internal refrain is "Soon in the morning"; final chorus, "And I hope I'll join the band."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough); probably 1867 (Allen/Ware/Garrison)
KEYWORDS: music religious
FOUND IN: US(SE,So)
REFERENCES (5 citations):
Randolph 266, "I Hope I'll J'ine the Band" (3 texts, 1 tune)
Randolph/Cohen, pp. 227-228, "I Hope I'll J'ine the Band" (1 text, 1 tune -- Randolph's 266A)
BrownIII 598, "I Wanter Jine de Ban'" (1 text)
Scarborough-NegroFS, pp. 16-17, (no title) (1 text); also. p. 198, "Bullfrog" (1 text, 1 tune, with the chorus from here though the verses are about the frog)
Allen/Ware/Garrison, p. 95, "I Want to Join the Band" (1 short text, 1 tune)
ST R266 (Partial)
Roud #7816
CROSS-REFERENCES:
cf. "I'm Going to Ride in Pharaoh's Chariot" (lyrics, theme)
NOTES: This is one of those songs with extreme variations, especially between the Brown and Randolph versions (Brown's text has stanzas without repeats and doesn't use the "Soon in the morning" refrain). But the similarities are too great to split them.
The Allen/Ware/Garrison text, which is the earliest, is perhaps even more problematic, since it's really just the chorus, and even that is slightly different from the others. But with so little text to go on, we can hardly split it from the others. - RBW
Last updated in version 2.4
File: R266

I Keep My Dogs


See Gamekeepers Lie Sleeping (File: K249)

I Know a Boarding-House


DESCRIPTION: "I know a boarding-house Not far away Where they have ham and eggs Three times a day." "Lord, how those boarders shout..." "Lord, how those boarders yell When they hear that dinner-bell!"
AUTHOR: unknown
EARLIEST DATE: 1938 (recording, Uncle Dave Macon)
KEYWORDS: food home humorous nonballad derivative
FOUND IN: US(MW,So)
REFERENCES (4 citations):
Randolph 479, "I Know a Boarding-House" (1 text)
Pankake-PHCFSB, "At the Boarding House Where I Live" (1 text, tune referenced); also p. 190, "While The Organ Pealed Potatoes" (1 text, tune referenced)
DT, BORDHOUS* (HAPYLND2*)
ADDITIONAL: _Sing Out_ magazine, Volume 42, #2 (1997), p, 120, "Country Ham and Red Gravy" (1 text, 1 tune, a slightly cleaned-up transcription of the Dave Macon version)
Roud #7636
RECORDINGS:
Uncle Dave Macon, "Country Ham and Red Gravy" (Bluebird 7951, 1938)
CROSS-REFERENCES:
cf. "There Is a Happy Land" (tune, form)
cf. "The Barefoot Boy with Boots On" (floating lyrics)
NOTES: This is one of those composite songs -- the key element is humorous verses to the tune of "Silver Threads." The most common verse -- shared with "The Barefoot Boy" -- is "while the organ pealed potatoes"; my father learned this from a substitute teacher in Detroit around 1941.
Dave Macon copyrighted his "Country Ham and Red Gravy" version of this song, which does indeed seem to be a rewrite (rather racist), but it's clearly from the same roots. Though he may have supplied the tune, also known as "New Five Cents."
Laura Ingalls Wilder printed a stanza of this in By the Shores of Silver Lake, chapter 4. If she actually heard it then, it would date the song from 1879. But, of course, she was writing half a century later, and her work is much fictionalized anyway, so that's not a very trustworthy date. - RBW
Last updated in version 2.4
File: R479

I Know a Little Feller


See He's Got the Money Too (File: R299)

I Know Moonlight


DESCRIPTION: "I know moonlight, I know starlight, I lay this body down." "I walk in the moonlight, I walk in the starlight, I lay...." "I walk in the graveyard, I lay in my grave, I lay...." "I go to the judgment, In the evening of the day, When I lay this body down."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious death burial nonballad
FOUND IN: US
REFERENCES (7 citations):
Allen/Ware/Garrison, pp. 19-20, "Lay This Body Down" (1 text, 1 tune, both with variants)
Sandburg, p. 451, "I Know Moonlight" (1 text, 1 tune)
BrownIII 611, "Mary Bowed" (1 short text, with a verse "I wonder where Sister Maryy's gone... She's gone to some new buryin' ground For to lay her feeble body down" and a second verse from "While Shepherds Watched Their Flocks")
Scott-BoA, pp. 209-210, "Lay This Body Down" (1 text, 1 tune)
Lomax-ABFS, pp. 577-578, "Lay Dis Body Down" (1 text, 1 tune)
Darling-NAS, p. 322, "Lay This Body Down" (1 text)
DT, KNOWMOON*
Roud #11839
RECORDINGS:
Bertha Smith & Moving Star Hall Singers, "Lay Down Body" (on BeenStorm1)
File: San451

I Know My Love


DESCRIPTION: "I know my love by his way of walking," his speech, his clothes. She laments, "If my love leaves me, what will I do?" She knows he is courting strange girls in Maradyke. He rejects her because of her lack of money
AUTHOR: unknown
EARLIEST DATE: 1959 (sung by David Hammond on "I Am the Wee Falorie Man: Folk Songs of Ireland")
KEYWORDS: love courting abandonment poverty
FOUND IN: Ireland
REFERENCES (2 citations):
Silber-FSWB, p. 143, "I Know My Love" (1 text)
DT, KNOWLOVE
Roud #60
CROSS-REFERENCES:
cf. "Tavern in the Town" (floating lyrics)
cf. "Queen of Hearts"
NOTES: Paul Stamler suggests that this is a version of "Tavern in the Town" (based on the stanza about the dancehouse in Maradyke, which is almost the same as in "Tavern"). I am more reminded of "Queen of Hearts." The first half-stanza, we might note, seems to exist independently of any plot at all, and is fairly popular.
The inevitable result: I list this as a separate song, with a lot of cross-references. Roud lumps it with "Love Has Brought Me to Despair" (Laws P25) -- which for him is a huge family, though Laws lists only a handful of songs in the group. - RBW
Also collected and sung by David Hammond, "I Know My Love" (on David Hammond, "I Am the Wee Falorie Man: Folk Songs of Ireland," Tradition TCD1052 CD (1997) reissue of Tradition LP TLP 1028 (1959)) - BS
File: FSWB143

I Know When I'm Going Home


DESCRIPTION: "Old Satan told me to my face, O yes, Lord, The God I seek I never find, O yes Lord. True believer, I know when I gwine home, True believer, I know when I gwine home, True believe, I know when I gwine home, I been afraid to die."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious nonballad death
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 30, "I Know When I'm Going Home" (1 text, 1 tune)
Roud #11984
File: AWG030A

I Know Where I'm Going


See Katie Cruel (The Leeboy's Lassie; I Know Where I'm Going) (File: SBoA050)

I Know Where They Are


See The Old Barbed Wire (I Know Where They Are) (File: San442)

I Know You Rider


DESCRIPTION: "I know you rider, gonna miss me when I'm gone (x2), Gonna miss your li'l mama from rollin' in your arms." The singer sets out to find a man who will give her some "decent care." If she can't be her man's love, she won't be his dog. Many verses float
AUTHOR: unknown
EARLIEST DATE: 1934 (Lomax)
KEYWORDS: love separation abandonment abuse floatingverses
FOUND IN: US
REFERENCES (3 citations):
Lomax-ABFS, pp. 196-197, "Woman Blue" (1 text, 1 tune)
Silber-FSWB, p. 77, "I Know You Rider" (1 text)
DT, KNOWRIDR
Roud #15575
NOTES: The Lomaxes claim to have gotten one verse of this from a female prisoner (location unidentified). No word of the source for the other ninety percent of their text. - RBW
File: LxA196

I Lay Around the Old Jail House (John C. Britton)


DESCRIPTION: Perhaps a composite song: The singer complains of life in jail and of working in the coal mines. There follows a brief item about a raid or a race from "Manthus" to Cairo in which John C. Britton suffers a grave loss of men
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: prison mining work hardtimes racing war death
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 364, "I Lay Around the Old Jail House (John C. Britton)" (1 text)
Roud #11734
NOTES: It's not often that one encounters a song this confusing. The first four stanzas seem to be your standard prison/poverty song. Stanza 5 is a floater. Stanzas 6 and 7 are suspected of being from at least one and perhaps two other songs.
The editors of Brown suggest that the last stanzas might be a description of a Civil War raid. Possible, but if so, it's too small to have left a dent in the standard histories. But I rather doubt it. It looks to me like a race between two boats, the John C. Britton and the (Robert E.?) Lee, from Memphis to Cairo. The rest must be referred to the reader. - RBW
File: Br3364

I Learned about Horses from Him


DESCRIPTION: The singer describes the horses (and others) he has met in his life. Every incident ends with the rueful comment, "I learned about horses from him." There is a "horse," Conscience, he hasn't ridden; he expects hereafter to learn about that horse from Him
AUTHOR: George B. German
EARLIEST DATE: 1932
KEYWORDS: cowboy horse humorous gods
FOUND IN: US
REFERENCES (1 citation):
Ohrlin-HBT 71, "I Learned about Horses from Him" (1 text, 1 tune)
NOTES: Modeled after Kipling's poem "The Ladies" ("I Learned about Women from Her"). - RBW
File: Ohr071

I Left Inverquhomery


DESCRIPTION: The singer "left Inverquhomery and gaed to New Deer To plunge in the bogs wi' a bull and a steer." The plough breaks in two and the oxen carry half away home.
AUTHOR: unknown
EARLIEST DATE: 1907 (GreigDuncan3)
KEYWORDS: farming work animal
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan3 380, "I Left Inverquhomery" (1 text)
Roud #5917
NOTES: GreigDuncan3 has a map on p. xxxv, of "places mentioned in songs in volume 3" showing the song number as well as place name; Auchmaliddie (380) is at coordinate (h4-5,v9) on that map [near New Deer, roughly 28 miles N of Aberdeen]; Inverquhomery (380,426) is at coordinate (h4-5,v0) on that map [roughly 26 miles N of Aberdeen] - BS
Last updated in version 2.4
File: GrD3380

I Left Ireland and Mother Because We Were Poor


See There's a Dear Spot in Ireland (File: HHH821)

I Like to Be There


DESCRIPTION: "I like to be there when the engine starts early in the morning; I like to sit me down at breakfast time, Just when the engine's roaring.... Then hurrah for the life of the factory While we're waiting for the judgment day."
AUTHOR: unknown
EARLIEST DATE: 1954 (MacColl)
KEYWORDS: technology work
FOUND IN: Britain(England(North))
REFERENCES (1 citation):
MacColl-Shuttle, p. 5, "I Like to Be There" (1 short text, 1 tune)
CROSS-REFERENCES:
cf. "Country Life" (form, lyrics)
NOTES: This reminds me very strongly of "Country Life"; I'm fairly sure there is influence. But the tunes are different. - RBW
File: MacCS05

I Live Not Where I Love


DESCRIPTION: The girl laments that "I live not where I love." In flowery phrases she describes her fidelity. She hopes that she and her lover may be reunited/never part.
AUTHOR: unknown
EARLIEST DATE: before 1845 (broadside, Bodleian Harding 11(39))
KEYWORDS: love separation
FOUND IN:
REFERENCES (3 citations):
Chappell/Wooldridge I, p. 200, "I Live Not Where I Love" (1 fragment of text; the text and tune listed are not this piece)
cf. BBI, ZN1787, "Must the absence of my mistresse"; ZN3048, "You loyal Lovers that are distant"
DT, NOTWHERE NOTWHER2
Roud #593
BROADSIDES:
Bodleian, Harding B 11(39), "I Live Not Where I Love" ("Come all you maids that live at a distance"), J. Pitts (London), 1819-1844; also Harding B 11(1638), "I Live Not Where I Love"
NOTES: On the basis of the ornate lines in the text ("All the world should be one religion, All living things should cease to die, If ever I prove false to my jewel Or any way my love deny"), it would seem likely that this piece began life as an art song. How far it made it into the traditional repertoire remains to be determined.
The most likely antecedent appears to be Martin Parker's 1740 piece, "A Paire of Turtle Doves." Whether this song is directly derived from Parker's piece, or has simply exchanged some lines, is hard to tell. - RBW
File: ChWI200

I Lo'e the Lasses


DESCRIPTION: In the chorus the singer loves lasses "short or tall," "dark or fair," "bless them all." One verse about grannie, "wrinkles on her brow But once she was a bonnie bonnie lass"
AUTHOR: unknown
EARLIEST DATE: 1906 (GreigDuncan7)
KEYWORDS: courting nonballad beauty
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1322, "I Lo'e the Lasses" (1 fragment, 1 tune)
Roud #7213
File: GrD71322

I Long to be Wedding


See The Old Maid's Song (File: R364)

I Lost My Mull and A' My Sneeshin'


DESCRIPTION: The singer complains that he lost his snuff box and snuff while courting "a saucy quine." He can do without the girl [whore?] or snuff but wishes he had his snuff box again.
AUTHOR: unknown
EARLIEST DATE: 1907 (GreigDuncan7)
KEYWORDS: courting nonballad drugs
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1405, "I Lost My Mull and A' My Sneeshin'" (2 fragments, 1 tune)
Roud #7257
File: GrD71405

I Love a Nobody


See I Don't Love Nobody (File: R782)

I Love But One


DESCRIPTION: "I am in love and that is true I love but one and that is you"
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: love nonballad
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1836, "I Love But One" (1 short text)
Roud #13603
NOTES: The current description is all of the GreigDuncan8 text.
GreigDuncan8: apparently a verse for a valentine or album. - BS
Last updated in version 2.5
File: GrD81836

I Love Little Willie


DESCRIPTION: "I love Little Willie, I do, mama, I love Little Willie, But don't you tell Pa! For he wouldn't like it, you know, mama." Similarly: "He wrote me a letter," "He gave me a ring," "And now we are married," "We fuss and we scratch."
AUTHOR: unknown
EARLIEST DATE: 1922 (Brown)
KEYWORDS: love courting marriage trick father mother
FOUND IN: US(SE,So)
REFERENCES (4 citations):
BrownIII 307, "I Love Little Willie, I Do, Mamma" (1 text plus 1 fragment, 4 excerpts, and mention of 3 more)
Randolph 382, "I Love Little Willie" (3 texts, 2 tunes)
MHenry-Appalachians, p. 23, "I Love Little Willie" (1 text)
Lomax-ABFS, p. 327, "I Love Little Willie" (1 text, 1 tune)
Roud #3538
SAME TUNE:
I Love My Union (Greenway-AFP, p. 128)
File: R382

I Love Little Willie, I Do, Mamma


See I Love Little Willie (File: R382)

I Love My Love (I) (As I Cam' Owre Yon High High Hill)


DESCRIPTION: The singer meets a pretty girl, asks who her father is, asks where she lives, asks if she would marry. She is not overly enthusiastic. He bids farewell and hopes she will be kinder when he returns. In the chorus, he admits "But I love her yet...."
AUTHOR: unknown
EARLIEST DATE: 1908 (GreigDuncan5)
KEYWORDS: courting rejection love floatingverses
FOUND IN: Britain(Scotland(Aber))
REFERENCES (3 citations):
Greig #18, p. 1, ("As I cam' owre yon heich heich hill") (1 text)
GreigDuncan5 964, "I Love My Love" (3 texts, 1 tune)
Ord, p. 129, "As I Cam' Owre Yon High High Hill" (1 text)
Roud #5548
CROSS-REFERENCES:
cf. "Seventeen Come Sunday" [Laws O17] (floating lyrics)
cf. "Trooper and Maid" [Child 299] (floating lyrics)
ALTERNATE TITLES:
The Wanton Lad
NOTES: So much of this piece is shared with "Seventeen Come Sunday" and "Trooper and Maid" (which themselves cross-fertilize) that it cannot be regarded as an independent song. But this ends with the woman rejecting the man, and also has that interesting chorus: But I love my love, and I love my love, And I love my love most dearly; My whole delight's in her bonnie face, And I long to have her near me." So we split. - RBW
Last updated in version 2.5
File: Ord129

I Love my Love (II)


DESCRIPTION: "All my friends fell out with me/Because I kept my love's company." The singer must leave to go over the mountain because his fortune is low. "When I have gold she has her part/And when I have none she has my heart... And upon my honor I love her still."
AUTHOR: unknown
EARLIEST DATE: 1918 (Cecil Sharp collection)
LONG DESCRIPTION: Singer says "All my friends fell out with me/Because I kept my love's company." He must leave to go over the mountain because his fortune is low. "When I have gold she has her part/And when I have none she has my heart/And she gained it too with a free good will/And upon my honor I love her still." "The winter's past and summer's come/The trees are budding one by one/And when my true love chooses to stay/I'll stay with her till the break of day"
KEYWORDS: poverty courting love sex parting travel lover
FOUND IN: US(SE)
REFERENCES (1 citation):
SharpAp 190, "I Love my Love" (1 text, 1 tune)
Roud #3612
NOTES: It's hard to distinguish this from the plethora of songs with similar themes. The verses "All my friends fell out with me..." and "Over the mountain I must go/Because my fortune is so low/With an aching heart and a troubled mind/For leaving my true love behind" are good delineators.
Jean Ritchie used most of the lyrics for her song "One I Love," changing the sex of the singer and adding the chorus "One I love; two, he loves/Three, he's true to me" [Said chorus now being indexed as "One I Love, Two I Love." - RBW] - PJS
File: ShAp190

I Love My Love with an A


DESCRIPTION: "I love my love with an A, because he's A(greeable), I hate him because he's A---, He took me to the sign of the A---, And treated me with A---, His name is A---, and he lives in A---." Similarly through the rest of the letters of the alphabet.
AUTHOR: unknown
EARLIEST DATE: 1871 (Through the Looking Glass)
KEYWORDS: love wordplay playparty nonballad
FOUND IN: Britain(England)
REFERENCES (1 citation):
Baring-Gould-MotherGoose #667, p. 264, "(I love my love with an A, because he's Agreeable)"
NOTES: This probably isn't a song, since it's based on alliteration (meaning that the meter can suffer). But it is certainly ancient, and well-enough known that Lewis Carroll used it in the chapter "The Lion and the Unicorn" (itself named for a folk rhyme) in Through the Looking Glass. Alice uses the letter "H" and describes the White King's messenger Haigha.
Martin Gardner, in The Annotated Alice (pp. 279-280) refers the business back to Halliwell -- and notes a likely hidden wordplay, in that Alice was actually doing the "A" verse, because Haigha would probably have dropped the "H" in his name (i.e. it would be pronounced "ay-yore." Any resemblance to A. A. Milne is probably coincidence).
Incidentally, "Haigha" and "Hatta," although the names are applied to "Anglo-Saxon Messengers," are not Anglo-Saxon names. Some have wondered why Tenniel illustrated Haigha as the March Hare and Hatta as the Mad Hatter. Drop your r's and say "Hare" and "Hatter" and what do you get? - RBW
Last updated in version 2.5
File: BGMG667

I Love My Sailor Boy


DESCRIPTION: The singer overhears a girl declare, "Let my friends say what they will, I love my sailor boy." She praises his appearance and virtues. Her mother calls her foolish and bids her wed a "steady farmer's son." The girl disdains such a lover
AUTHOR: unknown
EARLIEST DATE: 1922 (Dean)
KEYWORDS: love sailor mother farming floatingverses
FOUND IN: US(MW)
REFERENCES (2 citations):
Dean, pp. 84-85, "I Love My Sailor Boy" (1 text)
Rickaby (notes to #10, "The Shanty-boy and the Farmer's Son"), "I Love My Sailor Boy" (1 text)
ST Rick203 (Partial)
Roud #9603
CROSS-REFERENCES:
cf. "The Farmer and the Shanty Boy" (theme)
cf. "Adieu Sweet Lovely Nancy" (lyrics)
cf. "Whistling at the Ploo" (theme)
cf. "Hearts of Gold" (theme)
NOTES: This song is one of those items where every line has parallels elsewhere (especially in "Adieu Sweet Lovely Nancy," but the parallels are truly to numerous to list). I'm not really sure it exists on its own. But when in doubt, we split. - RBW
File: Rick203

I Love My Sweetheart the Best


DESCRIPTION: "The sun was sinking slowly, Sinking in the west; I love all those pretty boys, But I love my sweetheart the best." The girl regrets ignoring mother's advice; boys have led her astray. She points out that mother is wise and a friend; men are deceivers
AUTHOR: unknown
EARLIEST DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: love mother betrayal
FOUND IN: US
ST RcILMSTB (Full)
Roud #13150
RECORDINGS:
Kelly Harrell, "I Love My Sweetheart the Best" (Victor 20867, 1927; on KHarrell02)
NOTES: I don't know Harrell's source for this -- but so much of his material is traditional that I have to think this is another traditional song. - RBW
File: RcILMSTB

I Love Nae Apples, I Love Nae Plums


DESCRIPTION: "I love nae apples, I love nae plums, I love nae young men that carry guns; But I love the cherry drops from the tree, And I love my ain love where'er he be."
AUTHOR: unknown
EARLIEST DATE: 1914 (GreigDuncan8)
KEYWORDS: love nonballad food
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan8 1919, "I Love Nae Apples, I Love Nae Plums" (1 short text)
Roud #16135
NOTES: The current description is all of the GreigDuncan8 fragment.
Is this a reworked "Do You Love an Apple?" - BS
Last updated in version 2.5
File: GrD81919

I Love Old Ireland Still


DESCRIPTION: The singer wants to see "old Ireland once more free." Ireland would prosper if allowed "the wealth that lies beneath her soil." "Let friends all turn against me, let foes say what they will, My heart is with my country, I love old Ireland still."
AUTHOR: probably J.H. Woodhouse (per broadside Bodleian Harding B 11(4009)
EARLIEST DATE: 1901 (O'Conor)
KEYWORDS: Ireland nonballad patriotic
FOUND IN:
REFERENCES (1 citation):
O'Conor, p. 131, "I Love Old Ireland Still" (1 text)
BROADSIDES:
Bodleian, Harding B 11(4009), "I Love Old Ireland Still", Howard & Co (London), n.d.
NOTES: Broadside Bodleian, Harding B 11(4009): "Written, composed, and sung with tremendous success by J.H. Woodhouse." - BS
File: OCon131

I Love Sixpence


DESCRIPTION: "I love sixpence," spend a penny, lend a penny, and take fourpence home to the wife. The singer repeats the process with fourpence and twopence. With nothing left he says "I have nothing, I spend nothing, I love nothing better than my wife"
AUTHOR: unknown
EARLIEST DATE: 1810 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: poverty humorous nonballad wife
FOUND IN: Britain(Scotland(Aber))
REFERENCES (3 citations):
Opie-Oxford2 480, "I love sixpence, jolly little sixpence" (1 text)
Baring-Gould-MotherGoose #113, pp. 93-95, "(I love sixpence, a jolly, jolly sixpence)"
GreigDuncan3 572, "I've Got a Shilling" (3 texts, 1 tune)
Roud #1116
ALTERNATE TITLES:
The Jolly Tester
The Shilling
File: OO2480

I Love the Blue Mountains


DESCRIPTION: Halyard shanty: "I love the blue mountains of Tennessee, that's the place for you and me." Singer is a former slave who was set free (in 1863), he's going back to Tennessee to get his wife and child (pickanniny) and then will quit sailing.
AUTHOR: unknown
EARLIEST DATE: 1945 (Harlow)
KEYWORDS: shanty slave return family home
FOUND IN: US
REFERENCES (1 citation):
Harlow, pp. 143-144, "I Love the Blue Mountains" (1 text, 1 tune)
Roud #9147
NOTES: Harlow apparently attributed this to Black sailors. It strikes me as a little too "still longing for the old plantation"-ish for me to trust that claim without more data. - RBW
File: Harl143

I Love to Tell the Story


DESCRIPTION: "I love to tell the story Of unseen things above, Of Jesus and his glory, Of Jesus and his love.... I love to tell the story, 'Twill be my theme in glory." The singer says repeatedly how it is "pleasant to repeat" the inspiration supplied by Jesus
AUTHOR: Words: [Arabella] Katherine Hankey (1834-1911) / Music: William Gustavus Fisher (1835-1912)
EARLIEST DATE: 1869 (source: Johnson)
KEYWORDS: religious nonballad
FOUND IN: US
REFERENCES (1 citation):
ADDITIONAL: Charles Johnson, One Hundred and One Famous Hymns (Hallberg, 1982), pp, 186-187, "I Love to Tell the Story" (1 text, 1 tune)
Roud #17488
File: BdILtTtS

I Love You And I Can't Help It


DESCRIPTION: "I love you and I can't help it, fol dol day, fol dol day (x2)" "Oh my love you're too hard-hearted." "Oh my love I will call you honey." "If you do I will call you beeswax."
AUTHOR: unknown
EARLIEST DATE: 1940
KEYWORDS: dialog courting rejection humorous
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 363, "I'm Going Away to Texas" (3 texts, 1 tune, but only the "B" text goes here; "A" is the true "I'm Going Away to Texas" and "C" is a "Quaker's Wooing" type)
Roud #6691
NOTES: This may, as Randolph suggests, be a form of one or another of the courting-and-rejection songs -- but the verses which survive look independent to me. - RBW
File: R363B

I Love You Well


See My Dearest Dear (File: SKE40)

I Love You, Jamie


DESCRIPTION: The singer says she loves Jamie better than he loves her. She was foolish to fall in love with an Irish boy who "spoke braw Scotch, when he courted me." He said only death would part them and showed her "the hoose that we will dwell"
AUTHOR: unknown
EARLIEST DATE: 1911 (GreigDuncan6)
KEYWORDS: courting nonballad love
FOUND IN: Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #175, pp. 1-2, "The Foolish Young Girl" ;Greig #177, p. 3, ("I love you Jamie, I love you well") (2 texts)
GreigDuncan6 1168, "I Love You, Jamie" (2 texts)
Roud #60
NOTES: Both GreigDuncan6 texts are from Greig. The text of GreigDuncan6 1168A is three verses of Greig #175, omitting the verses that float from "Tavern in the Town." The text of GreigDuncan6 1168B from Greig #177 is a fragment of the first verse of "The Foolish Young Girl." - BS
Last updated in version 2.5
File: GrD51168

I Love-ed a Lass


DESCRIPTION: "I love-ed a lass, She prove-ed unkind, I'll sing you as arkard as ever I can, and I'll sing you as arkard as ever I can." "Her beautiful looks so enravished my mind, I'll sing you as arkard...." The rest is mostly nonsense verses about animal behavior
AUTHOR: unknown
EARLIEST DATE: 1930 (Henry, collected from Samuel Harmon)
KEYWORDS: love humorous animal
FOUND IN: US(Ap)
REFERENCES (1 citation):
MHenry-Appalachians, pp. 20-22, "I Love-ed A Lass" (1 text)
Roud #4197
NOTES: Looking at this, I have a very strong feeling that it's based on "Way Up on Clinch Mountain" or "Drunkard's Hiccups," with a lot of nonsense and floating material thrown at it. But with only one version known, and no access to the tune, I can't prove it. - RBW
File: MHAp020

I Loved a Lass


See The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)

I Loved You Better Than You Knew


DESCRIPTION: "Our hands are clasped at last forever, Perhaps we'll never meet again, I loved you as I could no other, This parting fills my heart with pain." The singer rehearses all that she will suffer, demonstrating the theme "I loved you better than you knew."
AUTHOR: Johnny Carroll ((?)
EARLIEST DATE: 1893 (copyright)
KEYWORDS: love farewell betrayal rambling
FOUND IN: US(So)
REFERENCES (2 citations):
Randolph 738, "I Loved You Better Than You Knew" (1 text); also 755, "The Broken Heart" (the "A" text includes a stanza from this piece)
Randolph/Cohen, pp. 493-495, "The Broken Heart" (1 text, 1 tune -- Randolph's 755A)
Roud #6434
RECORDINGS:
The Carter Family, "I Loved You Better Than You Knew" (Victor 23835, 1933)
File: R738

I Married Me a Wife (I)


See The Holly Twig [Laws Q6] (File: LQ06)

I Maun Hae My Goon Made


DESCRIPTION: "I maun hae my goon made ... like ony ligger [camp-follower, per GreigDuncan8], Side and wide about the tail An' jimp [close-fitting] for my body"
AUTHOR: unknown
EARLIEST DATE: 1910 (GreigDuncan8)
KEYWORDS: clothes nonballad
FOUND IN: 'Britain(Scotland(Aber))
REFERENCES (2 citations):
Greig #159, p. 2, "I Maun Hae My Goon Made" (1 text)
GreigDuncan8 1626, "I Maun Hae My Goon Made" (1 text)
Roud #13074
File: GrD81626

I May Be Gone


See Oh, Lord, How Long (File: R615)

I Mean to Go to Heaven Anyhow


DESCRIPTION: "I mean to go to heaven anyhow... Jesus died, oh, he died on the cross, To set every sinner free." "You told mother when she was living... You would treat her chilluns good... But... you've driven us from your door."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: orphan hardtimes mother death Jesus religious
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 592, "I Mean to Go to Heaven Anyhow" (1 text)
Roud #11905
File: Br3592

I Measure My Love to Show You


See Go In and Out the Window (File: R538)

I Met a Handsome Lady


DESCRIPTION: Singer meets a lady who invites him into her parlor and says nice things; he says she can send for the preacher, he'll be ready and have his shoes greased. The preacher says she is too young; all sit down to a supper of chicken and underdone turkey
AUTHOR: Unknown; some verses added by H. N. Dickens
EARLIEST DATE: 1957 (recording by H. N. Dickens)
KEYWORDS: age courting marriage wedding food party bird chickens clergy lover
FOUND IN: US(SE)
Roud #12644
RECORDINGS:
H. N. Dickens, "I Met a Handsome Lady" (on Stonemans01)
CROSS-REFERENCES:
cf. "Cindy" (lyrics)
cf. "Pig at Home in the Pen" (lyrics)
cf. "Roving Gambler" (lyrics)
NOTES: A most disjointed song, and I can't tell whether it was used as a dance tune or not (but I suspect not). - PJS
File: RcIMAHaL

I Met a Possum in the Road


DESCRIPTION: "I met a possum in the road, 'Bre'r Possum, whar you gwine?' 'I bless my soul and thank my stars To sunt some muscadine.'" "I met a possum in the road, and 'shamed he looked to be. He stuck his tail between his legs And gave the road to me."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: animal nonballad
FOUND IN: US(Ap,So)
REFERENCES (1 citation):
Scarborough-NegroFS, p. 177, (no title) (1 fragments, perhaps floating or not the same song)
File: ScNF177A

I Met Her in the Garden Where the Praties Grow


See Garden Where the Praties Grow (File: San463)

I Must And Will Get Married (The Fit)


DESCRIPTION: Mother and daughter are talking. The daughter says, "I must and will get married; I'm in the notion now" (or "...the fit comes on me now"). Mother asks who she will marry; she names the (miller Sam). If he won't agree, she'll find another
AUTHOR: unknown
EARLIEST DATE: before 1845 (broadside, Bodleian Harding B 11(4262))
KEYWORDS: marriage mother loneliness
FOUND IN: US(Ap,SE)
REFERENCES (3 citations):
SharpAp 128, "I Must and I Will Get Married" (1 text, 1 tune)
Sharp/Karpeles-80E 53, "I Must And Will Get Married" (1 text, 1 tune)
Chappell/Wooldridge II, pp. 27-28, "The Fit's Upon Me Now" (1 tune, which may be this piece; no text is provided)
Roud #441
BROADSIDES:
Bodleian, Harding B 11(4262)[some words illegible], "The Fit Comes on me Now" ("It was on Easter Monday, the spring time of the year"), J. Pitts (London), 1819-1844; also Harding B 11(264), Harding B 11(1217), "The Fit Comes on me Now"
NLScotland, L.C.Fol.178.A.2(048), "The Tid is on Me Now," James Lindsay (Glasgow), c.1855
CROSS-REFERENCES:
cf. "Lolly-Too-Dum" (theme)
ALTERNATE TITLES:
The Fit Comes On Me Now
NOTES: This song is thematically identical to "Lolly-Too-Dum," but the stanza form is different enough that I have separated them. - RBW
Last updated in version 2.5
File: SKE53

I Must Away


See Rise Up Quickly and Let Me In (The Ghostly Lover) (File: Ord089)

I Must See My Mother


See Ten Thousand Miles Away (On the Banks of Lonely River) (File: R697)

I Need Another Witness


See Witness (File: RcWtnss1)

I Never Shall Forget


See The Day Columbus Landed Here (File: FJ178)

I Never Taul Them When


See The London Rover (File: GrD71483)

I Never Will Marry [Laws K17]


DESCRIPTION: The singer meets a fair woman by the seashore. She (is reading a letter which) reveals that her lover is dead. The singer asks her to marry him. She vows she never will marry, and ensures it by drowning herself
AUTHOR: unknown
EARLIEST DATE: 1906 (Belden)
KEYWORDS: love death suicide
FOUND IN: Britain US(SE,So)
REFERENCES (9 citations):
Laws K17, "Down by the Sea Shore"
Belden, pp. 167-168, "The Lover's Lament for her Sailor" (2 texts)
Randolph 84, "Down by the Sea-Shore" (2 texts plus 1 fragment and 1 excerpt, 2 tunes)
McNeil-SFB1, pp.130-131, "The Maiden's Lament" (1 text, 1 tune)
Lomax-FSNA 114, "I Never Will Marry" (1 text, 1 tune)
GreigDuncan6 1244, "The Banks of the Bann" (2 texts, 2 tunes)
PSeeger-AFB, p. 29, "I Never Will Marry" (1 text, 1 tune)
Silber-FSWB, p. 181, "I Never Will Marry" (1 text)
DT 405, CONSTLOV NEVMARRY* (FORSAKMM)
Roud #466
RECORDINGS:
Carter Family, "I Never Will Marry" (Montgomery Ward M-7356, c. 1935; Bluebird B-8350, 1940)
Texas Gladden w. Hobart Smith, "I'm Never to Marry" (Disc 6080, 1940s)
Pete Seeger, "I Never Will Marry" (on HootenannyCarnegie) (on PeteSeeger27)
CROSS-REFERENCES:
cf. "Chowan River" (theme)
ALTERNATE TITLES:
The Shells of the Ocean
File: LK17

I Never Will Marry a Man Who Is Rich


See I'll Not Marry at All (File: E072)

I Never Will Turn Back Any More


DESCRIPTION: "When I was a boy I had a little mule That I always rode to Sunday School. Lord, I never will turn back any more." Humorous stanzas of religious life: The mule "got in an awful way"; the singer meets Satan in a meadow or runs into a hornet's nest
AUTHOR: unknown
EARLIEST DATE: 1939 (Brown)
KEYWORDS: religious humorous floatingverses
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 345, "I Never Will Turn Back Any More" (1 text)
Roud #11739
CROSS-REFERENCES:
cf. "Chased Old Satan Through the Door" (floating verses)
NOTES: This reads like a humorous take on a church hymn; several of the verses float. It looks a lot like "Chased Old Satan Through the Door," but that seems to be built on a different hymn. - RBW
File: Br3345

I Often Think of Writing Home


DESCRIPTION: Singer, a California miner, often thinks of writing to his family, but seldom does; he's half a mind to tell them he's coming home. "For it keeps a man a-hunting round to keep up with the times And pen and ink is very scarce for people in the mines...."
AUTHOR: unknown
EARLIEST DATE: 1858 (Put's Golden Songster)
KEYWORDS: homesickness loneliness poverty home separation travel mining hardtimes nonballad
HISTORICAL REFERENCES:
1848 - gold found in Sutter's Mill, California.
1849 - multitudes of easterners emigrate west, hoping to "make their pile"
FOUND IN: US(SW)
RECORDINGS:
Logan English, "I Often Think of Writing Home" (on LEnglish02)
CROSS-REFERENCES:
cf. "My Irish Molly-O" (tune)
File: RcIOTOWH

I Once Did Know a Farmer


See Treat My Daughter Kindly (The Little Farm) (File: R668)

I Once Had a Granny


DESCRIPTION: "I once had a granny And songs she had many And there ne'er will be any Shall sing them so well." She sang as she baked "of lovers who parted ... Of soldiers and sailors Of tinkers and tailors ...." Before she died she bade the singer not to cry.
AUTHOR: Hugh Quinn (1884-1956) (source: Hammond-Belfast)
EARLIEST DATE: 1952 (_Rann Magazine_ Summer 1952, according Roud)
KEYWORDS: music nonballad family
FOUND IN: Ireland
REFERENCES (1 citation):
Hammond-Belfast, p. 17, "I Once Had a Granny" (1 text, 1 tune)
Roud #5109
File: Hamm017

I Once Had a True Love


DESCRIPTION: Singer bids adieu to Molly whose parents slight him for his "want of gear" He dreams she comes to him and says "it will not be long love, till our wedding day" Floating lines. But she is not here. "I'll think of you Molly when I am alone"
AUTHOR: unknown
EARLIEST DATE: 1960 (Tunney-StoneFiddle)
KEYWORDS: love rejection dream floatingverses nonballad
FOUND IN: Ireland
REFERENCES (1 citation):
Tunney-StoneFiddle, p. 153, "I Once Had a True Love" (1 text)
CROSS-REFERENCES:
cf. "If I Were a Fisher" (floating verses)
cf. "She Moved Through the Fair" (floating verses)
NOTES: The "floating lines" include "if I was a fisher ... and my love was a salmon" and "if I was a blackbird and had wings to fly"; there are also lines that are more explicit than most floaters I have seen: "In a grove of green laurels I'd lay my love down And with my strong wings I would her surround" and "Since the notion has took me to make my own will Sure my own rod beats sorest and does hurt me still."
Tunney-StoneFiddle notes Tunney's hearing this song in 1960. He makes it "the original traditional song" behind Padraic Collum's "She Moved Through the Fair." Also see his comment on "My Young Love Said to Me" at "She Moved Through the Fair." - BS
File: TSF153

I Once Loved a Boy


See The Bonny Boy (I) (File: FSC037)

I Once Loved a Girl in Kilkenny


See Eileen, The Flower of Kilkenny (File: GrMa76)

I Once Loved a Lass


See The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)

I Onct Was Young


DESCRIPTION: "I onct was young but now I'm old, Am blind, but yet I have a soul, That soul to save... Or else sink down to endless woe." "My threescore years is at an end." "I have three sons before me gone... By faith through prayer we'll win the day."
AUTHOR: unknown
EARLIEST DATE: 1937 (Scarborough)
KEYWORDS: injury death religious
FOUND IN: US(So)
REFERENCES (1 citation):
Scarborough-SongCatcher, pp. 40-41, (no title) (1 text)
ST ScaSC040 (Partial)
Roud #8814
NOTES: Reportedly composed by the uncle of Grandma Bell on his deathbed. There are quite a few hints of older songs, though; I suspect he adapted rather than wrote. And, yes, that's "onct" in the title. - RBW
File: ScaSC040

I Picked My Banjo Too


DESCRIPTION: "Come all you sons of freedom, Come listen unto me...." "I used to be a rebel, I wandered from the Lord...." "The conflict between two parties, the gray coats and the blue, I volunteered for freedom, And picked my banjo too." But he then turns to Jesus
AUTHOR: unknown
EARLIEST DATE: 1936 (Brown)
KEYWORDS: religious music freedom soldier slave
FOUND IN: US(Ap,SE)
REFERENCES (2 citations):
BrownIII 594, "I Picked My Banjo Too" (1 text)
Thomas-Makin', pp. 175-177, (no title listed, but perhaps to be called "Rufus Mitchell") (1 text)
Roud #11904
CROSS-REFERENCES:
cf. "The Southern Wagon (Confederate)" (lyrics, themes)
NOTES: I have to suspect that this was composed in imitation of "The Southern Wagon," but I can't prove it.
It also shows signs of conflation: On the one hand, a slave who joins the Union armies (common and natural enough), on the other a banjo-picking sinner brought back to Christianity (and induced to give up the banjo). The problem with *that* is that almost all slaves were Christian -- and played the banjo anyway.
Frankly, the result looks like a modern banjo joke. And I'll also say that, instead of burning his banjo, the singer should have bashed that alleged preacher over the head with it. If he had to ruin the instrument, at least do something useful with it along the way. - RBW
File: Br3594

I Put My Little Hand In


See Looby Lou (File: R554)

I Reckon You Know What I Mean


See The Trooper Watering His Nag (File: RL044)

I Ride an Old Paint


DESCRIPTION: "I ride an old paint, I lead an old Dan/dam... Ride around, little dogies, ride around 'em slow...." Verses on various topics: The cowboy's travels, the strayed children of Old Bill Jones, the cowboy's hopes for his funeral
AUTHOR: unknown
EARLIEST DATE: 1927 (Sandburg)
KEYWORDS: cowboy horse rambling funeral children
FOUND IN: US(SW)
REFERENCES (8 citations):
Larkin, pp. 33-35, "I Ride an Old Paint" (1 text, 1 tune)
Lomax-FSUSA 63(B), "Old Paint" (1 text, 1 tune)
Sandburg, pp. 12-13, "I Ride an Old Paint" (1 text, 1 tune)
Scott-BoA, pp. 260-261, "I Ride an Old Paint" (1 text, 1 tune)
Botkin-AmFolklr, pp. 857-858, "I Ride an Old Paint" (1 text, 1 tune)
PSeeger-AFB, p. 25, "I Ride An Old Paint" (1 text, 1 tune)
Silber-FSWB, p. 106, "I Ride An Old Paint" (1 text)
DT, RIDEPNT*
Roud #915
RECORDINGS:
Almanac Singers, "I Ride an Old Paint" (General 5020B, 1941; on Almanac01, Almanac03, AlmanacCD1)
Harry Jackson, "I Ride an Old Paint" (on HJackson1)
Tex Ritter, "A-Ridin' Old Paint" (Conqueror 8144, 1933; on BackSaddle)
Pete Seeger, "I Ride an Old Paint" (on PeteSeeger17)
CROSS-REFERENCES:
cf. "Goodbye, Old Paint"
File: LxU063B

I Rock from Selma


DESCRIPTION: "I rock from Selma, ting tang, I'm a Georgia ruler, ting tang, I'm a Mobile gentelman, Susie-annah, Loan me de goar to drink water!" "Den all back-shuffle and clap yo' hands." "Come shuffle up, ladies, ting tang, Oh Miss Williams, ting tang."
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: dancing nonballad
FOUND IN: US(So)
REFERENCES (1 citation):
Scarborough-NegroFS, p. 114, (no title) (1 short text)
NOTES: This sounds like it's made up of floating verses -- but it isn't; none of the lyrics are familiar. So I guess it gets its own entry. - RBW
File: ScaNF114

I Saw a Man at the Close of Day


See Drunkard's Doom (I), The (File: R306)

I Saw a Ship a-Sailing


See Ship a-Sailing, A (File: OBB104)

I Saw a Sparrow


See Martin Said To His Man (File: WB022)

I Saw the Beam in My Sister's Eye


DESCRIPTION: "I saw the beam in my sister's eye, Can't see the beam in mine. You'd better lef' your sister door; Go keep your own door clean." "And I had a mighty battle like Jacob of old." "I didn't intend to lef' 'em go Till Jesus bless my soul."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious fight
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, pp. 17-18, "I Saw the Beam in My Sister's Eye" (1 text, 1 tune)
Roud #11842
NOTES: The first verse of this is a curious twist on Matt. 7:3f.=Luke 6:41f., in which Jesus warns of seeing a mote/speck in a brother's eye but ignoring the log/beam in one's own. The story of Jacob wrestling God or an angel and demanding a blessing is in Genesis 32:22-32. - RBW
Last updated in version 2.4
File: AWG017

I Saw the Light from Heaven (Dry Bones (I))


DESCRIPTION: "Enoch lived to be Three hundred and sixty-five And the Lord came down And took him up to heaven alive. I saw, I saw, I saw the light from heaven come shining all around." Other assorted Bible stories, such as the dry bones in the valley
AUTHOR: unknown
EARLIEST DATE: 1928 (recording, Bascom Lamar Lunsford)
KEYWORDS: religious Bible
FOUND IN: US(SE)
Roud #17922
RECORDINGS:
Bascom Lamar Lunsford, "Dry Bones" (Brunswick 231, 1928; Brunswick 314, 1929; on AAFM2, BLLunsford01, Babylon)
NOTES: Among the incidents outlined here:
* Enoch's disappearance at age 365: Gen. 5:21-24
* Paul (and Silas) in prison during an earthquake: Acts 16:25-26
* Moses and the Burning Bush: Exodus 3:2ff.
* Dry bones walking: Ezek. 37:1-10
Other incidents, such as Eve's account of "Satan a-tempting me," are not directly Biblical (e.g. in Gen. 3:13, Eve blamed the Serpent for her behavior, but Satan is not named). - RBW
File: RcISTLFH

I Saw the Pale Moon Shining on Mother's White Tombstone


DESCRIPTION: "I am a little orphan, My mother she is dead, My father is a drunkard and won't give me no bread." "I saw the pale moon shining on mother's white tombstone, The roses round it twining it's just like me." The child, with "no mother now," tells of her grief
AUTHOR: unknown
EARLIEST DATE: 1964 (recording, Betty Garland)
KEYWORDS: mother children orphan burial mourning grief
FOUND IN: US(Ap)
RECORDINGS:
Betty Garland, "I Saw the Pale Moon Shining on Mother's White Tombstone" (on BGarland01)
CROSS-REFERENCES:
cf. "Row Us Over the Tide" (subject)
cf. "Orphan's Lament (Two Little Children, Left Jim and I Alone)" (subject)
File: RcISPMSM

I Saw Three Ships


DESCRIPTION: (While sitting on a sunny bank,) the singer sees three ships arrive on Christmas. In the ship are (pretty girls) or Mary, (Joseph), and/or (Jesus). (They/all) (sing/whistle/rejoice) as they sail on to Bethlehem
AUTHOR: unknown
EARLIEST DATE: 1666 (Forbes's Cantus)
KEYWORDS: religious Jesus nonballad ship
FOUND IN: Britain(England(Lond),Wales) US(Ap,MW,SE)
REFERENCES (11 citations):
OBB 104, "I Saw Three Ships" (1 text)
OBC 3, "Sunny Bank"; 18, "I Saw Three Ships" (2 texts, 2 tunes)
Combs/Wilgus 315, pp. 141-142, "Three Ships Came Sailing In" (1 text)
BrownII 53, "I Saw Three Ships Come Sailing In" (1 fragment)
Ritchie-Southern, p. 43, "I Saw Three Ships" (1 text, 1 tune)
Gardner/Chickering 152, "As I Sat on the Sunny Bank" (1 text)
Opie-Oxford2 471, "I saw three ships come sailing by" (2 texts)
Baring-Gould-MotherGoose #331, pp. 180-181, "(I saw three ships come sailing by)"
Silber-FSWB, p. 379, "I Saw Three Ships Come Sailing In" (1 text)
DT, ISAW3SHP*
ADDITIONAL: Ian Bradley, _The Penguin Book of Carols_ (1999), #35, "I Saw Three Ships Come Sailing In" (1 text)
ST OBB104 (Full)
Roud #700
BROADSIDES:
Bodleian, Douce adds. 137(22), "The Sunny Bank," T. Bloomer (Birmingham), 1821-1827; also Harding B 7(38), Harding B 7(30), Harding B 7(37), Harding B 7(35), "As I Sat on a Sunny Bank" ("As I sat on a sunny bank")[some have no title]; Harding B 7(16), "The Sunny Bank"
CROSS-REFERENCES:
cf. "Glasgow Ships" (some lines, but not the tune)
ALTERNATE TITLES:
As I Sat Under a Sycamore Tree
NOTES: It probably need not be pointed out that there is no Biblical basis for this story, and that Bethlehem is nowhere near the ocean nor any body of water large enough for any kind of ship.
This makes it worthwhile to ask, Which version is older? The "Christmas" version is the one now widely sung, and the Combs version (the only one I think that's traditional in America) is a religious text -- but two of Gomme's three versions are secular. Similarly, the Opie version is set on New Year's day, and lists three pretty girls as passengers. On the other hand, several texts refer to "Our Savior Christ and His Lady." This sounds very Catholic -- and hence probably old -- to me.
(I do note that the new year at one time was held to take place on March 25, the day Jesus was conceived, but I don't see a hint of a connection in the song.)
Ian Bradley, in the Penguin Book of Carols, raises the question of why three ships are needed to bring two passengers -- in his version, Jesus and Mary. This is logical, but the likely answer is that the original included Joseph as well, but he was later written out or accidentally dropped. Bradley, though, has an explanation: That three ships sailed in because they were bearing the relics of the three Magi, or perhaps the Magi themselves. Of course, the Bible nowhere says that there were three Magi.
Personally, I'd guess that three is simply an auspicious number. Sure, one ship could carry Jesus and his mother, but three ships gives him an escort -- with the other two ships representing the other two persons of the Trinity. - RBW
Also see Calennig, "Sandy Banks" (on Callenig, "A Gower Garland," Wild Goose WGS 299 CD (2000)). The notes have it noted in Wales by Rev J.D. Davies in 1877. Just two ships here. - BS
Last updated in version 2.5
File: OBB104

I Saw Three Ships Come Sailing By


See I Saw Three Ships (File: OBB104)

I Saw Three Ships Come Sailing In


See I Saw Three Ships (File: OBB104)

I See the Moon


DESCRIPTION: "I see the moon, the moon sees me, God bless the (moon/sailors) and God bless me."
AUTHOR: unknown
EARLIEST DATE: 1784 (Gammer Gurton's Garland, according to Opie-Oxford2)
KEYWORDS: nonballad religious
FOUND IN: US(MW) Britain(England)
REFERENCES (3 citations):
Opie-Oxford2 356, "I see the moon" (1 text)
Baring-Gould-MotherGoose #425, p. 202, "(I see the moon, and the moon sees me)"
ADDITIONAL: Walter de la Mare, _Come Hither_, third edition, 1928, notes to #444 ("I see the moon") (1 short text)
NOTES: I believe I learned this, or the first line of it at least, somewhere in my youth, with a tune similar to the "Fiddle-I-Fee" versions of "I Had a Little Rooster." I know of no folk recordings, but that seems to imply some sort of tradition somewhere. And I have seen variants printed in non-folk sources.
Apparently there was a very popular recording issued some decades back, but I know no details. - RBW
Last updated in version 2.5
File: BGMG425

I Sell't the Horse an' I Bocht a Coo


See The Swapping Boy (File: E093)

I Sent a Letter to My Love


See Atisket, Atasket (I Sent a Letter to My Love) (File: BAF806A)

I Sent My Brown Jug Downtown


See Brown Jug, The (Bounce Around) (File: R534)

I Sent My Love a Letter


See Down in the Valley; also Green Grows the Laurel (Green Grow the Lilacs) (File: R772)

I Shall Not Be Blue


See We Shall Not Be Moved (File: SBoA344)

I Shall Not Be Moved


DESCRIPTION: "I shall not, I shall not be moved/Just like a tree that's planted by the water/I shall not be moved". Other verses substitute "I'm sanctified and holy, I shall not be moved..." "I'm on my way to heaven..." etc..
AUTHOR: Alfred H. Ackley
EARLIEST DATE: 1906 (Ackley, "Hymns for His Praise No. 2")
KEYWORDS: virtue floatingverses nonballad religious
FOUND IN: US(SE)
REFERENCES (2 citations):
BrownIII 596, "I Shall Not Be Blue" (2 texts)
Jackson-DeadMan, pp. 288-289, "I Shall Not Be Moved" (2 texts, 1 tune)
Roud #9134
RECORDINGS:
A. P. Carter Family, "I Shall Not Be Moved" (Acme DF-103, n.d. but prob. early 1950s)
Rev. Edward Clayborn, "I Shall Not Be Moved" (Vocalion 1243, 1929; rec. 1928)
Davis & Nelson, "I Shall Not Be Moved" (QRS 9023, c. 1929)
Jimmie Dickens, "I Shall Not Be Moved" (Columbia 21068, 1953; rec. 1952)
Dixie Reelers, "I Shall Not Be Moved" (Montgomery Ward M-7100, 1937; Bluebird B-7958, 1938; rec. 1936)
Folkmasters, "I Shall Not Be Moved" (on Fmst01)
Roosevelt Graves, "I Shall Not Be Moved" (Paramount 12974, 1930; rec. 1929; on StuffDreams1)
George Herod, "I Shall Not Be Moved" (on MuSouth07)
Harmonizing Four, "I Shall Not Be Moved" (Gotham G772, rec. early 1950s)
Harvesters, "I Shall Not Be Moved" (Columbia 41074, 1957)
I. C. Glee Club, "I Shall Not Be Moved" (OKeh 8872, 1931; rec. 1930)
Kentucky Holiness Singers, "I Will Not Be Removed" (Vocalion 5439; rec. 1930)
Frank & James McCravy, "I Shall Not Be Moved" (Brunswick 196, 1928; Brunswick 3784, 1928; Oriole 8103, c. 1932; rec. 1927) (Banner 32308, 1931)
Charley Patton, "I Shall Not Be Moved" (Paramount 12986, 1930; rec. 1929)
Rev. D. C. Rice & congregation "I Shall Not Be Removed" (Vocalion 1675, 1932; rec. 1929)
Joe & Emma Taggart, "I Will Not Be Removed" (Vocalion 1062, 1926)
Taskiana Four, "I Shall Not Be Moved" (Victor 20183, 1926)
Utica Jubilee Singers, "I Shall Not Be Moved" Victor 24113, 1932)
CROSS-REFERENCES:
cf. "We Shall Not Be Moved"
NOTES: I include this hymn, common in African-American tradition, primarily because it formed the basis for the labor/civil rights anthem, "We Shall Not Be Moved." For the story of that song, see its entry. - PJS
As Paul says, it does have a place in tradition -- e.g. it is nearly the only pure hymn in Jackson-DeadMan. - RBW
Last updated in version 2.4
File: RcISNBM

I Shot My Poor Teacher (With a Big Rubber Band)


DESCRIPTION: "On top of (something), All covered with (something), I shot my poor teacher With a (big) rubber band. I shot her with glory, I shot her with pride. I hardly could miss her; she's forty feet wide." The student describes harassing, killing, burying teacher
AUTHOR: unknown
EARLIEST DATE: 1975
KEYWORDS: humorous murder abuse burial parody derivative
FOUND IN: US
REFERENCES (1 citation):
Pankake-PHCFSB, p. 93, "I Shot My Poor Teacher" (1 text, tune referenced)
CROSS-REFERENCES:
cf. "On Top of Old Smokey" (tune)
NOTES: The proof that this is a folk song is that I've learned at least two versions in my life. It's just that few adults will admit to knowing it. - RBW
File: PHCFS093

I Spied a Ship Sailin' on the Sea


See Waly Waly (The Water is Wide) AND Carrickfergus (File: K149)

I Thank You, Ma'am, Says Dan


See Thank You, Ma'am, Says Dan (File: HHH184)

I Think By This Time He's Forgot Her


See The False Bride (The Week Before Easter; I Once Loved a Lass) (File: K152)

I Think They'd Be Fain that Wad Follow Wi' You


DESCRIPTION: The singer complains that some girls have one or even two lads, but none will have him. He says he would make a good and loving match but even black Maggie "bade me be gone, for an aul' stoopid soo"
AUTHOR: unknown
EARLIEST DATE: 1905 (GreigDuncan7)
KEYWORDS: courting nonballad bachelor
FOUND IN: Britain(Scotland(Aber))
REFERENCES (1 citation):
GreigDuncan7 1389, "I Think They'd Be Fain that Wad Follow Wi' You" (1 text, 1 tune)
Roud #7248
CROSS-REFERENCES:
cf. "The Howes o' Glenorchy" (tune, per GreigDuncan7)
File: GrD81389

I Thought to the Bottom We Would Go


DESCRIPTION: The singer recalls a voyage "with the skipper Of a god-damned Yankee clipper" in which "I thought to the bottom we would go." Leaving port with a large cargo of supplies and a few passengers (half of them whores), the crew narrowly averts disaster
AUTHOR: unknown
EARLIEST DATE: 1982
KEYWORDS: ship storm hardtimes whore
FOUND IN: Australia
REFERENCES (1 citation):
Meredith/Covell/Brown, pp. 97-98, "I Thought to the Bottom We Would Go" (1 text, 1 tune)
NOTES: I feel quite sure that this is a fragment of something else -- but the surviving portion is so damaged that I cannot tell what. - RBW
File: MCB097

I Tickled Nancy


DESCRIPTION: "I'm living in the city, but I like the country life." The singer recalls his happy past: "I'd tickle Nancy, and Nancy'd tickle me, Before we get married, some pleasure we'd see."
AUTHOR: unknown (but probably patched up by Uncle Dave Macon)
EARLIEST DATE: 1935 (recorded by Uncle Dave Macon")
KEYWORDS: courting
FOUND IN: US
Roud #18323
RECORDINGS:
Uncle Dave Macon, "I'll Tickle Nancy" (1935)
CROSS-REFERENCES:
cf. "She Tickled Me" (theme)
NOTES: This is similar enough to "She Tickled me" that I considered lumping them. But the divergences are also large, and I can't find a connecting link. - RBW
File: RcITckNa

I Told 'em Not to Grieve After Me


See Don't You Grieve After Me (I) (File: R257)

I Told Him Not to Grieve After Me


See Don't You Grieve After Me (I) (File: R257)

I Told Them That I Saw You


DESCRIPTION: The singer and girl of "Just Tell Them That You Saw Me" meet again. He tells her that her family "wants her to come home. Their hearts are breaking for you while far away to roam." She breaks down as she thinks of her aged mother and her childhood
AUTHOR: George M. Cohen
EARLIEST DATE: 1922 (Dean)
KEYWORDS: mother children separation
FOUND IN: US(MW)
REFERENCES (1 citation):
Dean, p. 125, "I Told Them That I Saw You" (1 text)
Roud #9599
CROSS-REFERENCES:
cf. "Just Tell Them That You Saw Me" (characters)
NOTES: This is a direct sequel to Paul Dresser's "Just Tell Them That You Saw Me," though with even less place in tradition. - RBW
File: Dean125

I Truly Understand You Love Another Man


DESCRIPTION: Floating verses; "I wish to the lord I'd never been born," "Who's going to shoe your foot," "I'll never listen to what no other woman says...." Chorus: "I truly understand that you love another man/And your heart shall no longer be mine."
AUTHOR: unknown
EARLIEST DATE: 1928 (recording, "Shortbuckle" Roark and family)
KEYWORDS: love floatingverses nonballad rejection
FOUND IN: US(Ap)
REFERENCES (2 citations):
Cohen/Seeger/Wood, pp. 24-25, "I Truly Understand" (1 text, 1 tune)
Scarborough-SongCatcher, pp. 125-126, "I Truly Understand That You Love Some Other Man" (1 text, filed under Child #76 along with a "Pretty Little Foot" fragment and a text of "New River Train/Honey Babe)
ST CSW025 (Full)
Roud #49
RECORDINGS:
New Lost City Ramblers, "I Truly Understand You Love Another Man" (on NLCR01, NLCRCD1)
Shortbuckle Roark and Family, "I Truly Understand You Love Another Man" (Victor V-40023, 1929; rec. 1928; on GoingDown, KMM)
CROSS-REFERENCES:
cf. "Fare You Well, My Own True Love (The Storms Are on the Ocean, The False True Lover, The True Lover's Farewell, Red Rosy Bush, Turtle Dove)" (floating lyrics)
cf. "Long Lonesome Road" (floating lyrics)
File: CSW025

I Tuck Me Some Corn to the County Seat


DESCRIPTION: "I tuck me some corn to the county seat, Three bushel of corn, three bushel of wheat. The miller tuck fur his millin'-turn, Three bushel of corn, three bushel of wheat."
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: miller commerce nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownII 179, "I Tuck Me Some Corn to the County Seat" (1 text)
Roud #6583
File: BrII179

I Used to Have a Father


DESCRIPTION: "I used to have a father who sat and talked to me, But now I have no father -- what pleasure do I see? I looked out of the window to hear the organ play And there I saw my father as in his grave he lay."
AUTHOR: unknown
EARLIEST DATE: 1932 (JAFL 45, from Harold Greene)
KEYWORDS: death father music
FOUND IN: US(Ap)
REFERENCES (1 citation):
MHenry-Appalachians, p. 247, "I Used to Have a Father" (1 short text)
Roud #4194
File: MHAp247

I Used to Work in Chicago


DESCRIPTION: The singer works in a succession of stores, asking female customers their desires, mistakenly fulfilling them and getting fired.
AUTHOR: unknown
EARLIEST DATE: 1946 (recording, Three Bits of Rhythm)
KEYWORDS: bawdy humorous
FOUND IN: Australia Britain(England) US(Ro,SW)
REFERENCES (2 citations):
Cray, pp. 245-251, "I Used to Work in Chicago" (3 texts, 1 tune)
DT, CHCAGO*
Roud #4837
RECORDINGS:
Pearl Trio [Larry Vincent], "I Used to Work in Chicago" (Pearl 53-A, 1947)
Three Bits of Rhythm, "I Used to Work in Chicago" (Modern Music MM118, 1946)
CROSS-REFERENCES:
cf. "Haben Aboo an a Banner"
cf. "The Jolly Tradesmen"
cf. "My Husband's a Mason" (theme)
NOTES: Oscar Brand has claimed a copyright of some of the verses of this song current in oral tradition. - EC
Larry Vincent claimed to have written the basic song, and it certainly has his, er, style. But the Three Bits of Rhythm record predates his, and they claim authorship credit themselves. Who knows? -PJS
File: EM245

I Wad Rather a Garret


See Geordie's Courtship (I Wad Rather a Garret) (File: Ord204B)

I Walk the Road Again


DESCRIPTION: The singer is "a poor unlucky chap" and "very fond of rum." He has rambled far and wide, taking odd jobs here and there. Whenever things go bad, "I got up and hoisted my turkey and I walked the road again." (Now he hopes to find a job and settle down.)
AUTHOR: unknown
EARLIEST DATE: 1944
KEYWORDS: rambling work drink unemployment
FOUND IN: US(MA)
REFERENCES (1 citation):
FSCatskills 178, "I Walk the Road Again" (1 text, 1 tune)
ST FSC178 (Partial)
Roud #4602
CROSS-REFERENCES:
cf. "From Ogemaw" (floating lyrics)
cf. "The Feeing Time (II)" (floating lyrics)
ALTERNATE TITLES:
I'll Hit the Road Again, Boys
NOTES: Cazden, early in his career, attributed this to the father of his informant George Edwards (who probably did adapt the text somewhat), but later retracted the claim. - RBW
File: FSC178

I Wandered by the Brookside


DESCRIPTION: Walking by the mill at night the only sound the singer hears is her heart beating. She waits to hear one footstep or word. Finally "a touch came from behind ... the beating of our own two hearts Was all the sound I heard"
AUTHOR: words: R.M. Milnes/music: A.B. Clark ?
EARLIEST DATE: 1848 (broadside, LOCSheet sm1848 440340)
KEYWORDS: courting love separation
FOUND IN: Canada(Mar)
REFERENCES (1 citation):
Creighton-Maritime, p. 35, "As I Wandered by the Brookside" (1 text, 1 tune)
Roud #2418
BROADSIDES:
Bodleian, Harding B 11(405), "As I Wandered by the Brookside," J. Cadman (Manchester), 1850-1855; also Firth b.27(524), Harding B 11(3526), "As I Wandered by the Brookside"; Harding B 11(3162), "I Wandered by the Brook Side"
LOCSheet, sm1848 440340, "I Wandered by the Brookside," Wm. Hall and Son (New York), 1848; also sm1848 440400, sm1875 08167, sm1880 15884, "I Wandered by the Brookside" (tune)
LOCSinging, as106450, "I Wandered by the Brookside," J. Andrews (New York), 1853-1859; also as106440, "I Wandered by the Brookside"
NOTES: Broadside LOCSinging as113120: J. Andrews dating per Studying Nineteenth-Century Popular Song by Paul Charosh in American Music, Winter 1997, Vol 15.4, Table 1, available at FindArticles site. - BS
File: CrMa035

I Wanna Play Piano in a Whorehouse


DESCRIPTION: The singer tells us of his preferred profession, noting that "carnal copulation is here to stay."
AUTHOR: unknown
EARLIEST DATE: 1986
KEYWORDS: work music bawdy whore
FOUND IN: US
REFERENCES (2 citations):
Cray, pp. 251-252, "I Wanna Play Piano in a Whorehouse" (1 text, 1 tune)
DT, PLAYPIAN*
File: EM251

I Want a Nice Little Fellow


DESCRIPTION: The singer hopes for a rich, pleasant husband so she won't spend her whole life working. Johnny promises her wealth, but mother notes that her husband made the same promise and broke it. The girl promises to return if Johnny breaks his promise
AUTHOR: unknown
EARLIEST DATE: 1927 (recording, Kelly Harrell)
KEYWORDS: courting love money hardtimes mother children father betrayal abuse technology drink
FOUND IN: US
Roud #13154
RECORDINGS:
Kelly Harrell, "I Want a Nice Little Fellow" (Victor 20867, 1927; on KHarrell02)
NOTES: The reference to automobiles implies that this song is not much older than Harrell's recording. It also has a sort of a prohibitionist undertone. But it feels traditional. While I suspect it of being a composed song, I don't think Harrell learned it from sheet music. - RBW
File: RcIWANLF

I Want to Be a Cowboy


DESCRIPTION: "I want to be a cowboy and with the cowboys stand, Big spurs on my bootheels and a lasso in my hand." The singer desires life on the range, hopes to get drunk in Cheyenne, and expects to "rope the slant old heathen and yank them straight to hell."
AUTHOR: unknown
EARLIEST DATE: 1922
KEYWORDS: cowboy drink
FOUND IN: US(Ro)
REFERENCES (1 citation):
LPound-ABS, 79, pp. 173-174, "I Want to Be a Cowboy" (1 text)
Roud #4977
File: LPnd173

I Want to Die Like-a Lazarus Die


DESCRIPTION: "I want to die like-a Lazarus die, Die like-a Lazarus die, I want to die like-a Lazarus die, like-a Lazarus die, like-a Lazarus die." "Titty Rita die like-a Lazarus die...."
AUTHOR: unknown
EARLIEST DATE: 1867 (Allen/Ware/Garrison)
KEYWORDS: religious death nonballad
FOUND IN: US
REFERENCES (1 citation):
Allen/Ware/Garrison, p. 98, "I Want to Die Like-a Lazarus Die" (1 text, 1 tune)
Roud #12055
NOTES: There are two Lazaruses mentioned in the New Testament, and both die in ways which would probably be considered desirable. The first Lazarus, described in Luke 16:9ffff., is merely a character in a parable, but he dies and goes to "Abraham's bosom." The story of the second fills much of John 11, which tells how Jesus brought him back to life. - RBW
Last updated in version 2.4
File: AWG098

I Want to Go Home


See No More Rain Fall for Wet You (File: AWG046A)

I Want to Go to Baltimore


DESCRIPTION: "I want to go to Baltimore, I want to go to France, I want to go to Baltimore To see the ladies dance."
AUTHOR: unknown
EARLIEST DATE: 1923 (Brown)
KEYWORDS: playparty travel dancing nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 101, "I Want to Go to Baltimore" (1 fragment)
NOTES: Clearly a fragment of something, but it's not clear what. - RBW
File: Br3101

I Want to Go to Morrow


DESCRIPTION: Singer sets out for the town of Morrow. He tries to buy a ticket to Morrow "and return tomorrow night." The agent says he should have gone to Morrow yesterday and back today, for "the train that goes to Morrow is a mile upon its way."
AUTHOR: Lew Sully
EARLIEST DATE: 1898 (sheet music published)
KEYWORDS: questions train travel railroading humorous nonsense paradox
FOUND IN: US(MW)
REFERENCES (2 citations):
Dean, pp. 32-33, "To Morrow' (1 text)
DT, MORROW1
Roud #9554
RECORDINGS:
Dan W. Quinn, "I Want to Go to Morrow" (Improved Berliner 438, c. 1900; Victor [Monarch] 12, 1900)
Bert Shepard, "I Want to Go to Morrow" (Victor 899, 1901)
Harry Spencer, "How I Got to Morrow" (Columbia 855, 1902)
CROSS-REFERENCES:
cf. "Yuba Dam" (subject, such as it is, and general atmosphere)
NOTES: Morrow, Ohio, said to be the subject of this song, is a small town just northeast of Cincinnati. - RBW
That may be, but according to the WPA guide for Kansas, the town of Morrowville "was named for its founder, Cal Morrow, State Senator (...). Until 1896 the town was called Morrow, but its name was changed to Morrowville after the railroad company had complained that its ticket agents were confused when travelers asked for 'a ticket to Morrow (tomorrow).'" Perfect timing for Lew Sully's song, published two years later. - PJS
You have me there. The only counterargument is, Why would enough people want to go to Morrow, Kansas for it to be a problem? - RBW
And, to be fair, the song does say, "There is a town called Morrow in the state of O-hi-o". Did the same thing happen twice? - PJS
File: DTmorrow

I Want to See Jesus (Bathe in the River)


DESCRIPTION: "I want to see Jesus in the morning -- Bathe in the river. I want to go to heaven -- Bathe in the river. Oh, chillun, get on board, Oh, chillun, get on board; Oh, Jesus is aboard, Oh, chillun, get aboard; Oh, preacher get on board."
AUTHOR: unknown
EARLIEST DATE: 1930 (Henry, from "the singing of Negroes at Skyland, Virginia")
KEYWORDS: religious nonballad
FOUND IN: US(SE)
REFERENCES (1 citation):
MHenry-Appalachians, p. 192, "I Want to See Jesus" (1 text)
CROSS-REFERENCES:
cf. "Get On Board, Little Children" (lyrics)
NOTES: This looks a lot like "Get On Board, Little Children," but with no tune, seemingly only the one text, and several lines quite unique, I think I have to keep them separate.
Henry records the second line as "Bathe in the River" (note the capitalization), implying the River Jordan and the washing away of sins. This is probably a correct interpretation, but I have avoided this usage since we do not know what the singers meant with certainty. - RBW
File: MHAp192

I Want to See My Wife


DESCRIPTION: The worker (on the rail line?) expresses his loneliness and frustration: "I want to see my wife and children, Bim!... Captain Walker, where in the world did you come from?... Captain, send me a cool drink of water...."
AUTHOR: unknown
EARLIEST DATE: 1963
KEYWORDS: work worker hardtimes loneliness separation
FOUND IN: US
REFERENCES (1 citation):
Courlander-NFM, pp. 94-95, (no title) (2 texts, probably partial, 1 tune)
File: CNFM094

I Want You All to Be There


DESCRIPTION: "When I get on the mountain top, I want you all to be there, And hear my wings go flippety-flop, I want you all to be there."
AUTHOR: unknown
EARLIEST DATE: 1939 (Randolph)
KEYWORDS: religious nonballad
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 455, "When I Get on Yonder Hill" (2 texts, but only the "B" fragment goes here)
Roud #(911)
NOTES: Randolph, for no reason I can see, classifies this with "When I Get On Yonder Hill," a fragment of "Shule Agra." To me it looks like a fragment of a southern hymn, which was also the understanding of the informant. - RBW
File: R455

I Wanter Jine de Ban


See I Hope I'll Join the Band (Soon in the Morning) (File: R266)

I Was Born About Four Thousand Years Ago


See I Was Born About Ten Thousand Years Ago (Bragging Song) (File: R410)

I Was Born About Ten Thousand Years Ago (Bragging Song)


DESCRIPTION: "I was born about ten thousand years ago, And there's nothing in this world that I don't know." The singer boasts of his past accomplishments, e.g. watching Adam and Eve eat the apple (and eating the core); teaching Solomon to read....
AUTHOR: unknown
EARLIEST DATE: 1913
KEYWORDS: humorous bragging lie Bible
FOUND IN: US(Ap,MW,SE,So)
REFERENCES (10 citations):
Randolph 410, "I Was Born About Four Thousand Years Ago" (3 texts, 2 tunes)
BrownIII 426, "I Was Born About Ten Thousand Years Ago" (2 texts plus a fragment and mention of 2 more)
Gardner/Chickering 187, "The Historian" (1 text, 1 tune)
Sandburg, pp. 330-331, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-FSUSA 10, "I Was Born About Ten Thousand Years Ago" (1 text, 1 tune)
Lomax-ABFS, pp. 346-350, "The Highly Educated Man" (1 text, 1 tune)
Rorrer, p. 69, "I'm the Man That Rode the Mule 'Round the World" (1 text, with a a final verse, and probably an extended introductory verse, by Charlie Poole)
Pankake-PHCFSB, p. 170, "I Was Born About Ten Thousand Years Ago" (1 text)
Silber-FSWB, p. 26, "I Was Born About Ten Thousand Years Ago" (1 text)
DT, (JUSTFACT) (BORN10K)
Roud #3127
RECORDINGS:
Clarence Ashley & Tex Isley, "I'm The Man That Rode the Mule Around the World" (on Ashley01)
Fiddlin' John Carson, "When Abraham and Isaac Rushed the Can" (OKeh 40181, 1924)
Cramer Brothers, "I Was Born Four Thousand Years Ago" (Broadway 757, c. 1927 [as "I Was Born 4000 Years Ago"]; Broadway 8059, c. 1932; rec. 1927)
Crockett's Kentucky Mountaineers "I Was Born 10,000 Years Ago" (Crown 3101, 1931)
Vernon Dalhart, "I'm the Man That Rode the Mule Around the World" (CYL: Edison 5278, n.d.)
Otto Gray & his Oklahoma Cowboys, "4000 Years Ago" (Vocalion 5479, rec. 1931)
Georgia Organ Grinders, "Four Thousand Years Ago" (Columbia 15445-D, 1929)
Kelly Harrell, "I Was Born About 10,000 Years Ago" (OKeh 40486, 1925; on KHarrell01)
Bradley Kincaid, "Four Thousand Years Ago" (Gennett 6761/Champion 15687 [as Dan Hughey]/Supertone 9362, 1929; Superior 2656, 1931; Champion 45057 [as Dan Hughey], c. 1935)
Uncle Dave Macon, "Man That Rode the Mule Around the World" (Vocalion 5356, 1929)
Lester McFarland & Robert Gardner, "I Was Born Four Thousand Years Ago" (Brunswick 110/Vocalion 5028, 1927; Supertone S-2033, 1930)
Charlie Poole and the North Carolina Ramblers, "I'm the Man That Rode the Mule 'Round the World" (Columbia 15043-D, 1925, with an extended introductory verse by Poole; on CPoole04)
Pete Seeger, "I Was Born 10,000 Years Ago" (on PeteSeeger11)
Smoky Mountain Twins, "I Was Born 4000 Years Ago" (Conqueror 7065, 1928)
Dock Walsh, "Educated Man" (Columbia 15057-D, 1925)
CROSS-REFERENCES:
cf. "The Day Columbus Landed Here"
cf. "Sara Jane" (lyrics of some versions)
NOTES: It need hardly be stated that there is very little truth in this song (even if one accepts the Bible as literally true). I won't state examples; they would just bore you.
I do suspect that the "Ten Thousand Years" title is original, and "four thousand years" is a later correction by those who thought the braggart couldn't have been born before 4004 BCE. - RBW
Not to be confused with the bawdy "Three Thousand Years Ago". -PJS
The verse "She's my darling, she's my daisy, She's humpbacked and she's crazy... She's my freckled-faced consumptive Mary Ann" (sung as part of this song, e.g., by Charlie Poole) is also associated with "Hungry Hash House," and that's where I've listed it when it occurs on its own. It's not clear that it belongs there, but for the moment I'm listing that song with this one because it fits better metrically. - RBW
File: R410

I Was Born in Killarney


See I Wish They'd Do It Now (File: Gil111)

I Was Born in Pennsylvania


See Young Companions [Laws E15] (File: LE15)

I Was Born on the River


DESCRIPTION: "I was born on the river, and the river is my home, As long as I can carry a chain, I won't leave the river alone." The singer asks the Captain for money, describes how the Captain bosses the gang, and advises against gambling
AUTHOR: unknown
EARLIEST DATE: 1944 (Wheeler)
KEYWORDS: work river boss gambling money hardtimes poverty
FOUND IN: US
REFERENCES (1 citation):
MWheeler, p. 33-35, "I Wuz Borned on the Rivuh" (1 text, 1 tune); p. 118, "Woman, Woman, I See Yo' Man" (1 text, 1 tune)
Roud #10007
NOTES: The Wheeler text "Woman, Woman, I See Yo' Man" differs in from from "I Was Born on the River," but half its verses are found in the longer song. As is often the case in Wheeler's material, there is no good way to classify the result. I combine because, if I didn't, I'd have to list every piece in Wheeler separately.
File: MWHee033

I Was Despised Because I Was Poor


See I'm Despised for Being Poor (File: Beld195)

I Was Drunk Last Night


DESCRIPTION: "I was drunk last night, my darlin', And drunk the night before, But if ever I get sober, I'll never get drunk any more. Beautiful light o'er the sea...." "An' now I'll gather the roses To twine in my long braided hair...."
AUTHOR: unknown
EARLIEST DATE: 1934 (Randolph)
KEYWORDS: drink courting nonballad religious
FOUND IN: US(So)
REFERENCES (1 citation):
Randolph 407, "I Was Drunk Last Night" (1 text, 1 tune)
Roud #7681
RECORDINGS:
Red Patterson's Log Rollers, "I'll Never Get Drunk Any More" (Victor 20936, 1927)
Riley Puckett, "I'll Never Get Drunk Anymore" (Columbia 15063, 1926)
CROSS-REFERENCES:
cf. "Drunk Last Night" (initial line)
NOTES: This song is, in a way, impressive: In the space of twelve lines, it manages to invoke three songs: a "Never Get Drunk Any More" piece, the hymn "Beautiful Light," and something similar to "Wildwood Flower." Now all it needs is a stanza of a murder ballad to include every song-type known to humanity. - RBW
Not quite; it doesn't mention trains, trucks, prison, or mama. -PJS
"Trucks"? What do you think this is? A Nashville Nonsense Index? :-) - RBW
File: R407

I Was Just Sixteen


DESCRIPTION: "I was just sixteen when I first started roving" the sinful world. He meets and leaves a pretty girl. They agreed to be true but she thinks "on the vows she broke." She commits suicide. At her funeral a letter arrives; "Willie fell from the yardarm"
AUTHOR: unknown
EARLIEST DATE: 1921 (Greenleaf/Mansfield)
KEYWORDS: courting love parting death funeral suicide lover mistress mother sailor separation
FOUND IN: Canada(Newf)
REFERENCES (3 citations):
Greenleaf/Mansfield 102, "I Was Just Sixteen" (1 text)
Peacock, pp. 720-721, "The Spanish Main" (1 text, 1 tune)
Karpeles-Newfoundland 40, "The Spanish Main" (1 text, 1 tune)
Roud #17721
File: GrMa102

I Was Once a Sailor


DESCRIPTION: "Yes, I was once a sailor boy, I plowed the restless sea. I saw the sky look fair and glad And I felt proud and free." The sailor recalls his travels, but notes he made little profit. He now has a small farm and thinks his life is sweet
AUTHOR: unknown
EARLIEST DATE: 1843 (Journal from the Florida)
KEYWORDS: sailor travel farming home
FOUND IN:
REFERENCES (1 citation):
Huntington-Whalemen, pp. 66-67, "I Was Once a Sailor" (1 text)
Roud #2021
NOTES: Huntington thinks this might be related to "The Faithful Sailor Boy" [Laws K13]. I don't see any signs of kinship. - RBW
File: SWMS067

I Was Once in a Dark and Lonesome Valley


DESCRIPTION: "I was once in a dark and lonesome valley, And Satan led with trouble on de way. But de devil tryin' hard to stop me, And dey laugh at me whatever dey hears me say." "Here's a light, chillun (x2), Here's a light where de angels led before us."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: religious Devil
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 599, "I Was Once in a Dark and Lonesome Valley" (1 short text)
Roud #11909
File: Br3599

I Was Sitting on a Stile


See I'm Sitting on the Stile, Mary (The Irish Emigrant II) (File: Pea462)

I Was the Boy for Bewitching Them


DESCRIPTION: Mothers warn their daughters to beware of the singer, irresistable Teddy. He had few rivals and, when Pat Mooney just met his Shelah, Teddy "twigged" him. "Beauties no matter how cruel ... Melted like mud in a frost"
AUTHOR: unknown
EARLIEST DATE: c.1809 (Croker-PopularSongs); c.1815 (broadside, Bodleian Firth b.26(452))
KEYWORDS: bragging rake
FOUND IN:
REFERENCES (1 citation):
Croker-PopularSongs, p. 122, "I Was the Boy for Bewitching Them" (1 fragment)
BROADSIDES:
Bodleian, Firth b.26(452), "I Was the Boy for Bewitching Them" ("I was the boy for bewitching 'em"), Todd and Son (Easingwold), c.1815; also Harding B 25(931), "I Was the Boy for Bewitching 'em "; Harding B 17(143a), "I Was the Boy, &c"; Harding B 28(128), "I Am the Boy for Bewitching Them"
NOTES: Croker-PopularSongs has a fragment not in the broadsides but which "was a favourite some thirty years ago [c.1809]." The tone fits the broadsides but the words parallel "My God, How the Money Rolls In":
My father he married a Quaker,
My aunt she made hay with a fork;
And my uncle's a great grand brogue-maker
In the beautiful city called Cork
Croker-PopularSongs is a fragment; broadside Bodleian Firth b.26(452) is the basis for the description. The Croker fragment is quoted again in Croker-PopularSongs by a Mr Windle "borrowing the words of an old song." (p. 162).
Croker's fragment is not in either Bodleian broadside. Maybe it does not belong here at all. Except for substituting father, aunt, and uncle for grandfather, uncle, and mither, it matches the first four lines of GreigDuncan4 820, "My Grandfather Married a Quaker."
A note, Preliminary Finding List for Early Irish Tunes, at The Wrapper Band site says "I was the boy for bewitching 'em [Said to be from play, Matrimony, c 1804. Music by P. M. King. Song attributed to Kenny in US1 [The Universal Songster or Museum of Mirth, Vol. I,1825], p. 180]; CIR 49 [1808. Crosby's Irish Musical Repository]: The Boy for bewitching them; HIA 7 [One Hundred Irish Airs. New York: Pub. by P. M. Haverty]" Matrimony opened Nov 20, 1804, at Drury Lane "by James Kenny (librettist) and M.P. King (composer)," according to William J Burling [Version 1.2 copyright 3/7/2003] at Missouri State University site. - BS
Last updated in version 2.5
File: CrPS122

I Went Down to My Girl's House Last Night


DESCRIPTION: "I went down to my girl's house last night, She met me at the door. She knocked me in the head with a rolling pin And I ain't been back no more."
AUTHOR: unknown
EARLIEST DATE: 1952 (Brown)
KEYWORDS: courting abuse abandonment floatingverses
FOUND IN: US(SE)
REFERENCES (1 citation):
BrownIII 451, "I Went Down to My Gul's House Last Night" (1 fragment)
Roud #11785
NOTES: Obviously this is a floating fragment. It's not clear what it's floated free of. - RBW
File: Br3451

I Went Down to My Gul's House Last Night


See I Went Down to My Girl's House Last Night (File: Br3451)

I Went Down to New Orleans (I)


DESCRIPTION: Discovered in bed with the daughter of the landlord and landlady, the rover has sex with the mother too, and violates the father with a brace of pistols.
AUTHOR: unknown
EARLIEST DATE:
KEYWORDS: bawdy humorous landlord seduction sex
FOUND IN: US(MW)
REFERENCES (1 citation):
Cray, pp. 105-106, "I Went Down to New Orleans" (1 text, 1 tune)
CROSS-REFERENCES:
cf. "O'Reilly's Daughter"
File: EM105

I Went Down to New Orleans (II)


See He's Got the Money Too (File: R299)

I Went Down to the Depot


See Jesse James (I) [Laws E1] (File: LE01)

I Went Down to the Lowground


See BrownIII 187, "I Went Down to the Lowground" (1 text) (File: Br3187)

I Went Home One Night


See Four Nights Drunk [Child 274] (File: C274)

I Went Out A-Hunting, Sir


See The Sally Buck (File: SKE70)

I Went to Atlanta


DESCRIPTION: "I went to Atlanta, Never been there befo'; White folks eat de apple, Nigger wait fo' co'." The singer finds similar unfairness when visiting Charleston, Raleigh, etc. Chorus: "Cath dat Suth'n, Grab dat train, Won't come back no mo'."
AUTHOR: unknown
EARLIEST DATE: 1953
KEYWORDS: travel hardtimes Black(s) discrimination
FOUND IN: US
REFERENCES (1 citation):
Greenway-AFP, p. 106, "I Went to Atlanta" (1 text)
File: Grnw106

I Went to Cincinnati


See Turkey in the Straw (File: R274)

I Went to My Sweetheart's House


DESCRIPTION: Stanzas of the form "I went to my sweetheart's house, I never was thar before, They sot me in the corner as still as a mouse, An' I ain't gwine thar no mo', mo', mo, An' I ain't gwine that no mo', my love, An' I ain't gwine that no mo'." Verses float
AUTHOR: unknown
EARLIEST DATE: 1925 (Scarborough)
KEYWORDS: floatingverses home animal courting
FOUND IN: US(SE)
REFERENCES (1 citation):
Scarborough-NegroFS, pp. 166-167, "I Went to My Sweetheart's House" (1 text)
ST ScaNF166 (Partial)
CROSS-REFERENCES:
cf. "Raccoon" (floating lyrics)
NOTES: I thought seriously about filing this with "Raccoon"; they have that many stanzas in common. But some have floated in from other places, and the form is different, so I'm separating them. - RBW
File: ScaNF166

I Went to the Fair at Bonlaghy


DESCRIPTION: "I went to the fair at Bellaghy, I bought a wee swad of a pig, I got it up in my arms And danced 'The Swaggering Jig." In all contexts, man, pig, poorhouse inmates, passersby, flowers, whistle and/or dance the jig.
AUTHOR: unknown
EARLIEST DATE: 1938 (Sam Henry collection)
KEYWORDS: animal humorous commerce dancing
FOUND IN: Ireland US(MW)
REFERENCES (2 citations):
SHenry H758, p. 23, "Bellaghy Fair" (1 text, 1 tune)
Eddy 151, "I Went to the Fair at Bonlaghy" (1 fragment, 1 tune)
ST E151 (Partial)
Roud #5349
File: E151

I Went to the Hop-Joint


See The Hop-Joint (File: ScaNF090)
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